Philip Pearlstein Paintings

This still life of Plums is a top notch example of 19th century still life painting! Beautiful quality and striking but also spare and honest in nature which is what typified Americ...

Patrick Nevin's (US based) "Vanitas with Marine Corps Coin" is an oil painting that depicts a human skull situated with an orange, a Marine Corps coin, ...

The photo shows the varios Cocktail paintings available. The price is for each individual painting NOT for the set of paintings. Artist's Statement: I am an American Representational artist and my Realism paintings exhibit strong graphic design and Pop art influences. My original Cocktails glass series represents a significant transitional period for me. This is where I played with a sort of softer Pop art style that shows my Realism paintings. My work as a whole is truly about harmony, movement and it wants to heard and seen loud and clear. All of the paintings are 14 x 11 except Cucumber Infused Gin is 12 x 9. Bottom left. Born in 1963, Miller Lives in East Hampton, NY and although primarily a self taught painter he studied at the Fashion Institute, and Painting at The School of Visual Arts in New York City. He learned his sense of composition while working as the Photographer’s assistant to Ken Haak...

Doug Newton’s hyper-real paintings observe reality, explore translucency, reflections and luminosity, and dazzle the viewer with all the ways light can transform our perceptions. His subject matter concentrates on still lives of food, toys, candy and household objects. In addition to many group shows across the country, Mr. Newton’s show, “HARD CANDY and other confections” represents his fifth solo exhibition. His paintings have been collected in numerous private collections. Mr. Newton resides in Fort Greene, Brooklyn, NY. Dr. Sonia Coman writes in her essay, Doug Newton’s hard candy: the confection of painting Doug Newton’s paintings are about… painting. The hyperrealist technique of trompe l’oeil or “trick the eye” is knowingly playful. It simultaneously calls attention to the illusion of a different material—for example, translucent candy wrappers—and the reality of the layers of paint, masterfully applied to the canvas. In that, Newton’s paintings pay homage to an esteemed series of trompe l’oeil masters, from Inquisition-era Spanish painter Francisco de Zurbarán to Gilded-Age American painter William Michael Harnett...

Gracie Mansion, c. 1944, oil on canvas, signed lower right, 25 x 30 inches, presented in a newer frame Isabella Markell was a painter, etcher, and sculptor, who is best known for ...

Still Life with Cockatiel and Nautilus, oil on panel, 16 x 20 inches (Framed size: 20 x 24 inches) $3,250 Sandy Freckleton Gagon was born in Salt Lake City, Utah. As a preeminent re...

A finely executed late 19th-century still life by Walter Brackett (1823-1919) of a rainbow trout with rod and reel in the foreground, along with the fly that captured the trout. Fin...

Hen and Chicks in Basket is a 12.5 x 15, oil on canvas still life and animal scene by female, American painter, Mary Russell Smith. The painting is framed and signed en verso. Mary ...

My Only Working Tool, 1949, oil on panel, signed and dated lower right, 16 x 12 inches, remnant of exhibition label verso, exhibited at the Art News Second Annual National Amateur Competition, National Academy of Design, New York, NY, December, 1950 (see The Best Amateurs, Art News, volume 49, issue 8, December 6 to 20, 1950, p. 65 – 66), presented in a period frame Fausto Sansone...

This work is part of our exhibition America Coast to Coast: Artists of the 1940s Untitled (Farm in Winter), 1940s, oil on canvas, signed lower right, 26 x 30 inches, presented in an original frame Julius Delbos...

A still life painting of three sea shells from my collection. They are softly lit from the left, and painted from life in painterly realism.

This painting is part of our exhibition America Coast to Coast: Artists of the 1930s Jefferson Market Library (Courthouse), c. 1930s, oil on canvas, 30 x 24 inches, signed lower right; presented in a newer silver painted frame About the Painting Writing about an exhibition of Charles W. Adams’ work at the Eighth Street Art Gallery in the mid-1930s, Emily Grenauer observed in The World-Telegram that the artist’s paintings were “distinguished for their solid form, well organized design and sumptuous color” and the art critic for The Herald Tribune found Adam’s work “a strong, formal realization of his subject . . . he paints with vital emphasis on structure and composition.” Although we do not know which works these critics referenced, it is likely they were writing about paintings like Jefferson Market Library (Courthouse). With its carefully designed reality, strong angles, solid forms, and well-disciplined puffs of smoke in the background, Adams presents a highly structured version of the Greenwich Village landmark, the Jefferson Market Library, which was a courthouse at the time Adams completed this work. The Jefferson Market Library was a prized subject for downtown painters, including the Ashcan School painter, John Sloan, the modernist, Stuart Davis, and the precisionist, Francis Criss...