Plastic Paintings

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...

21st century painting "When the Moon Hits Your Eye" by Corrina Button British Artist Corrina has been painting in Europe as well as the United States f...

Late 17th century oil on joined wood panel interpretation of The Vision of Saint Hubertus by Albrecht Durer. It was painted in 1501 and became a very po...

Signed and dated, acrylic on canvas painting by Italian-American artist, Vincent Cavallaro (1912-1985) who was honored in the with an award from the MoMA (War Poster, 1941), commissi...

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...

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...

Set of three oil on canvas paintings of saints: one full-length one of Saint Peter holding the keys to heaven and two smaller ones. Would make a fabu...

Imperial cCat - Alberto Blanchart Aerosol and acrylic paint With artist's certificate 100x70x3cm 2020 Avec certificat de l’artiste 980€

Rey Skutoo art - Alberto Blanchart Aerosol and acrylic paint 50x50x3cm 2021 With artist's certificate 590€.

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

Spring Vibes - Alain Carpentier Acrylique sur toile 25F - 81cm x 65cm 2022 1800 euros

Kharkiv... Devastation - Alain Carpentier 100cm x 100cm Acrylic on canvas 2022 3500 euros

Myriam Caumes, signed. Oil on canvas with a white textured background on which are drawn two large blue-colored pebbles. French contemporary work.  

"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...

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 ...

Very interesting oil painting of Igor Stravinsky Russian composer, pianist and conductor, later of French (from 1934) and American (from 1945) citizens...

This charming and sophisticated wall decoration has been entirely hand-painted on 100% natural cotton paper, using the sumi-e technique inspired by ancient Korean paintings. Particul...

This charming and sophisticated wall decoration has been entirely hand-painted on 100% natural cotton paper, using the sumi-e technique inspired by ancient Korean paintings. Particul...

"ATLAS 14" "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 ...

"ATLAS 12" "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 ...

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 01 "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...

We present here a unique piece that is part of a set of 3 watercolours painted on 100% cotton paper of 190 gms. They are unique and unrepeatable pieces as they are preliminary studie...

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...

Detlef HAGENBÄUMER “Genesis”. Acrylic on canvas in a set of two.

KIEFERS Violet Quartz. Abstract painting in vibrant colors in a red spectrum. Ready to hang, framed with a passepartout in a handcrafted ash wood picture frame behind anti-reflective...

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

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

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. ...

Junger sitzender Mann by Helga Müller from 1997. Acrylic on handmade paper. Framed in a beech wood frame. Size without frame: W 50 cm x H 70 cm.

A large scale hard edge painting executed by listed artist Jason Crum. This example hung in Vladimir Kagan’s personal apartment in New York. Executed in 1971 the painting is aptly ti...

Sunshine was a known local artist in Woodstock and upstate New York area during 1960s. This abstract painting is of Ashocan Reservoir, located in Ulster County, New York. The reservo...

Composition 0967 by Matière 28°, acrylic on plexiglas Matière 28° is the pseudonym of a Paris-based artist who was born in St. Petersburg and has liv...

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

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 ...

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...

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

Painting by David Svensson, Sweden, 2002. Mixed-media on board.

Set of 4 Original by Michelle Nussbaumer

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...

In this painting by John Brevard, the theme of the work is nonduality, illustrating the concept that all things are interconnected and inseparable. At the center of the painting, th...

Acrylic on wood sculpture by Giancarlo Impiglia, titled "The Appointment," depicts a male figure, waiting for his appointment, with a hidden rose. The sculpture, probably commission...

Acrylic on canvas depicting a party on a New York terrace with Ionic columns and the New York skyline in the background. The work was commissioned by the Fortunoff family and is publ...