Modern Paintings

Nenad Mirkovich b. 1951 well established Houston artist. "And When The Music Subsides!" Measures: 24 X 30 inches, acrylic on canvas, signed. Overall size is 31 X 37 inches.

Vivid color and movement to this original acrylic on canvas. Signed and dated on the verso. Shelley Herman 1970 "June Breath".

Acrylic and lacquer on canvas painting titled "Fronterizo" by Carolina Antoniadis. Argentina, 2014. Round paint. Carolina Antoniadis was born in Rosario city, province of Santa Fe and from an early age arts started to exist in her life. The main reason was that her grandfather, Demetrio Antoniadis, was a Greek landscape painter. He came to Argentina, dwelt in Rosario and rapidly associated with the impressionists of the time. Demetrio knew pretty well how to convey his love and passion for arts to his family. Five years afterwards, the family moved to Buenos Aires. “My first approach to painting was when I was a kid and I sat and stared at my grandfather’s paintings...

Large abstract expressionist oil on canvas titled "caldron" painted by Tom Lieber 1992 (American b. 1949). Signed, titled, and dated verso on canvas. Impressive size from an estate i...

We kindly suggest you read the whole description, because with it we try to give you detailed technical and historical information to guarantee the authenticity of our objects. 20th-century constructivist mixed technique Russian painting...

Painting made by Marta P. Crespo in Spain, circa 1990. Origin: Spain, circa 1990 Artist: Marta P. Crespo Style: Abstract, influenced by Kandinsky Material: Paper ...

Painting on paper signed and dated Buckley with black painted frame About artist: Buckley is a visual philosopher. Her works manifest in varied forms, including: drawings, painti...

“Venus Sunrise” is an original, one of a kind, purple, yellow, white, black, blue, contemporary, acrylic on canvas, abstract painting. Vibrant pops of color work in harmony to create this unique, contemporary work of art by Andrew...

Jean Sanglar was born in France in 1926. He draws with taste and talent from an early age, however, his family will only consider this a mere hobby. After studying law, he later took...

Impressionism. Unknown French painter (illegible signature). Approx. year 1900. Motif: An orchard with blossoming trees. Oil on canvas. Wood-carved Montparnasse frame.

Ivy Lysdal, b 1937. Danish ceramist and painter. Acrylic on canvas. Abstract modernist painting. Colorful palette. Dated 2005 Signed. Canvas measures: 30 x 30 cm. Provenance: T...

Gustavo Olguin Mexican Artist Art piece titled: DE CODICES Mixed Media with Volcanic Ash and Oil 39.5 X 31.5 x .75 D Original unrestored preowned vintag...

This Limited Edition, Pop-Surrealist digital artwork is made by assembling photographs and illustrations into a collage. This sensual piece features two elegant, identically dressed ...

Pär Ivar Jogstad (1906-1980), Sweden. Oil on canvas. Abstract composition. Dated 1969. The canvas measures: 79 x 79 cm. The frame measures: 5.5 cm. In excellent condition. Signed...

Australian born Leon Holmes is an award-winning artist and lecturer. Born and raised in Perth, Western Australia, Holmes gained experience as a printmaker, graphic designer, art dire...

An interesting colorful painting (acrylic on canvas) by Eric Dennard, 1942-1993. Signed, dated 1971 in a period lucite frame. A note about the artist: "...

artist Gustavo Olguín, Wall Art Abstract Modern Inscribed on the reverse G. Olguin, La Reina 39.5 X 31.5 x .75 Original vintage unrestored condition, review the images.

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

“Rooster” is an original, one of a kind, red, yellow, white, black, blue, contemporary, acrylic on canvas, abstract painting. Vibrant pops of color work in harmony to create this uni...

Yamil O Cardenas abstract expressionist painting in acrylic on canvas. Yamil O Cardenas was born in Cuba in 1972 and recently moved to Miami in the USA. Growing up he was attracted...

Modern oil on canvas painting of a still life with potted roses, painted by famed Modernist British fashion designer and artist Edward Henry Molyneux (London 1891-Monte Carlo 1974). ...

Lauro Lessio abstract oil painting in the Pittura Metafisica style Offered is a large oil painting by the Italian artist Lauro Lessio created in the "pittura metafisica" style whi...

Modern art sand painting on board by Louis Siegriest titled "View Of Tagkent", circa 1965. Heavy textured dimensional painting. Very good condition. Image size measures 48.13" W x 47...

Ivy Lysdal, b 1937. Danish ceramist and painter. Gouache on cardboard. Abstract modernist painting. Colorful palette. Late 20th century. Measures: 10...

Abstract painting by Cuban artist Hiremio Santaolaya "Autocontemplacion", 2019 Offered for sale is a figurative abstract acrylic on canva...

Artists: Angelos Panayiotou Born: 1943 Nationality: Greece Title: An elderly Man in Contemplation Medium: oil on canvas, Mark: signed lower r...

An intriguing limited edition artwork this digital pictorial piece represents the dreamlike transposition of the unfulfilled desire for motherhood. Two female figures, one with a bir...

Uno Svensson (1929-2012), Sweden. Oil on board. Abstract composition. Mid-20th century. The board measures: 76 x 56 cm. The frame measures: 1.5 cm. In ...

Herdis Gelardi 1916-1991. Painting, oil on Masonite. Still life: Mandolin, bottle, orange, etc. on table, Denmark, c. 1960 Signed Herdis Gelardi Measures incl. frame H 57½, ...

