Acrylic Paintings

The image shows a human skull in the forest. The author reflects his difficult period in life . On the back of the painting is a study of a nude lady. The author of the work is Juraj...

TOP OF THE LAKE Acrylic on canvas Measures: 12,9'' x 16,9'' Acrylic on canvas Vernon is a sculptor artist emerging from the French art scene. He began his training with the F...

Collage and acrylic painting on wood frame set of 9 pieces.

Raoul Morren, a self-taught artist and curator, explores a spectrum of artistic mediums, including collage, painting, photography, sculpture and video. Drawing profound inspiration f...

Dipinto realizzato nel 1974 dall'artista e incisore italiano Luigi Senesi (Pergine Valsugana 1938 - Bologna 1978) ad acrilico su tela di cm 80x80. He trained at the Art Institute of ...

Jack Roth, American 1927-2004, Acrylic on paper, Each sheet 22 x 30, Signed and dated '78 on each sheet.

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...

"Status Quo" abstract acrylic painting on canvas by Kristina Kralikova, a Slovak artist. Signature and date is on the back. Dimensions: 48"H x 36'W x 1.5"D.

Detlef HAGENBÄUMER “Ideas”. Oil, acrylic, gouache and spraypaint on canvas. Mixed media composition.

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...

Framed acrylic abstract painting on canvas by artist, Jon Staley featuring a range of earth tones. Signed by the artist. Dimensions 25.75" width x .5" depth x 37.5" height. Condit...

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...

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...

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...

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...

Raoul Morren, a self-taught artist and curator, explores a spectrum of artistic mediums, including collage, painting, photography, sculpture and video. Drawing profound inspiration f...

Our Gallery is pleased to have found a wonderful new talented California artist to represent, Scott Anderberg. We have a few of his works listed. This vibrant exuberant work is title...

Detlef HAGENBÄUMER “What else?”, oil and acrylic on canvas.

An original abstract expressionist painitng by contemporary artist Arlene Carr done in multiple colors layered to creat depth and movement utilizing non br...

Abstract painting in different shades of blue with color sprinkles in black. Acrylic on paper. Ready to hang, framed with a black passepartout in a real wood picture frame in black. ...

Let this lovely bowl of juicy apricots brighten up your kitchen or dining area. The gold frame accentuates the golden undertones of the fruit, making the perfect pairing.

Detlef HAGENBÄUMER “Daisy D ist nicht zu retten”. Mixed media with Oil, Acrylic and Gouache on Canvas. Dynamic composition with explosive use of colors.

Original vintage advertising poster for the “New York World’s Fair” which took place in New York from 1964 to 1965. Printed in the USA in 1962. Framed with a passepartout in a natura...

Abstract painting in wild and powerful strokes. Ready to hang, framed with a passepartout in a handcrafted ash wood picture frame behind anti-reflective acrylic glass. Size withou...

Very cool modern abstract painting made of acrylic and hood lead signed by artists titled “Frenchy”.

Step into a surreal, multidimensional world with this captivating painting. Featuring a female ethereal figure with a glowing aura, this artwork symbolizes the transcendence beyond m...

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...

Luc DELVAUX Abstract painting in strong colors with a playfully gradient. Ready to hang, framed with a passepartout in a handcrafted real wood picture frame in white behind anti-refl...

Lady with flowers. Gouache on cardboard in pastel tones. Ready to hang, framed with a passepartout in an ash wood picture frame behind anti-reflectiv...

Detlef HAGENBÄUMER “Was geht?”. Oil, acrylic and spray paint on canvas.

Costume design with handwritten notes. Gouache on paper from 1959. Ready to hang, framed with a passepartout in an ash wood picture frame behind anti-reflective acrylic glass. Siz...

Detlef HAGENBÄUMER “Heartbeat”. Abstract etching on thick paper from 1998. Handsigned and numbered (2/2). Ready to hang. Framed with a passepartout in an ash wood picture frame behin...

Hans OSSWALD Abstracted presentation of different suns in a circled arrangement. Ready to hang, framed with a passepartout in a handcrafted real wood pict...

Title: Transcendent Surrender to the Cosmic Mirror Medium: Acrylic and Mixed Media on Canvas Size: 152cm x 152cm Caption: The cosmic mirror becomes a gateway to a dreamscape where co...

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...

Detlef HAGENBÄUMER “Pop Queen”. Abstract depiction of a female body on a yellow and grey background. Oil/Acrylic on canvas framed in a high-quality, solid steel frame. Ready to hang.

Acrylic on canvas. Signed and dated. Measures: H 200 cm / 6' 6 7/8" L 210 cm / 6' 10".

Joy by Kristina Kralikova, a Slovak artist. Signature is on the back.

Mixed technique on paper (collage - acrylic) designed by Andrea Branzi. Created for the exhibition project Galleries of modern art of Arezzo 1989, Italy. Bibliography Andrea Bra...

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...

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...

Steven Colucci is a perfectionist. As a painter, he describes himself as “a dictator, a controlling ballet master with a stick,” dispassionately choreographing his composition to achieve the exact result he desires. The paintings of the “Sea Series,” largely completed in 2010, are actually the culmination of 4-5 years of practice for the artist, during which he consistently developed and refined the language and formal elements that visually distinguish the series, sometimes repeating the same image for months until he was satisfied. Colucci’s methods and philosophy reflect his experience with movement as a performing art. While he studied with and admires Vito Acconci, Colucci is no proponent of conceptualism, finding his voice in the intense discipline of traditional forms, explaining, “If you don’t practice art like a classical pianist, every day, you can’t execute your concepts.” After completing his studies at New York’s School of Visual Arts, he moved to Paris, where he studied and performed mime and ballet, working closely with Marcel Marceau, who also painted, and Etienne Decroux, a sculptor as well as the originator of the form “classical mime,” which has roots in the sculpture of Rodin. If the word “sea” in the title of a painting conjures for you images of little easels and landscape canvases featuring sandy beaches, waves, and vast horizons, think again – Colucci’s oceanic visions are experiential, viewing them you are often looking down at the sea, within it, or even dreaming of the ocean. Water, deep or shallow, still or fast-moving, rules how we see light and subjects, as the artist works to reflect what he calls “the spirit, the soul of the water.” In “Deep Blue,” he conjures this anima via a window through levels of roiling currents of rich dark waves and dancing highlights, inviting the viewer to experience the sea as a vibrant and enveloping sensual entity. Colors, too, differ from the subdued palette of the seaside afternoon painter. Often his choices originate in what Colucci describes as the rhythm of color present in Afro-Carribean art and design. In the paintings, these hues express the water’s likeness to the seamless flow of the Dominican culture’s music and dance, which he so enjoys during frequent visits to Upper Manhattan’s El Barrio district, a movement with the melodic line that he so simply and perfectly employs in the delightfully sexy “Swimming with the Fish.” As our bodies, like the sea, are largely water, Colucci’s water visions...

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...

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.

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 (...

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...

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.

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...

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 ...

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...

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...

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...

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...

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...

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