Dallas - Art

This original oil painting from Bogomir Bogdanovic is a perfect representation of his paintings that he is most known for of Central Park New York in the snow. In this original oil painting you can see a couple of people with their families and pets walking around in the snow in central park by Shakespeare Theatre in the largest city of New York. The piece was painted in 1986 and is entitled "Central Park - Shakespeare Theater" and is available for $14,500. Bogdanovic’s work consists of varied subjects, primarily of breathtaking landscapes dotted with people from New York City, Warwick, and neighboring Sussex County...

"Rendez-vous Ventetien" by Gerard Valtier is an original oil on canvas that measures 29x36 inches. This impressionistic painting uses warm vivid colors to create a scene of gondola's on a canal in Venice. Many appreciate the energetic work of the brush to describe the foliage or the luminous backgrounds irradiated with numerous vibrant colors. Seething with colors, sparkling, blazing, molten gold: the whole mystery of Gerard Valtier’s painting lies in the working of this colorful living chemistry, where the thickening cover of the glaze catches the reflections of the light, which progressively becomes incandescent. The contrasting blue and yellow, basically naturalistic colors - characteristic of the impressionist palette - create a feeling of bedazzlement which send out their own light, directly imitating the natural effects of light itself. Thus, the property of the color, the interaction of colors as well as their power to create some light, definitely are the basis of Valtier’s work. The artist can paint everything: barges along the quay, the busy crowds, Venice and its carnival, the bride and her procession - his whole painting is under the sign of the feast. Unlike Renoir or Cezanne, Valtier does not hesitate to use black as a true color, not one designed to soften or drain the pure color, as in the shadows. One will also appreciate the energetic work of the brush to describe the foliage or the luminous backgrounds irradiated with numerous vibrant colors. Valtier has had exhibitions throughout the world and has received many awards. He paints from his studio in Arles, France. He is listed in Mayers, Akoun, La Cote des Peinteres, Bordas International, and Financial Art.

"Petit Mur En Brique Rouge" is an original antique impressionistic landscape painting by Albert Bertalan. This painting has a beautiful Paris rural neighborhood with red brick surrounded in lush green landscape and flowers. It is framed in an ornate gold frame. From the late 19th century until World War Two, Paris was the center of the art world. Artists and intellectuals from around the globe descended on Paris, drawn by the atmosphere of creative freedom established by the French Impressionists. Because of the Impressionists’ innovations the direction of art had changed forever, the times were ripe for another Renaissance. The School of Paris, as this broad based group of artists are referred to embodied the spirit of modernism. Albert Bertalan was born on September 21, 1899 in Jaszbereny, Hungary. He is known for painting compositions of figures in unique environments, including women by the sea, among other similar subject matters. He studied at the Nagybanyai Art School under some of the most important Hungarian artists, including Ivànyi Grünwald...

Artist Thomas Hoitsma has been most influenced by the work of the Abstract Expressionist painters of the 50’s, 60’s and 70’s, specifically the “monumental” large scale painting of th...

Artist Thomas Hoitsma has been most influenced by the work of the Abstract Expressionist painters of the 50’s, 60’s and 70’s, specifically the “monumental” large scale painting of th...

This original watercolor from Bogomir Bogdanovic is is a perfect representation of his paintings that he is most known for of New York. "Silhouette of Metro Plains" was painted in 19...

"A Quiet Repair" by Henni de Korte measures 27x35 and is available for $11,500. A man standing on a small white boat in calm waters is quietly trying to fix a problem before sailing ...

Mentler persistently challenges the art world to see beyond the surface. He revives the essence of numerous past masters and gives a place in today’s modern era. His work will teach ...

Randy Browning’s paintings sparkle with the breath of life. His delightful contemporary paintings offer his viewers a unique way of regarding contemporary still life, combined with old-world attention to detail. Browning feels that to truly observe an object, one must be absorbed by it. The large scale of the paintings helps people focus on the incredible variety and subtlety of apparently common objects. In this black and white painting, you are looking down from a birds-eye view of a retro teapot...

"Journee des Regions Liberees!" artist: Charles D. Fouqueray. Size: 45 x 30. Year: 1919. Archival linen backed in great condition; ready to frame. Original linen backed stone lithograph: Charles D. Fouqueray Journee des Regions Liberees! De La Vasselais Paris Vire (Calvados) Imp. circa 1919 Canvas poster / Vintage Poster on Linnen Featured is a French poster from award-winning artist Charles Fouqueray, produced for World War I. The image is the majority with title separate and positions across the top in red outlined black text. The text reads "Day of the liberated regions.... think of the destroyed homes". Set against a background of devastated buildings in flames, stands a family group: the father embraces his daughter while the mother hold a younger naked child...

"Gallantin River" By Tony Eubanks is an original landscape painting measuring 24x48 in. It is framed in a gold ornate frame with a white liner and gold slip. Tony Eubanks' talent is recognized and understood in the genre of contemporary western painting...

Mentler persistently challenges the art world to see beyond the surface. He revives the essence of numerous past masters and gives a place in today’s modern era. His work will teach ...

Mentler persistently challenges the art world to see beyond the surface. He revives the essence of numerous past masters and gives a place in today’s modern era. His work will teach ...

The High Desert near Abiquiu is the inspiration for Texas artist Jim Woodson. His paintings are a unity of the intuitive process of painting, personal ideology, and the desert landsc...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

The High Desert near Abiquiu is the inspiration for Texas artist Jim Woodson. His paintings are a unity of the intuitive process of painting, personal ideology, and the desert landsc...

The High Desert near Abiquiu is the inspiration for Texas artist Jim Woodson. His paintings are a unity of the intuitive process of painting, personal ideology, and the desert landsc...

