Acrylic Wall Decorations

From extremely detailed 3D scans of the most important classical sculptures of all times, Eduard Locota has digitally sliced and extracted the essential portion of the artwork, then ...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Born in 1938 in Auzolle-Grande, Gaston Planet died in Nantes in 1981. After fine arts in Nantes and the Jullian Academy in Paris, Gaston Planet devoted himself to painting. From 1961...

From extremely detailed 3D scans of the most important classical sculptures of all times, Eduard Locota has digitally sliced and extracted the essential portion of the artwork, then ...

Labrosse, Daniel: Things That Happened (2023) technique: gouache, acrylic, ink, canvas size: 90 x 120 cm signed on the on the bottom left Daniel Labrosse is a Hungarian-French visu...

Born in 1938 in Auzolle-Grande, Gaston Planet died in Nantes in 1981. After fine arts in Nantes and the Jullian Academy in Paris, Gaston Planet devoted himself to painting. From 1961...

Contemporary painting, Circus, by Spanish artists Rubenimichi, Acrylic on canvas, with a thick lacquered wood frame. Measurements: Painting: 28×44 (H) cm Frame: 44 x 3.5 x 60 (...

Sigfredo Chacon Venezuelan, 1950. Paysage. Acrylic on canvas. 23-3/4 in. by 23-3/4 in. Sigfredo was born in Caracas in 1950. He studied at the School of Fine and Applied Arts Cristóbal Rojas (1963-1966) and Design Institute Neumann-INCE, Caracas (1966-1970). He continued his training as a designer at the Chelsea School of Art and the London College of Printing, England. In the early seventies he participated in the Young confrontations Venezuelan News, Gallery Current Study Hall Arturo Michelena...

Acrylic and gouache on paper, mounted on board and framed, by Minamisawa Hiroshi. Bearing a label from the Avant-garde Kodo Art Group Exhibition 1955.

Voyage and Voyage II are a set of abstract paintings in acrylic by Slovakian artist, Kristina Kralikova. 4/15/2018.

Jungle is an abstract painting by Kristina Kralikova, a Slovak artist. Acrylic on canvas.

In this painting, the viewer is transported to a world where the past and future collide. At the center of the painting, we see a female medieval character, dressed in ornate armor a...

From extremely detailed 3D scans of the most important classical sculptures of all times, Eduard Locota has digitally sliced and extracted the essential portion of the artwork, then ...

A Japanese silk haori float-mounted on an acrylic rod to a stretched pink cloth canvas in a custom formed acrylic shadow box by artist Greg Copeland...

An elegantly subtle abstract expressionist acrylic painting by Mary Peyton Barklay titled “2000’s” from 2017. Hand painted with white and light pastel colors, including blues, greens...

Exceptional, original large scale David Kessler (1950-) watercolor painting. It is signed by the artist at bottom right. It comes from a collection from Aetna Insurance Companies in ...

"I Classici" - An innovative collection in which classical sculpture, contemporary design elements and augmented reality coexist. From extremely deta...

Contemporary Belgian artist Diane Petry creates her own three layer canvas using pima cotton, gauze and fine paper. Raw edges and applied threads add texture and dimension. All artwo...

Fornasetti panel, printed silk enclosed between 2 Plexiglas panels, Compagnia del Tabacco 1990. Below left the Fornasetti brand and Tobacco Company.  

Born in 1938 in Auzolle-Grande, Gaston Planet died in Nantes in 1981. After fine arts in Nantes and the Jullian Academy in Paris, Gaston Planet devoted himself to painting. From 1961...

Title: Metaphysical Fractions of Unified Reality Size: 60''x60'' Medium: Acrylic and Mixed Media on Canvas Description: Immerse yourself in the intricate patterns and ethereal symbol...

Famous! Ten silkscreen prints by John Stoddart, all taken from his photographs, a homage to Andy Warhol. And also a question, and that is, if he were alive today, would he have made portraits of the 'stars' that Stoddart photographed? Included in this work is an image of Joan Collins, used as a link between then and now, Warhol and the photographer, as Warhol made a portrait of her in the 1970s. The complete series of ten silkscreen prints are presented in a bespoke box set, produced as an edition of 5. The individual prints themselves are of an edition of 10, each signed and numbered. Box dimensions: 64.5cm x 54.5cm x 2.5cm Print dimensions: 50cm x 50cm (Printed area: 35cm x 35cm) The Famous are; Iggy Pop, Miranda Richardson, Carla Bruni, Mel Gibson, Catherine Zeta-Jones, Hugh Grant...

Contemporary painting, Bestiary I, by Spanish artists Rubenimichi, Acrylic on canvas, with a thick lacquered wood frame. Measurements: Painting: 21×27 (H) cm Frame: 36 x 3.5 x ...

From extremely detailed 3D scans of the most important classical sculptures of all times, Eduard Locota has digitally sliced and extracted the essential portion of the artwork, then ...

A pair of 16th Century Spanish altar panels of Cherubs Representing the Omnipresence of God mounted on a Lucite panel with a double frame of hand-carved ...

Very dynamic and modern painting with rich colours, natural wooden frame. Need we say more? This is a very radical expressive work done by a German artist. We have not been able to ...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Pair of Large Knife & Fork Lithographs in Acrylic Frames Dimensions Height: 87" Width: 22" provenance: from the estate sale of Ozzy Osborne, Los Angel...

