Mel Davis Art

Carefully ordered patterns, geometric shapes and delicate lines in light blue, lime green, indigo, pink and aqua on a luminous golden yellow background. Signed, dated and titled on v...

Incoming tide at the breakwater by Georgie Dowling is an original oil painting portraying the scene of the incoming tide crashing over the rocks at the breakwater in Bude, Cornwall. ...

Dimensions variable: medium oval 7.5cm x 9.5cm; large oval 9cm x 11cm. Derrick Guild is a Scottish artist whose paintings fragment Old Master works to explore the social fabric bene...

Ksenya Istomina 'Midday Nap' 60 x 80 cm ( Frame is included in price, size framed in a black frame form the pictures is: Oil on linen, framed Painted after life, the artist always ...

Neutral toned gestural abstract painting by contemporary artist Ian Francis. The work features a variety of gestural marks accented by small beige, black, and yellow shapes set again...

Artist Commentary: I create abstract paintings inspired by memories of my interactions with nature. When I was a young girl, I enjoyed walks along the Indian countryside, taking in the beauties nature had to offer. Twenty years ago I moved to California, a place so different from my native land. I felt out of place and disoriented. That is when I found sanctuary in nature. I have a unique technique of painting: Instead of conventional tools like brushes, I paint with air. I dilute the oil paints, pour them on a wood panel and blow air with an air blower or a leaf blower. Vapor-like shapes appear and disappear on the panel, leaving only traces of the initial layer. There is a constant process of adding and subtracting layers of paint until I get the final composition. Words that describe this piece: Abstract, Colorful, Flower, Nature, Blue, White, Serene, Peaceful, Contemporary Artwork Details: - This is a hand painted, original painting - Created in California, USA - Professional grade oil paints on Wood Panel - Wood Panel with Birchwood face and 1 5/8"" Poplar wood cradle - Ready to hang with wires and D ring - Signed on the back - Professional-grade paint - Certificate of authenticity included with original Artist Biography: Usha Shukla...

David A. Dreyer was born in Dallas in 1958, and earned his BFA and MFA at Southern Methodist University. He was a recipient of the Moss/Chumley Award from the Meadows Museum and has ...

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Au...

Title: Blue Landscape Dimensions: 80x120 cm Artist: Marilina Marchica unique, non-reproducible piece authenticity certificate "Blue Landscape" by Marilina Marchica is a captivating...

A solitary figure, head bowed, stands in a field in contemplation of what has just taken place or what is about to take place. "A Great Battlefield" channels the spirit of Winslow Homer's war imagery, bringing it into the contemporary world, asking us to contemplate the decisions forced to be made in wartime, some of which will never leave us. As for the paintings, William uses materials and methods of the Civil War era. The linen on which he paints was in use at that time as well as the tubed oil paints. He is one of the few artists who tacks his canvas to the stretchers using similar tacks that would have been used by Winslow Homer. While he leaves the works unframed for this reason, the artwork could certainly be framed. This piece is unframed. Please contact the gallery for framing options. A Great Battlefield oil on linen 60h x 35w in 152.40h x 88.90w cm WIL029 Known for his highly charged depictions of Civil War reenactments, William Blake’s powerful paintings show the recursive bodies of reenactors as they gesture across time. Participating in over 40 reenactment events, Blake currently interprets as the artist-correspondent Winslow Homer at these battle reenactments. He immerses himself in the materiality of his own obsession by constructing period clothes, camping on battlefields, and documenting the reenactment similar to Homer’s documentation of the authentic war. The figures in the paintings reverberate the past with respect and with a desire to educate, humble, and play. With each annual iteration of American Civil War reenactments, the reanimation of the past encourages a review of history and aids in its continuous revision. For his second exhibition with Gallery Victor Armendariz, William Blake presents A Great Battlefield, a collection of new paintings depicting US Marines...

Lesley Anne Spowart (American, born 1957) "Buster" 2023 Acrylic Paint, Oil Paint, Mixed Media, Wood Panel, Wire The artist signed the bottom left and back of the painting. "Buster"...

Caravaggio painted "The Incredulity of St. Thomas" with Christ looking down as he pilots Thomas’ hand to his side. Not looking at Thomas or the others, but to his wound. He seems interested in the proof of his embodiment. He wants to know that this is real. He too, questions his body, his life and death. As for the paintings, William uses materials and methods of the Civil War era. The linen on which he paints was in use at that time as well as the tubed oil paints. He is one of the few artists who tacks his canvas to the stretchers using similar tacks that would have been used by Winslow Homer. While he leaves the works unframed for this reason, the artwork could certainly be framed. This artwork is unframed. Contact the gallery for framing options. Reenactment is a material culture where the feel of authentic wool has transformative power. The closer you can recreate the “kit” of the authentic soldier the closer you are to that past. In the pursuit of touching the past there are questions- Is this real? Did this happen? Is this me? Is this us? The gesture of piloting a finger into the side represents these repetitive questions. - William Blake Known for his highly charged depictions of Civil War reenactments, William Blake’s powerful paintings show the recursive bodies of reenactors as they gesture across time. Participating in over 40 reenactment events, Blake currently interprets as the artist-correspondent Winslow Homer at these battle reenactments. He immerses himself in the materiality of his own obsession by constructing period clothes, camping on battlefields, and documenting the reenactment similar to Homer’s documentation of the authentic war. The figures in the paintings reverberate the past with respect and with a desire to educate, humble, and play. With each annual iteration of American Civil War...