Jack Hooper Figurative Paintings

A Muse - Figurative Study in Oil on Canvas A nude man wearing a sailor hat while he looks down at a woman sitting on sheets of red and blue by American painter, Patricia Gren Hayes ...

Modern nude study of red-haired woman reclining seated by American painter, Patricia Gren Hayes (b. 1932), 1979. Signed and dated on verso Provenance: Purchased as part of larger collection of artist's work Unframed. Canvas size: 16"H x 20"W. Patricia Gren Hayes (American, b. 1932) is a Bay Area Figurative & Feminist Art Movement artist who studied at Winnipeg Public Art School in 1950. She received early recognition in Museum and Gallery competitions and exhibitions and was awarded a Special Education in Art recognition by the Winnipeg Museum of Fine Art, and was awarded a scholarship to the Banff College of Fine Art. Further studies were at The University of Manitoba. She was a Member of Winnipeg Free Press Sketch Club and was a Cartoonist and paste-up for a French-English bi-weekly, in Eastern Canada; She studied outdoor impressionism in New York in 1960; in 1962, attended The California College of Arts and Crafts, and in 1976 B.A., U.C. Berkeley where she studied under Elmer Bischoff, David Simpson, Joan Brown, Felix Ruvolo, Yolanda Lopez and Vincent Perez. She started a freelance commercial art business in 1963; copyrighted a National Cartoon, 1976, and served as Exhibition Director for San Francisco Woman Artists Gallery and the San Francisco Museum of Modern Art, 1976-1978. She was a workshop instructor at the San Francisco Woman Artists Gallery, 1977-1985; and was Manager/Owner Stanton Art Gallery, Alameda, CA, 1976-1982. Solo Exhibitions: Berkeley Marina, 1974; Oakland Center for The Visual Arts, "Images of Women", 1979 Group Exhibitions: Oakland's Dept of Education, 1963, Studio One; Alameda County Fair, 1975, 1976, 1978; San Francisco Art Festival, 1969, 1970, 1976, 1977, 1978; San Francisco Museum of Modern Art, 1976, 1977, 1978; San Francisco Women Artists Gallery Exhibition, award winner - 1970, 1977, 1978; Hayward Bay Fair Art Festival, award winner - 1971; Capricorn Assunder Gallery, 1973; Oakland Art Festival, 1973, 1974; Alameda Art Association, 1978; El Cerrito...

Figurative Portrait of a Nude Male Model Handsome example of a vibrant figurative of a nude male model by Katherine Kallick (American, b. 1952). Med...

Delicate and expressive depiction of a nude couple by Byron Richard Rodarmel (American, 1932-2007). A couple is intertwined on a bed, rendered in a soft palette of peach, yellow, pin...

“I thought the world was turned upside down when I started this body of work right after the 2016 presidential election. Little did I know. I had gone to the Woman's March in Washing...

Sally Michel Avery Woman Recumbent, 1980 Signed, dated and titled on the reverse Oil on board 16 x 20 inches Private Collection, East Hampton Private Collection, New York (acquired ...

A captivating, 1940s Modern painting of a seated nude on a garden bench by famed Chicago artist, Francis Chapin (Am. 1899-1965). A sensitive, skilled portrait of a young female mode...

Modernist reclining female nude figurative painting by an unknown artist (American, 20th Century). This vivid late 20th-century figural piece featur...

Three Poses - Nude Figure Study by Patricia Gren Hayes Three nude women serving as models in an art class, showing different expressions by American painter, Patricia Gren Hayes (Ca...

This piece is an abstract composition done with mixed media, oil and acrylic paints on linen. The artist explores an incredible world filled with color and expressive brush strokes. ...

As is generally the case with my paintings, this work proceeded from a place of unknowing. The specificity of imagery and technique belie the non-specific character of the ideas and narratives presented. The imagery is not tied to any pre-existent source (textual or other). It is not preconceived by the artist, rather it is produced spontaneously in the process of painting. That said, it seems both easy and sensible to connect the imagery in this painting to common cultural material, especially that from very ancient sources. The central figure is very much like a totemic Neolithic goddess- the sort of which seem to be among the most ancient artistic works, examples are extant from eras stretching back tens of thousands of years. A lot has been written about figures of that kind but of course no one can reasonably claim to truly understand them. Here the great goddess appears with wings and entwined serpents. Crowned also with a glowing orb she has become an emblem of a matristic hermetica. The smaller figure may be less evidently archetypical. She is a younger goddess, a daughter like Persephone to Demeter. She lifts the breasts of her mother signifying perhaps how the presence of the child evokes the nurturing qualities of the mother or how Persephone’s seasonal ascent from the underworld awakens in her mother the impulse to again give life to the world. The cluster of gynomorphic figures contained by the crescent moon at the center of the painting refer to the balanced transformations of the lunar cycle and their mysteriously harmonic physical manifestation in the vital cycles of a woman’s body. At their axis is the cycloptical abdomen of the figure enthroned on the moon. The entire totem rises from a terrestrial gateway into an open landscape. In the background megaliths obscure the horizon. They represent a first boundary in time- the beginning of history. Below is the gateway, the opening to an inner earth...

Figure in red, green, blue conte crayon by San Francisco artist Michael William Eggleston (American, 20th Century). Unsigned, from a collection of his works. Image size: 24"H x 18"W....