Joe Tilson Paintings

"The paintings are built up in layer upon layer of paint which give the pieces great depth of field. They are created with an arsenal of tools that doesn't settle with convention. As...

Dai Xiangwen was born in Hunan in 1991 and graduated from the Academy of Fine Arts of Jianghan University, He is a member of China Artists Association, China Designers Association, a painter of Li Keran...

A late 20th century oil on canvas of a marine landscape depicting boats at a dock featuring a blue tone. The painting, an exemplary work of the American landscape art work of the 20t...

Vertical composition on paper with a canary yellow acrylic ground over which bristle brushed lines are cross hatched in black. Layered over these central marks is a central collaged strip of paper highlighted in ultra marine blue and grey topped by a tache of white paint. This is balanced by a horizontal strip in white and grey at the foot of the composition held down by another white swipe of white acrylic. A small horizontal collaged rectangle at the upper left keeps the eye moving upwards in the picture plane. This work is unframed. Please ask us about framing options. Titled "listening to Scarlatti", or en ecoutant Scarlatti in French, the piece may certainly be a response to the sonatas of Domenico Scarlatti, an Italian composer and contemporary of Bach and Handel. Scarlatti spent much of his life at the service of the Portugese and Spanish royalty...

Vertical composition on paper with a saturated wine red ground over which bristle brushed lines are cross hatched in black and royal blue. Layered over these central marks is a structure of stacked, collaged geometric strips of paper painted with intersecting lines and shapes of marine blue, red and white. This work is unframed. Please ask us about framing options. Titled "listening to Scarlati" the piece may certainly be a response to the structured sonatas for harpsicord and pianoforte of Domenico Scarlatti, an Italian composer and contemporary of Bach and Handel. Scarlati spent much of his life at the service of the Portugese and Spanish royalty...

A lovely small oil on canvas painting in the style of the legendary artist Fernando Botero ( Columbian, 1932) showing people in large figures, "Boterismo...

Trees at Bloom, 1939, oil on canvas, 32 x 24 inches, signed lower right About the Painting Trees at Bloom was painted when Clarence Holbrook Carter lived in Pittsburgh and served as an instructor in the Department of Painting and Design at the Carnegie Institute of Technology (now Carnegie-Mellon University), a position he held from 1938 through 1944. It depicts a thick forest at the base of distance hills just outside the city. During his tenure in Pittsburgh, Carter was deeply influenced by not only the industrial might of the steel mills and iron forges of the city, but also the beauty of the surrounding landscape. As Frank Anderson Trapp noted in his book on the artist, for Carter “the terrain itself had its own special vitality, with its craggy, wooded hills threaded with ravine and watercourses . . . . the signs of industrial blight that were unalleviated in some parts of the country were there relieved by the geological variety of the parent landscape, and by the irrepressible presence of its natural growth, which softened the whole.” Trapp continues, “in his scenes of rural situations, Carter had a special gift for rendering those elements convincingly.” With the profusion of flowering trees which diffuse the light and the red cardinals darting from one branch to another, Trees at Bloom portrays the “irrepressible presence of nature” that Trapp describes. About the Artist Together with Charles Burchfield, Clarence Holbrook Carter was Ohio’s premiere American Scene painter and later an innovative magic realist. The son of a no-nonsense public-school administrator, Carter was born in 1904 outside of Portsmouth, Ohio, a small town in the heart of the Ohio River...

"The paintings are built up in layer upon layer of paint which give the pieces great depth of field. They are created with an arsenal of tools that doesn't settle with convention. As...

An elegant vintage impressionist oil on canvas painting signed by artist Tasica -1977. The painting features a street scene in the...

Six O-Clock, c. 1942, oil on canvas, 30 x 20 inches, signed and titled several times verso of frame and stretcher (perhaps by another hand), marked “Rehn” several times on frame (for the Frank K. M. Rehn Galleries in New York City, who represented Craig at the time); Exhibited: 1) 18th Biennial Exhibition of Contemporary American Oil Paintings from March 21 to May 2, 1943 at The Corcoran Gallery of Art in Washington, D.C. #87, original price $450 (per catalog) (exhibition label verso), 2) Craig’s one-man show at the Frank K. M. Rehn Galleries, New York City, from October 26 to November 14, 1942, #10 (original price listed as $350); and 3) Exhibition of thirty paintings sponsored by the Harrisburg Art Association at the State Museum of Pennsylvania in Harrisburg in March, 1944 (concerning this exhibit, Penelope Redd of The Evening News (Harrisburg, Pennsylvania) wrote: “Other paintings that have overtones of superrealism inherent in the subjects include Tom Craig’s California nocturne, ‘Six O’Clock,’ two figures moving through the twilight . . . .” March 6, 1944, p. 13); another label verso from The Museum of Art of Toledo (Ohio): original frame: Provenance includes George Stern Gallery, Los Angeles, CA About the Painting Long before Chris Burden’s iconic installation outside of the Los Angeles County Museum of Art, Urban Light, another artist, Tom Craig, made Southern California streetlights the subject of one of his early 1940s paintings. Consisting of dozens of recycled streetlights from the 1920s and 1930s forming a classical colonnade at the museum’s entrance, Burden’s Urban Light has become a symbol of Los Angeles. For Burden, the streetlights represent what constitutes an advanced society, something “safe after dark and beautiful to behold.” It seems that Craig is playing on the same theme in Six O-Clock. Although we see two hunched figures trudging along the sidewalk at the end of a long day, the real stars of this painting are the streetlights which brighten the twilight and silhouette another iconic symbol of Los Angeles, the palm trees in the distance. Mountains in the background and the distant view of a suburban neighborhood join the streetlights and palm trees as classic subject matter for a California Scene painting, but Craig gives us a twist by depicting the scene not as a sun-drenched natural expanse. Rather, Craig uses thin layers of oil paint, mimicking the watercolor technique for which he is most famous, to show us the twinkling beauty of manmade light and the safety it affords. Although Southern California is a land of natural wonders, the interventions of humanity are already everywhere in Los Angeles and as one critic noted, the resulting painting has an air of “superrealism.” About the Artist Thomas Theodore Craig was a well-known fixture in the Southern California art scene. He was born in Upland California. Craig graduated with a degree in botany from Pomona College and studied painting at Pamona and the Chouinard Art School with Stanton MacDonald-Wright and Barse Miller among others. He became close friends with fellow artist Milford Zornes...

An elegant oil on canvas landscape painting featuring a lake view in a paradisiac environment. The painting is finely framed in custom giltwood frame. A wonderful addition to any liv...

"Martí Bofarull’s work fits in with renovation of the urban landscape that has characterized Catalan painting of the last twenty years. Among our artists who have remained loyal to f...