Samson Schames Art

This artwork makes part of my series dedicated to the scenes of a summer period. This floral painting called "Sweet memories" is done in an expressive impressionist style. Floral ...

Artist : Kory Twaddle "Autumn Biogram of the Nelson" Newsprint, graphite, conté crayon pastel, charcoal, beeswax, cardboard, paper, gingko leaves, stickers, and Mixed Media on drawi...

Title : First Floor Biogram Materials : Acrylic, gouache, oil pastel, marker, charcoal, graphite, and conté crayon on paper Date : 2018 Dimensions : 24 x 18 x .1 in. Description : ...

Agustín Úbeda (1925-2007) - Surrealist scene - Mixed technique on paper glued to board Measurements 44x71 cm. Without frame. BAD CONDITION, NEEDS RESTORATION. Origin: Family of the a...

Abstract expressionist portrait of a colorful face by Berkeley artist Howard Margolis (American, 1927-2015). Unsigned, with “Howard Margolis” on verso. Presented unframed, in a paste...

Mid-century lyrical surrealist abstract watercolour on paper by French artist Jean Clerté, signed and dated bottom right. Presented in mid-century frame. Jean Clerté , born in 1930 in Saint-Savin-sur-Gartempe in Vienne, is a French painter, engraver, draftsman, watercolourist and sculptor . This work is a great example of his more humorous and expressive work influenced by Alechinsky from the late 1960s onwards. There is a light playfulness and yet the watercolours are more vivid than his previous palette. Jean Clerté works in series. His sequential narrations testify both to a youthful spontaneity and to a perfect mastery in the distribution of forms and images on the painted surface. The narration is not only an accumulation of juxtaposed fragments and symbols, it forms a whole, it takes on and gives meaning. In general, we can say of Clerté that he practices an “eco-art” that feeds on primary hungers: the feeling of being united with nature, the vegetable, the mineral, the aquatic. In his colourful canvases, his inks, his boxes, his objects, like a shaman on the path of his dreams, the painter Clerté mounts an assault on beasts and demons, elves and gnomes. From the Poitevin marshes to the tropical forests emerges a fauna caught in the meanders of a design that marvels at the appearance of these grotesque idols. Jean Clerté began to draw and paint at a very young age, and at the age of 15 he enrolled at the École des Beaux-Arts in Poitiers. Then in 1949, curious about the capital, he moved to Paris. Having very few financial resources, he could not continue his studies at first, worked as a model to survive, and met other artists; he was then admitted to the studio of Ossip Zadkine and, from 1952, he was also able to study engraving at Atelier 17 of Stanley William Hayter, an English engraver and printer living in Paris associated in the 1930s with surrealism. At the end of the 1960s, he worked alongside Pierre Alechinsky, founding member of the Cobra movement, engraving Alechinsky's originals, benefiting from his advice, and discovering acrylic as a medium. From 1976, Jean Clerté became associate professor at Hayter. Clerté had taught previously, in 1971 at the Salzburg Summer University and in 1972 he gave courses at the Paris-Sorbonne University . In 1981, he was appointed professor at the School of Decorative Arts , where he had Maïlys Seydoux-Dumas as a student and, from 1983 to 1988, he was Alechinsky's assistant professor at the Paris School of Fine Arts. His first works are part of the current of lyrical abstraction, and are nourished by impressions of nature (landscape motifs, e.g. forest fires, waterscapes), then around 1968, encouraged by Alechinsky, he rejects abstraction, and his work becomes more figurative with expressive and humorous elements. From this period his colours are more subdued, often with pastel tones, he works on series. Jean Clerté has created a world in a space where drawing, painting, objects participate in a playful figuration. From his drawings were born sculptures and sometimes mobiles (Le Moulin à dessin). If it is the artist who makes astonishing, polychrome, whimsical “toys”, it is the painter who appeals to adults through his caustic and satirical humour. His first exhibitions in France took place at the Galerie Massol , then at the Galerie Pascal...

