Tina Spratt Art

Bruce Adams was a painter, art educator, and writer. Born in Buffalo, N.Y., in 1952, he received a B.S. in 1976 and an M.A. in 1983 from Buffalo State College. Adams’s work is includ...

"Abstract Visage VII" Portrait Oil Painting 24" x 20" inch by Ashraf Zamzami ABOUT A characteristically bold and optimistic palette does not belie the inescapably pensive nature an...

This handsome and unusually intimate image of King Charles I brings one of Sir Anthony van Dyck’s most commanding royal inventions into a scale ideally suited to private display. Aga...

Cipriano Mannucci (1882-1970) Village Landscape Oil Painting c.1927 Original oil on panel by listed artist. The painting shows an outdoor market in a small village. Oil on panel. ...

"Pony and Groom" is an unframed, oil on wood panel, contemporary impressionist painting. Painted during the 2014 Wellington Winter Equestrian Festival. Center stage, stands a fit, br...

Tania Rivilis Singularity 65 x 95 cm Oilpaint on canvas Tania Rivilis (born in Ukraine 1986) 2022 winner of the 'William Locke Price' from the Royal Society of Portrait Painters ...

A beautiful decorative screen featuring elegant women in a garden setting painted by the renowned American illustrator Howard Chandler Christy. Medium: Oil on Panel in Three Parts D...

"Head in the clouds" depicts skyscrapers and a waterway. This scene is of no particular place, but rather his interpretation and compilation of var...

"Descending Towards Now," oil on wood painting by artist Todd Carpenter depicts a remote landscape of leafless trees being nourished by a running stream. Imagine this is a past route...

"Clones of Clones" depicts a a city at the foot of a mountain ranged. This painting is rendered in about nine variations of gray, the darkest in the foreground is a few steps from bl...

"Future Shadow" is of a scene in the woods. This scene is of no particular place, but rather his interpretation and compilation of various places he has visited. As a painter, I examine how the depiction of light contributes to our experience of paintings. The portrayal of light helps a painting to convey the atmosphere and mood of a scene, and is much of what enables a painting to convey depth and realism. Our perception of lighting features occurs largely through pathways in the brain that carry only black and white information, pathways which are distinct from areas that encode the colors and details we use to delineate specific objects. By painting in grayscale, I try to interact specifically with this region of our visual system, with the hope of conveying some of the spaciousness and emotional significance that light can imbue on scenes. Light, whether as the crisp contrast of a back-lit forest or the gray haze of an industrial landscape, is what defines a scene. Its power to communicate the feel of a place is the principle subject of my paintings. The Blue Azul Collection...

Lifelong painter Nelson H. White (b. 1932, Connecticut) is widely appreciated for his loyalty to natural landscapes and intimate impressionism. His loose brushstrokes are skillfully ...

This exquisite late seventeenth-century portrait is a beautifully preserved example of the small-scale courtly cabinet likeness: intimate in format, jewel-like in finish, and unusual...

"With Sky Peeled Back From The Earth" depicts a open skies and city lights. This scene is of no particular place, but rather his interpretation and compilation of various places he h...

"Lost Between The Details" depicts a open skies and city lights. This scene is of no particular place, but rather Carpenter's interpretation and compilation of various places he has visited. As a painter, I examine how the depiction of light contributes to our experience of paintings. The portrayal of light helps a painting to convey the atmosphere and mood of a scene, and is much of what enables a painting to convey depth and realism. Our perception of lighting features occurs largely through pathways in the brain that carry only black and white information, pathways which are distinct from areas that encode the colors and details we use to delineate specific objects. By painting in grayscale, I try to interact specifically with this region of our visual system, with the hope of conveying some of the spaciousness and emotional significance that light can imbue on scenes. Light, whether as the crisp contrast of a back-lit forest or the gray haze of an industrial landscape, is what defines a scene. Its power to communicate the feel of a place is the principle subject of my paintings. The Blue Azul Collection...