Marc Foster Grant

Bay Area Poolside Figurative Abstract, S.S. Claremont Hotel

2003

Contemporary figurative abstract on paper, with female nude torso line drawing in blue filled with minimalist abstract patterns on a light blue background by contemporary muralist Me...

This bold and dynamic figurative abstract acrylic painting on handmade paper by Marc Foster Grant (American, b. 1947) certainly makes a splash! A figure dressed in a fabulous swimwear ensemble jumps into the pool and onto a globe, causing a huge splash of water to burst forth towards the viewer. The fun, colorful, and fancifully detailed swimming outfit complete with vintage style bathing suit...

"Santa Cruz" Iconic Scenes, Original Painting In the Style of Keith Haring This playful artwork depicts iconic scenes from California beach town, Santa Cruz, in the style of Keith H...

"I'm a Lyrical Dancer" - Original Painting In the Style of Keith Haring If Keith Haring and Henri Matisse collaborated on a piece of work, it might look like this. Five dancers stri...

Polynesian Mother and Baby - Original Abstract Expressionist Figurative Acrylic on Paper Abstract Expressionist figurative painting by Michael William Eggleston (American, 20th Cent...

Portrait of a Woman with Rosy Cheeks in Acrylic on Paper A stylized portrait by California-based artist, Ricardo de Silva (American/Brazil, 20th C). In this stylized portrait, the s...

"Once Upon a Time" is a multimedia large scale 72 piece series by Indian Artist Ritu Sinha. This immersive series tells stories, talks back and forth to each other and the viewer. So...

Title: (Baseball) Mits 25.5" W x 25.5" H x 2.25" framed; canvas measures 24" W x 24" H. Provenance: The Rails Collection, Washington, DC (with their label verso) This depicts floating baseball gloves inn an abstract pattern. This is not signed on the front and might be signed verso. We have not examined out of frame. Patrick LoCicero was born in Youngstown, Ohio, in 1959. He attended Youngstown State University, Ohio, and the Columbus College of Art and Design. He completed a B.F.A. at Ohio State University in 1982 and an M.F.A. at the San Francisco Art Institute in 1986. His paintings, installations, prints, and multimedia work have been shown in California, Pennsylvania, and Ohio. LoCicero's richly layered imagery is characterized by unusual juxtapositions of everyday objects and classical motifs, which play with the viewer's perception of materials and subjects. LoCicero’s assemblage paintings combine collage with painting. The overlap and collage elements relate directly to the images he depicts, guiding him in his choice of subjects, and come from a variety of sources including the Kama Sutra, antique children’s books...

Large 1970s acrylic on paper by Uruguayan artist Ernesto Vila ( born June 28th 1936 ) painted while in exile in Paris after his 6 year imprisonment in Uruguay by the military regime. Presented in contemporary frame under glass which will be removed for shipping. He was a student of José Gurvich...

This complex, yet abstract artwork is a typical piece by Seati, exploring themes of the human condition, truth and fantasy. This bold composition on fabriano paper...

This complex, yet abstract artwork is a typical piece by Seati, exploring themes of the human condition, truth and fantasy. This bold composition on fabriano paper...

Text by Donald F. Andrus. The initial impression to be gained from Jinny M. Yu’s new paintings is that of a wonderfully expressive, repetitive/obsessive, linear calligraphy of visual ‘static.’ The grammar of parallel horizontals of paint barely conceals the punctuation marks of paint which seem to exist simultaneously above, behind and within that linear energy field. In sifting out these marks, one begins to realize that they may also act as a visual metaphor for natural forms such as marsh sedge and grasses. Yu seems to have initiated the use of repetitive horizontal striations of pain found in her most recent work about a year and a half ago in Montréal. However, by comparison, the painting in Montréal gave the impression of a much more dense and impacted textural physicality in which all of the action of the paint occurs most emphatically on top of and across a resistant surface. In that sense this earlier painting was absolutely consistent with the effect which Yu expected from her usual practice of encaustic painting as her medium and process. So it is a surprise to find the new work to be painted on large sheets of paper using mixed mediums such as ink, acrylic and watercolour and in which, while still present, the encaustic medium plays a more subdued role. The result is that the most recent paintings have obtained a new weightlessness, translucency and mobility of painterly form and space. Furthermore, the new paintings are to be embedded into the surface of the gallery’s walls. They will be absolutely flush with the surrounding wall surfaces and, in fact, appear to be painting on the surface. Since the work will not project outward from the wall, will not cast a shadow in fact, the actual installation of these new paintings will continue the action of the paintings themselves, appearing to vibrate, slightly above, or behind, the wall surfaces. For Yu, this installation system, together with the interlace effect and the 3:4 proportional format of some of the paintings, makes reference to the television format. To some degree the process has to recall Gerhard Richter’s paintings...