John Jaster Landscape Paintings

"Washington Square" is an original painting by Tom Haugomat, made as part of his traveling artist residency with The Jaunt. Traveling from France to Philadelphia, Haugomat was inspir...

This vibrant and playful painting combines surrealism with humor and warmth. Two cows, rendered with expressive brushwork, appear to wander through a tropical landscape, surrounded b...

A pop piece depicting New York City's iconic Times Square in Midtown Manhattan with taxis, cars and people in a bursting street scene filled with color and impasto paint, with quick ...

Inflatable unicorn cloudscape painting combining fantasy imagery, balloon animal aesthetics and luminous blue sky atmosphere on Belgian linen. This original acrylic painting by Sofía Cristina Jiménez belongs to the Air series, a body of work in which inflatable figures occupy open skies, cloud formations and weightless atmospheric environments. Depicting a silver unicorn transformed into a floating balloon-like object, the painting combines fantasy art, cloudscape painting and pop surrealist imagery within a composition defined by light, openness and visual suspension. At the center of the work, the unicorn appears as a reflective inflatable figure drifting through a brilliant blue sky. Its metallic silver surface captures and reflects surrounding light while contrasting with the soft textures of the clouds. The segmented construction of the form recalls balloon sculptures and inflatable toys, transforming a mythical creature into an object shaped by contemporary visual culture. Throughout the Air series, Sofía Cristina Jiménez investigates the relationship between fantasy, representation and material transformation. Familiar symbols are displaced from their traditional contexts and reimagined through synthetic forms. Here, the unicorn remains recognizable as a mythical figure associated with imagination, wonder and storytelling, yet its inflatable construction subtly shifts its meaning toward contemporary image culture and manufactured fantasy. The expansive cloudscape creates a sense of freedom and spatial ambiguity. Layers of white clouds establish depth and movement while the saturated blue sky provides a powerful chromatic field that reinforces the sensation of elevation and lightness. Rather than presenting a narrative scene, the painting captures a suspended moment between reality and imagination. Executed in acrylic on Belgian linen, the work combines precise rendering of reflective surfaces with atmospheric painterly passages. The result functions simultaneously as a fantasy painting, cloudscape artwork and contemporary figurative composition, making it particularly suitable for collectors interested in pop surrealism, contemporary fantasy imagery and uplifting architectural interiors. Medium: Acrylic on Belgian linen canvas Series: Air Condition: Excellent original condition Frame: Unframed Installation: Ready to hang Authenticity: Unique original artwork This work is particularly suited for collectors interested in unicorn painting...

TORRUB is a unique acrylic on canvas painting by contemporary artist Ramon Enrich, dimensions are 150 × 150 cm (59.1 × 59.1 in). Dimensions of the framed artwork are 154 cm x 154 cm ...

This painting is in excellent condition and has only been shown in galleries. This painting is gallery wrapped and finished on the edges so it can be hung without a frame. Frame op...

Artist: Jack Graves III (American, 1988-) Title: "Bella Nuotata, Snoopy" Series: Eclecticism *Signed by Graves lower left. It is also signed, dated, and titled on verso Year: 2026 Me...

Landscape with cacti , 80x80cm, acrylic on canvas

As one of the last generation to remember a childhood lived in the desert hunting and gathering with her family, Walangkura Napanangka's paintings recall the stories of country and the location of specific sites in her traditional homeland west of the salt lake of Karrkurutinjinya (Lake Macdonald). Born around 1946, at Tjitururrnga west of Kintore, in the remote and arid country between the Northern Territory and Western Australia, she lived with her father Rantji Tjapangati and mother Inyuwa Nampitjinpa and later, while still a teenager, travelled by foot with her family over the hundreds of kilometres from their remote desert home eventually joining Uta Uta Tjangala's group as they walked in to the settlements of Haasts Bluff and then Papunya. The lure of settlement life with its promise of plentiful food and water belied the harsh conversion they would make to an alien lifestyle with its many problems and unfamiliar demands. The upheaval however, was ameliorated to some degree by the proximity of her immediate family including her mother Inyuwa, adoptive father Tutuma Tjapangati, and sister Pirrmangka Napanangka (now deceased) all of whom became artists. Relocated to the community of Kintore in 1981 when the outstation movement began, Walangkura participated in the historic women's collaborative painting project (1994) that was initiated by the older women as a means of re-affirming their own spiritual and ancestral roots. It was a time of specifically female singing, ceremony and painting, away from the gaze of outsiders and men folk. The huge and colourful canvases that emerged from the women's camp were 'alive with the ritual excitement and narrative intensity of the occasion' (Johnson 2000: 197). Within a year, Papunya Tula Artists, now established at Kintore, had taken on many of these women as full-time artists, revitalising the company after the deaths of many of the original 'painting men'. While individual women forged their own stylistic trajectory, these paintings were immediately distinguishable from the men's more cerebral and symmetrical style. They radiated an exuberant and vibrant energy, the felt heart-beat of women's affinity to country and spirit. Walangkura's early works, created from 1996 onward, are characterized by masses of small markings and motifs covering large areas of canvas. Her favorite colour, a deep sandy orange predominates, accentuated against more somber blacks and reds and dusky greens or yellows. More recent works show a gestural quality though still tightly packed with an intensity of geometric line work representing sandhills. In a sense this provides a strong visual and contextual link to the men's linear style as exemplified by the works of George Tjungurrayi...

Yannima Tommy Watson is a Pitjantjatjara artist born around the 1930s, in the bush some 44km west of the small isolated community of Irrunytju. Not yet very well known to the French public, despite his participation in the architectural project of the Musée du Quai Branly, Tommy Watson is nevertheless often considered the greatest living Aboriginal artist. Like many aborigines of his generation, he lived a traditional, nomadic or semi-nomadic life before his contact with Western civilization; then he will occupy the only jobs that the Aborigines find: herdsmen (until Yuendumu), laborers for the construction of infrastructures in the desert. Throughout this period he became familiar with his "country", a harsh region, and deepened his knowledge, both profane and sacred, relating to Dreams and Dreamtimes, to the connections between sacred sites and the Ancestors. He will even work in Papunya, where the artistic movement started. But the Pijantjarra are intransigent with tradition…no question at this time of revealing the motives and the secret stories. The North of South Australia, the region where he is from, was touched by the pictorial movement only at the very beginning of the 2000s. In 2001, Tommy began his career as an artist in Irrunytju (Wingellina). He is a young artist… He learns by observing other painters and draws on the experiences of a long life and on the exceptional knowledge he has stored up. But quickly he will find his way, a radically new style where color plays a major role. Very quickly, the iconography now well known by the artists of Yuendumu, or the Western Desert, Balgo or Lajamanu disappeared. The symbols are no longer there. As Rover Thomas, Emily Kame or Paddy Bedford had done before him, this is a real artistic revolution. For Tommy, it is not a question of describing his Dream (Caterpillar), the routes taken by the Ancestors. He concentrates on a site, a story, sometimes very profane, the memory of a meeting, of a hunting party, tries to condense his memories, the information of which he is the depositary, to add a poetic touch to it, sometimes melancholy, and this gives a painting with a very abstract aspect. It is a painting where the emotion is very present, undoubtedly less cerebral than the art of the neighbors of the north the Pintupi, like Ronnie Tjampitjinpa, George...

"10:45 am" is an acrylic painting on canvas created from life and inspired by David Hockney’s Californian aesthetic. The composition presents a female figure seen from behind, standi...

WILD AND FREE - This original artwork on paper captures delicate scattered flowers in a field of grass. The blending of acrylic, oil pastel and colour pencil, make up loose and intui...