Robin Reynolds Landscape Paintings

Stinchcombe Hill by Rupert Aker [2022] View along the Cotswold escarpment from Stinchcombe Hill Additional information: Original Oil on board Image size: H:30 cm x W:30 cm Complete...

View from the Train, 2019 24" X 40" x 1", oil on canvas This contemporary oil painting depicting a metropolitan view is the work of realist painter Patty Neal. The painting offers an intimate view of the city, as seen from a window, as it peeks from behind two metal structures. The dark browns and bright golds beautifully compliment the dusty blue, gray sky. Neal works highlight everyday city scenes, utilitarian infrastructure, and industrial or electrical apparatus. Artist statement: A life is an accumulation of experiences: visual, emotional and mental. By compartmentalizing these snippets of life we create boundaries. The focus of my work for many years has been the exploration of these various life aspects and how they are bound together or bound from each other. My process is often literally composed of boundaries. I make a painting by putting together multiple panels, or I segment a single panel into separate visual spaces. The works are made up of pieces or elements of city and landscape. While exploring the concepts of boundaries I play with visual “reality.” Sometimes I combine images that are upside down with those that are not and juxtapose images from different contexts. Literal boundaries, such as walls fences, expanses of water and highway median strips are also used. My intent is to invite viewers to look beyond these boundaries to see the possibilities of a connected whole. About the artist: Solo Exhibitions 2011 "Interior/Exterior", Carrie Haddad Gallery, Hudson, New York 2008 ”Landscape Revisited”, 1870 Gallery, Belmont 2005 Nomad Rug Gallery, San Francisco 2004 "Landscapes"@Klein's, San Francisco 2004 "Landscape Renewed," Space 743, San Francisco 2003 Exploding Head...

Original abstract ocean painting by Greek-Galician artist Sula Repani, titled "Sea". This intimate work captures the shifting tones and meditative presence of the sea through soft, l...

This is a bold, abstracted city scene. It appears to be New York City, It could be any large metropolis with skyscrapers and a bustle to it. It is signed S. Chait and signed with ini...

Antique American modernist abstract oil painting. Oil on board. Framed. Signed. Measuring 29 by 35 inches overall and 23 by 29 painting alone. In excellent original condition. Handso...

Leo Cahn Untitled, 1947 Oil on board 35 3/4 x 23 3/8 in. Framed: 42 1/2 x 30 1/2 x 2 in. Signed and dated lower left

COASTAL ABSTRACTION Oil on board Size: 36.5 x 49.5 cm (including frame) A striking and brilliantly executed mid-century modernist abstract composition that captures a rugged coastal...

Charles Green Shaw Harvard vs. Yale, 1944 Signed and dated on the reverse Oil on canvasboard 9 x 12 inches Provenance: Harvey and Francois Rambach, New Jersey Private Collection, California Washburn Gallery, New York D. Wigmore Fine Art, New York Private Collection, New York Charles Green Shaw, born into a wealthy New York family, began painting when he was in his mid-thirties. A 1914 graduate of Yale, Shaw also completed a year of architectural studies at Columbia University. During the 1920s Shaw enjoyed a successful career as a freelance writer for The New Yorker, Smart Set and Vanity Fair, chronicling the life of the theater and café society. In addition to penning insightful articles, Shaw was a poet, novelist and journalist. In 1927 he began to take a serious interest in art and attended Thomas Hart Benton's class at the Art Students League briefly in New York. He also studied privately with George Luks, who became a good friend. Once he had dedicated himself to non-traditional painting, Shaw's writing ability made him a potent defender of abstract art. After initial study with Benton and Luks, Shaw continued his artistic education in Paris by visiting numerous museums and galleries. From 1930 to 1932 Shaw's paintings evolved from a style imitative of Cubism to one directly inspired by it, though simplified and more purely geometric. Returning to the United States in 1933, Shaw began a series of abstracted cityscapes of skyscrapers he called Manhattan Motifs which evolved into his most famous works, the shaped canvases he called Plastic Polygons. The 1930s were productive years for Shaw. He showed his paintings in numerous group exhibitions, both in New York and abroad, and was also given several one-man exhibitions. Shaw had his first one-man exhibition at the Valentine Dudensing Gallery in New York in 1934, which included 25 Manhattan Motif paintings and 8 abstract works. In the spring of 1935 Shaw was introduced to Albert Gallatin and George L.K. Morris. Gallatin was so impressed with Shaw's work, he broke a policy against solo exhibitions at his museum, the Gallery of Living Art, and offered Shaw an exhibition there. In the summer of 1935 Shaw traveled to Paris with Gallatin and Morris who provided introductions to many great painters. Shaw regularly spent time with John Ferren and Jean Hélion. The following year Gallatin organized an exhibition called Five Contemporary American Concretionists at the Reinhardt Gallery that included Shaw, Ferren, and Morris, Alexander Calder, and Charles Biederman...

'Soft Light' from Stephanie Peek, who makes her home in California, is beautifully rendered with a sense of depth, intellect, timelessness, and mystery. An elegant painting referencing dried eucalyptus leaves that the artist piled up in her studio and studied under a variety of natural and man-made lights and times of day/evening. oil on panel with natural alabaster ground into the pigments. Peek has floated tulips, roses and other flowers and leaves from 17th century still life paintings through the dark smoky atmosphere of her paintings of night...

This original oil painting on birchwood panel is painted in the shades of pale green wildflowers that one sees along forest paths and clearings as summer approaches. This is the silh...

This is the silhouette of a Japanese aralia (paperplant, false castor oil plant, fatsia japonica). The big leaves have nine lobes and spread out wide. The sky is painted a pale peac...

COASTAL PATH Size: 65.5 x 65.5 cm (including frame) Oil on board A very atmospheric and expressive landscape painting, executed in oil onto board by contemporary British artist Ian Mood...