Plastic Paintings

Contemporary painting, Dione, by Spanish artists Rubenimichi, acrylic on canvas, with a thick lacquered wood frame. Measurements: Painting: 42.5 × 55 (H) cm cm Frame: 56.5 x 3.5...

Beautiful oil painting by contemporary French artist Hortense Reynaud. Abstract design painted with oil pastels in varying colors. Thick quality paper and signed by the artist. Each ...

Stefan Johansson, acrylic on canvas, signed and dated -08 verso. "Session 1". Measures: 136 x 102 cm. A artist living in Stockholm working in the tr...

Wonderful painting with bright hues by New York artist Kevin Paulsen. With a central bird motif, surrounded by trees, houses, and other various designs. Pigment and ink on plaster an...

Contemporary painting, First Motherland, by Spanish artists Rubenimichi, Acrylic on canvas, with a thick lacquered wood frame. Measurements: Painting: 21 x 27 cm Frame: 36 x 3.5 x 4...

GEORGE SPECK - 'Woodland Symphony' - Expressionist collage with acrylic paint on panel - signed lower left - artist's label/titled verso - unframed - Cana...

We love this colorful vintage acrylic painting on paper. This illustrated composition is of a 'musician playing his guitar under the moon with birds'. It creates pure magic with all ...

Original vintage sports poster for the 1955 basketball european championship in Hungary. Wonderful artwork by an unknown artist. Framed...

An aboriginal contemporary painting by Australian artist Ningie Nangala (born 1938-). The colorful canvas depicts the artist's ancestral country called...

USA, 1980 Vintage hard edge abstract acrylic painting signed J.V. '80. Fun geometric style in red, caramel, and dark brown on a cream background, framed in silver. The mount is curr...

Beautiful midcentury painting. A very decorative color collage of flowers. The painting is signed PL and named Monachez. The painting has a red original frame. The painting has a wa...

Beautiful oil painting by contemporary French artist Hortense Reynaud. Abstract design painted with oil pastels in varying colors. Thick quality paper...

An original framed acrylic on canvas painting of a Haitian village scene with people going back and forth, huts, and tall foliage and palm trees. Signe...

A striking acrylic and wax pastel abstract figurative painting on paper by Anne Abueva, and framed in a found vintage frame. A decade ago interior designer Anne Abueva put down her paint deck and picked up a paintbrush. Her signature expressive bold lines combined with her unique color palettes allow her to create memorable connections with her viewers while weaving together her love of intuitive art...

An Op-Art acrylic on a wooden panel painting, pop, abstract, op-art, a composition of geometrical forms in blue, violet and black on a wooden pan...

Oil on raw canvas. Presented in a custom floating black wood frame with plexiglass. The Black Rose II Series was inspired by Rorschach, a psychological test using ink blots...

Beautiful oil painting by contemporary French artist Hortense Reynaud. Abstract design painted with oil pastels in varying colors. Thick quality paper...

ARTIST Daniel Douke (1943, American) CREATION YEAR C. 1995 MEDIUM Acrylic CONDITION Excellent PERIOD 21st Century DIMENSIONS H 47 in. x W 60 in. x D 9.5 i...

Oil on raw canvas. Presented in a custom floating black wood frame with plexiglass. The Black Rose II Series was inspired by Rorschach, a psychological test using ink blots...

A monumental acrylic painting on canvas by American artist Marc Ross, 2018. This minimal abstract painting features an impressive gradation of blue hues, giv...

Oil on Raw Canvas. Presented in a custom floating black wood frame with plexiglass. The Black Rose II Series was inspired by Rorschach, a psychological test using ink blots...

Monumental mixed media painting titled "Una Capa Para El Rey" which translates to "A Cape For The King". Expressionist painting by American artist Michelle Betancourt living in Barra...

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...

Beautiful oil painting by contemporary French artist Hortense Reynaud. Abstract design painted with oil pastels in varying colors. Thick quality paper...

Beautiful oil painting by contemporary French artist Hortense Reynaud. Abstract design painted with oil pastels in varying colors. Thick quality paper...

This framed colorful piece has many different aspects and stages of life in it. If you look closely and pat attention to this artists' myriad of details, you can see people painted t...

H Heyligers (Dutch, 1877-1967) Impressionist Scene Women In The Street Elegant impresionist scene by the duch painter H Heyligers.With original frame in good condition.Size:97x81 cm...