'Pompeii', a study plein air. signed original work 2005. watercolor on paper 45cm x 55cm. Painted wood glazed frame 72cmx87cm Gradwell focuses on been in the space and time and ma...

Work on paper This captivating work reveals an interior scene rich in detail and texture. At the heart of the composition, a figure draped in flowing fabrics stands by a blazing fire...

Monotype Dramatic imagery from Tom Bennett’s series of monotypes, blending surrealistic mindscapes with stark realism About Tom Bennett: With quick brushstrokes, Tom Bennett creates representational images of human figures and animals, emphasizing movement in a manner reminiscent of Lucien Freud, Edgar Degas and the photographer Eadweard Muybridge. Elongated and blurry, the horse racing up a hill (Canter Fritz, 2002) and the sinister cat landing a leap (Chien Blanc, 1998) elicit a sense of foreboding enhanced by Bennett’s somber palette; his female figures too reflect a grim sense of humor with their distorted nude bodies. The face of Untitled Figure (1997), for example, is obscured by layers of dark paint. Classically trained as a painter, he initially worked in oil on canvas but discovered that monotype printing enabled him to “literally push the image around,” creating an essential element of motion. To overcome the limited scale of monotypes, however, he switched to painting on slick-surfaced plastic. Tom Bennett’s practice is rooted in the classical tradition where painting and drawing from life is highly regarded. Bennett’s work is heavily influenced by Francis Bacon, Frank Auberbauch and foremost his father, Harry Bennett, who was also an artist. Tom’s time living abroad in Spain and traveling through Eastern Europe and Africa provided the artistic freedom to explore many of the techniques and subject matter that continue to define his practice. Bennett was born and raised in Connecticut. His mediums include monotypes, oil on paper, canvas or styrene board. In a technique that Tom started over 4 years ago, several of his monotypes have been painted over with oil paint using a palette knife, brush, or his fingers to re-purpose the underlying image. These works are a testament to Bennett’s ability to quickly and concisely compose an image with expressive brush strokes, foreshortened figures and expertly rendered light. Tom’s work has been featured in group and solo exhibitions worldwide. Bennett lives and works in Brooklyn, New York. He is currently represented by Tabla Rasa...

Gray toned abstract watercolor painting on paper titled "Militair." Back side of the paper has another painting depicting red, yellow, green, and blue abstract shapes with figurative...

I stared at the man with keen interest, hoping to know more about what life has in store for me. The man looked at me sternly, and I couldn’t be more convinced he had seen everything, including my afterlife. A strange language jolted me back to reality as I realized the lady in the room had arrived at the intersection where "Malaicha" and other spirits were. I watched in confusion as the man quickly scribbled down what appeared to be an interpretation of the foreign tongue. My patience dwindled per second as the man kept penning down words. To shorten a long story short, the interpretation was presented in bold letters. My background was also written as additional proof of the veracity of the "spirit." I became eager to know the way forward. "Abeg, Sir, and Ma help my life." "I want to come out of my family's shackles and enemies," I pleaded. They exchanged a knowing look as if they’d been anticipating this moment. My pockets started running dry while my anxiety spiked. I was told to join their religion and denominations. Of course, it’s preferable to go from "God" to "God" in spiritual warfare. I wish to go back to the point of ignorance, where no one was after my life and every day was another day to conquer. A few months later, I realized that to see beyond any circumstances, we must be at ease and calm; we are better able to discern people’s motivations. To see beyond is to see with our inner eyes rather than filthy, unknown eyes. To see beyond is to remain steadfast in personal prayer and to hold out hope that your prayers will be heard. To see beyond is to see beyond the limitations of flesh, realizing that you are gods. Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gallery) About Artist Abiola was born in 1992, in Odo-ona Elewe, Ibadan, Nigeria. He was trained and mentored by Mr. Tope Fatunmbi...

Dark tonal Italian landscape with hits of yellow greens and reds. The pastel image is framed in a natural wooden frame with a white matte. Artist signed the work in the bottom right ...