Contemporary Oil Painting by Cuban American Artist Juan Navaretten A oil on canvas by seasoned Cuban-American artist Juan Navarette titled "Forbidden Lovers". Juan A. Navarrete was ...

Framed pastel acrylic painting.

Large ornate gilt wood framed oil on canvas painting floral bouquet still life by American Artist James Moran. Skillfully applied textured flowers in a va...

Oil on canvas painting "Untitled" by Paola Vega, Argentina, 2020. The painting was exhibited in her solo show "The life of paintings" at Calvaresi in Buenos Aires, 2020. Paola Vega bio: Paola Vega is an artist, researcher and curator. She graduated with a degree in History from the Universidad Nacional del Sur in 2003. In parallel, she began to study painting in Bahía Blanca at Espacio Vox with Gustavo López, and carried out work clinics with Jorge Gumier Maier and Diana Aisenberg between 2001 and 2002, and later in Buenos Aires with Pablo Siquier (2004) and Tulio de Sagastizábal (2005-2007). In 2003 she obtained a scholarship granted by the Antorchas Foundation to continue her training. She was selected to participate in the Artists Program of the Torcuato Di Tella University (2011) with tutoring from Jorge Macchi. In 2015 she did a residency in Madrid at El Prado...

This stylish, large scale watercolor on paper artwork is by the American artist Harold Edward Larsen (b.1935) and was acquired from a Palm Beach e...

Michael Mew painting, ‘Robots Gone Bad 2’, mixed media 2008 Title: Robots Gone Bad 2 Date: 2008 Medium: Paint, mixed media, collage resin on panel Si...

Framed oil painting on board of young lady with insect by French artist Jean-Pierre Clement. Surrealist with metallic gold designs and vivid blues. Very good condition. Painting meas...

Ivy Lysdal, b 1937. Danish ceramist and painter. Gouache on paper. Modernist painting. Colorful palette. Dated 1986. Visible dimensions: 75 x 55 cm. Tot...

Part of a signed and numbered Limited Edition, this Pop-Surrealist digital painting depicts the intimate bond between two female figures holding hands. A flock of bird passes by, representing their secret, shared imagination. Printed on high-quality cotton canvas mounted on dry spruce wood. Basswood box frame. "Certificate of Authenticity" included. Year of Creation: 2015 Edition Number: 1/300 Artist’s Signature: Printed on the Canvas + original signature on Limited Edition Certificate...

Raymond MAUCHAMPS (XX-XXI) composition aux deux visages oil on panel.

Edith Ferullo Colorful Abstract Oil Painting on Canvas "The Bumble Bee", 1996 Offered for sale is a whimsical oil on canvas titled "The bumble bee" by ...

Mid-Century Abstract Oil On Canvas Painting

On a fine cotton pictorial canvas with an American box frame in basswood, this stunning limited edition artwork is a digital pictorial piece made by assembling photographs and illust...

Saburosuke Okada (b. Japan 1869, d. 1939). Watercolor on paper. Landscape with a tree, circa 1920. Visible dimensions: 29 × 22 cm. The frame measures: 2.5 cm. In very good conditi...

Ivy Lysdal, b 1937. Danish ceramist and painter. Gouache on cardboard. Abstract modernist painting. Colorful palette. Dated 1991. Signed. Measures: 100 x 70 cm. Provenance: T...

Signed by the artist. Jean Sanglar was born in France in 1926. He draws with taste and talent from an early age, however, his family will only consider this a mere hobby. After st...

This stunning limited edition artwork is a digital pictorial piece made by assembling photographs and illustrations. The pop-surrealist artwork is inspired by the 1968 visionary film...

Large oil on canvas by Los Angeles artist Andrew Shachat. Represented by Patricia Correia Gallery, Venice, CA. Patricia Correia Gallery (PCG) was first established in Venice, Cali...

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #10 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Paint...

Framed oil on canvas board by Guy Carleton Wiggins (1883–1962). Wiggins was an American impressionist painter known for his painting of street scene of New York City in snow. The pai...

Raymond MAUCHAMPS (XX-XXI) Composition aux 5 visages, oil on panel.

Acrylic on canvas painting of a seahorse skeleton by Alabama and New Orleans based artist Heather Petterson. A great piece for any beach, ocean or nautical themed house. Measure: 30"...

Contemporary abstract painting by Adrian. Untitled. Mixed-media on wood. We offer free worldwide shipping for this piece. Hand signed and dated on the back.

Contemporary abstract wooden painting created by circular sawing, light-grey and black painted on white-stuff, signed by hand Christofer Kochs, 2008.008. CHRISTOFER KOCHS Biographi...

Contemporary urban realism by local Philadelphia artist, Christopher Windle. Light and shadow, along with graphic perspective conveys a moody solitu...

'Freedom Warriors on Horseback' by Purvis Young USA, circa 1980s Purvis Young,'Freedom Warriors on Horseback, a large work painted on air handler...

This superb art piece depicts a woman with closed eyes, holding a clock in her hands, marking the time. The eye, in the center of the dial, represents the personal vision of the succ...

Sicis is delighted to welcome you at ‘Home’. The classically inspired extent in contemporary plays an eclectic style, elegant and refined. Interiors express personality. A constant...

Introducing our stunning Large Oil & Enamel Painting by renowned artist Dan R. Thornhill, measuring an impressive 60X48 inches. This captivating artwork will instantly transform any ...