"ATLAS 07" "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both an...

ATLAS 06 "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both and t...

ATLAS 03 "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both and t...

ATLAS 05 "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both and t...

ATLAS 04 "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both and t...

Contemporary Abstract Painting on Canvas by Alanna Murphy Offered for sale is a colorful contemporary abstract painting on canvas by Alana Murphy. The painting is signed in the l...

Beautiful pair of hand miniature painting 20 century, black mat background and quality wood frame Great decorative object of art for any room. ...

Contemporary oil and paper on canvas 'Hot Wheels - Mongoose vs. Snake' painting based on vintage packaging and advertisement materials. By Danny O'Conner an...

Large Vibrant Green, Pink, & White Abstract Acrylic and Alkyd Resin Painting on Canvas by John Link titled "Precession" 2007. Painting on canvas by the La...

Thickly layered blue, pink & green abstract acrylic painting on canvas by the Late Midwestern Artist John Link, mounted in a wood frame. This work, entitled ...

Large MCM abstract acrylic on panel original painting by listed artist Richard Mann, circa 1960s. The piece is in very good vintage condition and is presente...

Small modern mixed media artwork. Painted on canvas on a wood stretcher, this artwork uses a plastic element to give depth and texture to the Artwork. The...

Using tonal value to define shape, light, perspective, and movement, the artist's clean-lined accuracy, and simplicity enhance a fascination with this stylish piece. It is encased i...

Peter Robert Keil was born to an artist blacksmith father whom he lost very early in his childhood during the Second World War. During the end phase of the war, Keil's mother, also an artistically talented woman, took her son and struggled her way to West Berlin where they settled. This is where Peter Robert Keil grew up in the working-class neighborhood of Berlin-Wedding and where he discovered his interest in painting – particularly in expressionistic artists and in Pablo Picasso's work. From 1954 on, the East Berlin...

Signed and Framed Cityscape Acrylic Painting on Board made in America circa 1970s. Depicting a Man walking empty Streets in the City. Framed Black and White in 3D Effect. The Artist signed the painting at the right bottom side, P. COWDY. In all original pristine condition with some wear as documented...

Pictured is a large framed piece which portrays a collage of nude women at different angles with different expressions blended into one another. Measures: 31x41

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...

Contemporary painting by artist Begoña Allendesalazar Outer Moon, 2017 Acrylic, burlap, varnish on canvas, gallery framed in oak 103 x 103 cm Signed with artist initials B.A.S. ...

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...

"Concept," 2022 is a large abstract acrylic, oil featuring deep violets, yellow ochres, and metallic gold on a white ground tinged with pale blue. In addition, the artist incorporated touches of orange, forest green and maroon together with web-like ink drawn forms to achieve light and dark and depth. New York City born Kathi Robinson Frank...

Signed and Framed Seascape Acrylic Painting on Canvas made in America circa 1970s. Depicting two Fishermen in their Sailboat on the rough Ocean catching a swordfish. The wide woode...

Immerse yourself in the extraordinary allure of our unique Expressionist painting on canvas, capturing a one-of-a-kind scene. This abstract artwork presents a captivating horse-like ...

UNTITLED, Wall painting by Spanish artist Federico Miró, from the series THE TRUTH IS ANOTHER, Acrylic on canvas. Federico is a young artist who, in his meticulous work, reflect...

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...

Peter Robert Keil was born to an artist blacksmith father whom he lost very early in his childhood during the Second World War. During the end phase of the war, Keil's mother, also an artistically talented woman, took her son and struggled her way to West Berlin where they settled. This is where Peter Robert Keil grew up in the working-class neighborhood of Berlin-Wedding and where he discovered his interest in painting – particularly in expressionistic artists and in Pablo Picasso's work. From 1954 on, the East Berlin...

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...

Oil on canvas by Hans Osswald (1919–1983). Hans August Osswald (originally Andersson) was born on 29th August 1919 in Örebro. He was a Swedish painter...

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...

Beautiful Mid Century orange abstract painting in the style of Gerhard Richter, heavily textured, acrylic on canvas.

Nude painting by Jenna Snyder-Phillips. Black ink on hard paper. Art work is from 2012. Artist is educated in Italy.

Cubist artwork, acrylic on canvas, by F. Miller, 1998. Dimensions: W42.5” x D2” x H49”.