László Ottó (born October 30, 1966, in Pécs) is a Hungarian painter, recognized as a prominent figure in Hungarian geometric painting and respected in both international concrete-constructive art and Hungarian sacred geometry painting...

Contemporary New York artist Elena Lyakir's Diptych, Destiny and Fate, were photographed in 2013 and are part of her Land and Sea Series. This is a meditation on the essence of seein...

A witty art-object piece by Mexican artist Cisco Jiménez. It's an Sayer Lack wood inks catalogue intervened by the artist with collage and acrylic. The piece resembles a cassette cat...

Title: Cosmic Mirage: Unveiling the Illusory Nature of Reality Size: 60''x60'' Medium: Acrylic and Mixed Media on Canvas Description: The illusory nature of reality is unveiled, beck...

"Fantastical Realms: A Nondual Landscape" is a breathtaking painting that captures the wonder and magic of a world beyond the boundaries of reality. The scene is bathed in a soft, ethereal light, giving everything an otherworldly glow. At the center of the canvas, a group of fantastical creatures roam freely amongst towering, twisted trees...

A striking contemporary artwork by Spanish artist Aaron Bueso, painted directly on authentic love letters exchanged during the Spanish Civil War. The piece contrasts the enduring int...

"Laughter" by Louis Shields Abstract mixed-media on canvas Structural Series 2018 Measures: 20" H 16" W Colors: Tan, grey with accents of red.

"Veiled Paths" by Louis Shields Abstract architecture mixed-media on canvas Element Series, 2020 Measures: 36" H, 48" W Colors: White, blue, bronze, accents of gray.

"Reflections" by Louis Shields Abstract mixed-media on canvas Singed Millennium Series 2018 Measures: 48" H 36" W 1.75" D Colors: Yellow, brown, and gray.

"Beyond" by Louis Shields Abstract mixed-media on canvas Reductive Series Signed Delu 2015 Measures: 48" H, 60" W Colors: Predominate blues, greens and purple.  

"Touching the Void" by Louis Shields Figurative mixed-media on canvas Dancer Series 2018 Measures: 40" H, 30" W Colors: White, grey, and black.

Title: “Female Figure #2”. Size: 48 in X 48 in. Year: 2010. Artist Jason Stallings An interpretation of the artwork of Willem de Kooning. Multi-media on canvas. In good condition....

Interested in collapsing the contradictions between form and formlessness, Daniele Albright's work focuses on the immaterial as the indeterminate and shifting space between perceptio...

Belgian intimist painter and draftsman, Jan Hoogsteyns (1935), is best known for his dreamlike and foggy work using gray and greyed down poetic colors and tonalities. With mist-grey,...

This one of a kind painting by John Brevard was one of the earliest in his collection. After a series of black and white drawings (now mostly sold) John created only 10 paintings of ...

Incredible acrylic painting by Ron Pelley, signed and dated 1979. Subject is a cold loggers gaze of satisfaction.  

This is a very vibrant & expressive work from Milan Klimes (1945 – 2013), Czech artist created in the 70s, it is a mixed technique on cardboard with a new cedar wooden frame. The ...

This is a very vibrant & expressive work from Milan Klimes (1945 – 2013), Czech artist created in the 70s, it is a mixed technique on cardboard with a new cedar wooden frame. The ...

Erika Rothenberg (B. 1950) "7 Hours, 10 Minutes, a Day" Signed, titled and dated 'Erica Rothenberg 1987 7 hours, 10 minutes a day' (on the reverse) Acrylic on canvas: 50 x 66 i...

"Defender" Oil on Canvas Original Painting in Wooden Gold Leaf Frame, 2005 An incredible and mystical collection of paintings, after a unique artist Andrew Ryabov - “Travelers of Ci...

Dan Hôo, signed and dated. Acrylic on canvas entitled “Les lumières de la Raison”, in green, yellow and orange tones. Work dated year 2023.

Dan Hôo, signed and dated. Acrylic on canvas entitled “In the light of shadow”, in black and white tones. Inscription on the back of the canvas: “The inspiring night perpetually ha...

Dan Hôo, signed and dated. Acrylic on canvas entitled “Les données des sens”, in green and blue tones. Contemporary Sino-French work.

Charming French painting, oil on paper, unsigned, 19th century Measures: H. 22 W. 32 cm H. 8.6 W. 12.5 in.

Gouache paintings, "The Circle Series" we actually have four. Price individually @ $ 2600 each. We have 4 altogether sold individually.

Day 16 - Emotional Layers Collection by Michele Bagnod Michele’s collection “emotional layers” it’s a self-discovery through layers of colors. Nothing is prepared before and everyth...

Péter Hecker's works could be described not only as neodadaist but also as pop-realist or neo-gyagya. However, one thing is certain: with his unique signature and unmistakable creati...

Michael Young American, 1952-1993 “Site Terra Firma” Soil, sand, acrylic, resin on canvas 32 by 32 in. Circa 1990 Michael Young Biography: 1952...

In this John Brevard painting, we see a strange and surreal creature that seems to inhabit a multidimensional world. The overall theme of the painting...