Pierre Marie Brisson Still-life Paintings

Rene Genis (French 1922-2004) “bouquet au fons rouille” / bouquet with rusty frons. Oil on woven paper stock with deckled edges laid down on matt board. Signed lower right, titled v...

'Jungalow' 2021 by Kate Roebuck. Ink and watercolor on handmade watercolor paper with decked edge. 30 x 22 inches. This work features a classic botanical ...

With watercolors, pastels, and other media, this drawing on very thick paper presents in a non-naturalistic way a collection of sea creatures usually found on top or below the sand. ...

Daylight Blooms No. 25 is a botanical collage artwork created with Hand Cut dyed paper by Deborah Weiss. The artwork is 30x22. It is unframed. It is...

Big Blooms No. 7 is a botanical collage artwork created with Hand Cut dyed paper by Deborah Weiss. The artwork is 28x22 and is in a white frame. The fr...

Original work of art that utilizes both painting and drawing - Mixed-media: Sumi Ink, graphite, metallic pigment and acrylic on Moulin de Larroque paper, made by hand in a mill in Fr...

Garden Blooms No. 5 is a botanical collage artwork created with Hand Cut dyed and painted paper by Deborah Weiss. The artwork is 22x22. It is framed to...

Blooms + Stems No. LC2023 is a botanical collage artwork created with Hand Cut dyed and painted paper by Deborah Weiss. The artwork is 30x22. It is unframed. It is a one of a kind floral artwork. Everylasting flowers. Vintage Paper This is part of the new “Blooms” series. According to Weiss, “Blooms is a celebration of the contemporary botanical image...

Mixed-media: Sumi Ink, graphite, metallic pigment and acrylic on Moulin de Larroque paper, made by hand in a mill in France. The mixed media work is inspired by seaweed / kelp at a E...

"Sculpture Dessin" Drawing 12" x 8" inch by Salah Abdel Kerim Ink on paper circa 1980 Born in Fayoum to a big family of 5 brothers and sisters. In 1938 he meets the famous painter Hussein Bikar and he becomes his student in the Faculty of Arts in Qena. He remained much attached to his professor all through his life. In 1940 he meets Hussein Youssef Amin and the Group of Contemporary Art at the secondary school of Farouk First in Abasya district in Cairo when he was introduced to surrealism for the first time. In 1943 he becomes a student at the Faculty of Fine Arts and graduates with excellence and honors in 1947. In 1948 he becomes an assistant to the interior decoration section at the FFA. He is then sent to a mission in Paris in 1952 and he becomes a student to Paul Colin and A.Marie Cassandre for publicity and theatre design. He then moves to Rome in 1956 to study cinema design. In 1957 he received the international prize in painting from San Vito Romano, Italy, and obtains his Ph.D. from Centro Sperimental di Cinemato Grafia. Back in Egypt in 1958, he is appointed professor at the FFA where he started experimenting with his masterpieces sculptures in wrote iron...

Seongmin Ahn Inter-Relation Selfie 204 2015 Ink and color on mulberry paper ------------ The essence of Ahn's work begins from the conception of complicated personal struggles as a spouse, an immigrant and an outsider artist in New York. Through creating process, she contemplate both her daily issues and fundamental matters, thus transferring those into physical representation while asking meaningful questions to her audiences about life as reality, relation between people, spiritual being and transcendence. Ahn is interested in pushing boundaries of traditionalism, thus opening up new dialogue in global context. Through this dialogue she encourage her audience to think about inter-connectedness between tradition and contemporary, West and East, and two contradictory elements. Contradiction, and Paradox is also a main key to understand her works. She uses iconography from Minhwa, Korean folk...

Seongmin Ahn Inter-Relation Selfie 208 2015 Ink and color on mulberry paper ------------ The essence of Ahn's work begins from the conception of complicated personal struggles as a spouse, an immigrant and an outsider artist in New York. Through creating process, she contemplate both her daily issues and fundamental matters, thus transferring those into physical representation while asking meaningful questions to her audiences about life as reality, relation between people, spiritual being and transcendence. Ahn is interested in pushing boundaries of traditionalism, thus opening up new dialogue in global context. Through this dialogue she encourage her audience to think about inter-connectedness between tradition and contemporary, West and East, and two contradictory elements. Contradiction, and Paradox is also a main key to understand her works. She uses iconography from Minhwa, Korean folk...