Natasha Wright Paintings

Two Nudes, 2016 by Celso Castro-Daza One of a kind Pastel, carbon pencil, ink on archival paper mounted on board Image size: 40.5 H in. x 55.5 in. W Mounted on acid-free board: 41 H x 56 in. W Drawing on paper is his basic work tool, some are sketches of his surviving works, others are sketches of moments he documents. ____________ Undefined by medium, Celso Castro’s works each carry the presence of the artist’s hand through the transparency of their process. Castro’s oeuvre is strongly divided between his photomontage assemblies and watercolor paintings: the prior is marked by the labor-intensive deconstruction of portrait photographs and the latter, by the seemingly frenzied recreation of a past encounter rendered in the drips and scribbles of paint and ink. Both discriminating in what they reveal of the subject, his photomontage and watercolor portraits exude raw sexuality through the combination of Castro’s mark-making and gaze. Celso Castro’s work is a bare-bulb erotic photo foray into the underbelly of Colombia’s drug world. Castro’s labor-intensive, photo-collage works of drug kingpins, smugglers, hitmen, countrymen, street vendors, soldiers, paramilitaries, kidnappers, and pimps pose showing with pride their erect penises...

This work is a celebration of the beauty and peculiarity of every woman, regardless of age and figure. The brightly painted woman's body brings a joyful mood to the painting.

ABOUT THE ARTWORK The artwork titled "Towards the Real Me" presents a thought-provoking blend of the figurative and the whimsical. Dominated by a vivid spectrum of turquoise and cora...

Nude Lady by Helen Greenfield (British 20th century) oil and crayon painting on board, unframed board: 23 x 17.5 inches condition: overall very good provenance: all the paintings we...

Brightly colored expressionist nude figurative painting of a reclining nude female with bold yellow, blue, and magenta accents by Linda Goodman (American...

Shyness Cardboard, author`s technique, 31x28 cm

America Martin "Woman by the Leaves and Blossom" Oil Pastel and Ink on Handmade Blue Paper 43.125” x 31.125” Framed AMERICA MARTIN is an internationally represented Colombian-Ameri...

Artist/ School: French School, mid 20th century Title: Nude Figure in Interior Medium: oil painting on board, unframed . Size: : 13.5 x 10.5 inches Provenance: private collection...

The inspiration for Mary Dwyer's work revolves around storytelling, historic events, a love of political cartoons and early portraiture paintings. An integral part of this work is research. Spurred by an innate curiosity, she creates political, historical and personal paintings. In the last few years Dwyer has been researching and painting the American Suffrage movement. In this research she discovered that the people working as both Suffragists and Abolitionists also started their own newspapers and published their own pamphlets. They became journalists, as no one was covering their story. Dwyer's paintings are a celebration of both the voter’s rights activist and the visual pageantry of the Suffrage movement. The use of color in her Suffrage paintings speak to the vibrant pageantry and the visual marketing used during the movement. Sashes, button, banners, flags and ribbons were made by women and marketed for women. The significance of free press is paramount in a free and fair society. The importance of journalist has become a theme that has continued in her present work. Recently she has been working on a Memorial Paintings...

Gloria Dudfield Hanging on a Bar 1960's Gouache and Oil Pastel on Paper 17.75"x17" Gloria (Fischer) Dudfield July 12, 1922 – May 27, 2015 Came from a ...

Albert LYNCH (1851-1936) French "Rêverie" Oil on canvas Signed lower left Canvas: 43 1/4" high x 24 3/4" wide Frame: 49 5/8" high x 30 3/4" wide Albert LYNCH: Born in Lima in 1851, Albert Lynch studied art at L'Ecole des Beaux-Arts de Paris and in the studios of the figure painters Gabriel Ferrier and Henri Lehmann...

Gil Elvgren 1914-1980 American Partial Coverage Signed “Elvgren” (lower right) Oil on canvas The iconic illustrations of Gil Elvgren have become an irreplaceable facet of the American artistic landscape. Flirtatious beauties in light-hearted situations were the dominant subject matter for this intuitive artist, whose eloquent brush strokes dutifully captured the innocent sensuality of the mischievous girl next door. Partial Coverage, originally published in the 1956 Brown & Bigelow calendar, epitomizes the coquettish spirit of his beauties, whose nostalgic glamor give us a glimpse into a simpler time in American history. Elvgren is considered to be the greatest American pin-up and glamor artist. The majority of his work was done for the famed Brown & Bigelow, though at various points in his career he also worked for magazines such as The Saturday Evening Post and Good Housekeeping, as well as large corporations including Sealy Mattresses, General Electric and Coca-Cola. Born in St. Paul, Minnesota, Elvgren began his artistic education at the Minneapolis Art Institute, and later the American Academy of Art. His first job upon graduation was at the Chicago advertising firm of Stevens and Gross, working directly under Haddon Sundblom, famous for his Coca-Cola Santas. Elvgren would soon become his star pupil, contributing much to the Coca-Cola campaigns and eagerly learning techniques that he would carry into his famed pin-ups. After completing several special commissions with rave reviews, Elvgreen began doing pin-up work in 1937 for the Louis F. Dow Calendar Company, the biggest retailer of calendars of its day. Almost overnight, the artist became one of the most respected and successful commercial artists of his generation. More commissions followed, and, along with his work for Dow, Elvgren found himself booked solid at least one year ahead of his output. It was in 1944 that Brown & Bigelow approached him with an offer for a staff position. From that point on, for the next 30 years, Elvgren enjoyed tremendous commercial success unlike any other American artist of his day. Circa 1956 Canvas: 30 1/8“ high x 24 1/8” wide Frame: 33 3/4“ high x 27 7/8” wide x 1 1/2“ deep Literature: Charles G. Martignette and Louis K...