Mark Hunter Abstract Paintings

Allen Williams' "Revelation II" is an original oil painting on board, created in 2023. This contemporary figurative work features a nude female form eme...

Impressive early American modernist landscape oil painting. Framed. Oil on canvas. Signed. Image size, 28 H by 22L.

The ocean is a mystery, full of secrets and deep emotions. Its power can be frightening, yet it beckons and offers freedom. In every wave lies a story of fear and love, intertwined i...

Vintage European impressionist coastal town oil painting. Oil on board. Framed. Signed. In excellent original condition. Handsomely framed in a wood molding. Excellent condition...

"Nox" (2023) by Allen Williams is an original handmade oil painting that depicts a disturbing a uncanny portrait of a man on a dim gold background. Abo...

This oil painting from 1983 is priced at a fraction of the original price. It was originally priced at $3500 when at the gallery in the D&D building in NYC. It was in our storage a...

This oil painting from 1985 is priced at a fraction of the original price. It was in our storage area and we just decided to put it on sale at a price which is a fraction of the original price. These still life with illusion paintings were originally sold in New York City at the D&D building on 59th street. It was a building that only interior designers were allowed to shop at. the general public could only go in with their interior designer to select an item. This came from the Haller Gallery in that space. It was originally priced at $3500 when at the gallery in the D&D building in NYC. It is oil on canvas and in very subtle colors. The top right area of the canvas show slight lines of cracking to the paint. You can see that on one of the close up images. The pale thick colors (The illusions) give a 3d floating look. We have another Still Life with 4 Pears also on sale this week.

Hyperrealist oil painting of an oxidized, rusted metal road sign with orange directional arrow detail by Anthony Adcock. Medium: Oil and 23.5 gold leaf on aluminum. Size: 15 x 10 ...

The Waves 09.28.2024 is an oil painting by American Impressionist Nelson H. White. A calm blue sky meets the ocean in a the distant horizon. Waves break in the foreground, forming white-caps, painted in thick white strokes, connotting the chaotic crash of a wave. Signed "Nelson H. White 2024" in lower right corner Frame Dimensions 9 x 16in Framed in a custom Italian gold leaf frame. Nelson H. White was born in New London, Connecticut in 1932. White has been surrounded by art and artists from the time he was born. He received his earliest art instruction from his grandfather, Henry Cooke White (1861-1952) and his father Nelson Cooke White (1900-1989), both important American artists. The family lived in Waterford, Connecticut and the elder White had been an early member of the art colony in Old Lyme, Connecticut. Known for his paintings of the Connecticut landscape and shoreline, Henry Cooke White became a teacher to his son, Nelson Cooke White. Living with his parents at the Florence Griswold house in Old Lyme, he met some of the most important and influential artists of the day, Childe Hassam, Will Howe Foote...

"In the series “This is a real place!” I was fascinated by how the underside of the pier at Saint Simons Island, GA was like a readymade collage. The way the pilings and rails divide and frame the spaces between them looks artificially imposed on the scene until you notice the way the waves bounce off the pilings and the railings cast shadows on the water. In some iterations, I chose to simplify the structures of the pier and lighten the values so that it would emphasize the detail in the water. Likewise, I omitted a family of starlings and their droppings in favor of highlighting the geometry of the architecture and the colors and patterns of the water. Making paintings in a series allows me to investigate the results of making different decisions about an image. How I crop or stylize it, the manner in which I apply the paint, what gets included or excluded all add shades of meaning to each piece. Additionally, depictions of the same subject in different weather, seasons, times of day, and tides allows me a deeper understanding. I notice more relationships, colors, and details every time I paint the subject. Every painting is a pile of decisions. Playing with removing more and more details to see what is truly important sometimes improves the painting. The fewer elements you include in an image, the more each one means, and the more important it is to get each thing perfect. At times I like to paint every single detail I can find in a scene, and other times I feel like the unadorned components are sufficient to hold each other in a satisfying composition. I often add simplified shapes to my paintings to highlight the presence of absence or to heighten the importance of each area by creating stark visual contrasts. ⁠The physicality of the paint also plays a role. I used highly textured, thickly applied paint to construct the solid structural elements, and luminous layers of thinly glazed paint for the delicate linework and subtle blending of the water." - Brooke Lanier...

"In the series “This is a real place!” I was fascinated by how the underside of the pier at Saint Simons Island, GA was like a readymade collage. The way the pilings and rails divide and frame the spaces between them looks artificially imposed on the scene until you notice the way the waves bounce off the pilings and the railings cast shadows on the water. In some iterations, I chose to simplify the structures of the pier and lighten the values so that it would emphasize the detail in the water. Likewise, I omitted a family of starlings and their droppings in favor of highlighting the geometry of the architecture and the colors and patterns of the water. Making paintings in a series allows me to investigate the results of making different decisions about an image. How I crop or stylize it, the manner in which I apply the paint, what gets included or excluded all add shades of meaning to each piece. Additionally, depictions of the same subject in different weather, seasons, times of day, and tides allows me a deeper understanding. I notice more relationships, colors, and details every time I paint the subject. Every painting is a pile of decisions. Playing with removing more and more details to see what is truly important sometimes improves the painting. The fewer elements you include in an image, the more each one means, and the more important it is to get each thing perfect. At times I like to paint every single detail I can find in a scene, and other times I feel like the unadorned components are sufficient to hold each other in a satisfying composition. I often add simplified shapes to my paintings to highlight the presence of absence or to heighten the importance of each area by creating stark visual contrasts. ⁠The physicality of the paint also plays a role. I used highly textured, thickly applied paint to construct the solid structural elements, and luminous layers of thinly glazed paint for the delicate linework and subtle blending of the water." - Brooke Lanier...

On the canvas of the artwork "White Lace" nature unveils its delicate side, as if weaving an intricate lace fabric for its masterpiece. A wave, enveloped in pristine foam, intertwine...