The High Desert near Abiquiu is the inspiration for Texas artist Jim Woodson. His paintings are a unity of the intuitive process of painting, personal ideology, and the desert landsc...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In his abstract constructions, Alex Corno does not make art to repeat what is visible, to paraphrase Klee’s affirmation. He uses the formal language of materials and space: opposing thin arcs, rods, and loops with weighty rectilinear forms to achieve a dynamic balance. Corno welds his iron and stainless steel sculptures in a diverse range of scales, from small interior works to monumental garden...

In his abstract constructions, Alex Corno does not make art to repeat what is visible, to paraphrase Klee’s affirmation. He uses the formal language of materials and space: opposing thin arcs, rods, and loops with weighty rectilinear forms to achieve a dynamic balance. Corno welds his iron and stainless steel sculptures in a diverse range of scales, from small interior works to monumental garden...

The High Desert near Abiquiu is the inspiration for Texas artist Jim Woodson. His paintings are a unity of the intuitive process of painting, personal ideology, and the desert landsc...

In his abstract constructions, Alex Corno does not make art to repeat what is visible, to paraphrase Klee’s affirmation. He uses the formal language of materials and space: opposing thin arcs, rods, and loops with weighty rectilinear forms to achieve a dynamic balance. Corno welds his iron and stainless steel sculptures in a diverse range of scales, from small interior works to monumental garden...

In his abstract constructions, Alex Corno does not make art to repeat what is visible, to paraphrase Klee’s affirmation. He uses the formal language of materials and space: opposing thin arcs, rods, and loops with weighty rectilinear forms to achieve a dynamic balance. Corno welds his iron and stainless steel sculptures in a diverse range of scales, from small interior works to monumental garden...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

The High Desert near Abiquiu is the inspiration for Texas artist Jim Woodson. His paintings are a unity of the intuitive process of painting, personal ideology, and the desert landsc...

In his abstract constructions, Alex Corno does not make art to repeat what is visible, to paraphrase Klee’s affirmation. He uses the formal language of materials and space: opposing thin arcs, rods, and loops with weighty rectilinear forms to achieve a dynamic balance. Corno welds his iron and stainless steel sculptures in a diverse range of scales, from small interior works to monumental garden...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In his abstract constructions, Alex Corno does not make art to repeat what is visible, to paraphrase Klee’s affirmation. He uses the formal language of materials and space: opposing thin arcs, rods, and loops with weighty rectilinear forms to achieve a dynamic balance. Corno welds his iron and stainless steel sculptures in a diverse range of scales, from small interior works to monumental garden...

In his abstract constructions, Alex Corno does not make art to repeat what is visible, to paraphrase Klee’s affirmation. He uses the formal language of materials and space: opposing thin arcs, rods, and loops with weighty rectilinear forms to achieve a dynamic balance. Corno welds his iron and stainless steel sculptures in a diverse range of scales, from small interior works to monumental garden...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

The High Desert near Abiquiu is the inspiration for Texas artist Jim Woodson. His paintings are a unity of the intuitive process of painting, personal ideology, and the desert landsc...

The High Desert near Abiquiu is the inspiration for Texas artist Jim Woodson. His paintings are a unity of the intuitive process of painting, personal ideology, and the desert landsc...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (The Living Arts, June 13, 2000, p. B2) Valton Tyler was born in 1944 in Texas, where "the industrial world of oil refineries made a long-lasting impression on Valton as a very young child living in Texas City." (Reynolds, p. 25) After leaving Texas City, Valton made his way to Dallas, where he briefly enrolled at the Dallas Art Institute, but found it to be too social and commercial for his taste. After Valton's work was introduced to Donald Vogel (founder of Valley House Gallery), "Vogel arranged for Tyler to use the printmaking facilities in the art department of the Southern Methodist University in Dallas, where the young artist essentially taught himself several demanding printmaking techniques. 'It was remarkable,' Vogel says. 'Not only did he learn complicated etching methods, but he was able to express himself powerfully in whatever medium he explored.' Vogel became the publisher of Tyler's prints. Among them, the artist made editions of some 50 different images whose sometimes stringy abstract forms and more solid, architecturally arresting elements became the precursors of his later, mature style." (Gomez, Raw Vision #35, p. 36) "Eagle’s Nest" is Plate Number 37, and is reproduced in "The First Fifty Prints: Valton Tyler" with text by Rebecca Reynolds, published for Valley House Gallery by Southern Methodist University Press, Dallas, Texas, 1972. In "The First Fifty Prints," Reynolds provides the following quote from the artist regarding this print: “The structure on the right is an architectural symbol for an eagle. It is also like a machine that is igniting the shape on the left. Below, the egg that is coming out of the chute is a child which will evolve into another architectural eagle...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (Edward M. Gomez, "Futuristic Forms Frolic Under Eerie Texan Skies...

Alex Corno achieves a sense of poetry in his use of proportion, rhythm, color, texture, and the dance between negative and positive spaces. Casting sentimentality aside, Corno is rel...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (The Living Arts, June 13, 2000, p. B2) Valton Tyler was born in 1944 in Texas, where "the industrial world of oil refineries made a long-lasting impression on Valton as a very young child living in Texas City." (Reynolds, p. 25) After leaving Texas City, Valton made his way to Dallas, where he briefly enrolled at the Dallas Art Institute, but found it to be too social and commercial for his taste. After Valton's work was introduced to Donald Vogel (founder of Valley House Gallery), "Vogel arranged for Tyler to use the printmaking facilities in the art department of the Southern Methodist University in Dallas, where the young artist essentially taught himself several demanding printmaking techniques. 'It was remarkable,' Vogel says. 'Not only did he learn complicated etching methods, but he was able to express himself powerfully in whatever medium he explored.' Vogel became the publisher of Tyler's prints. Among them, the artist made editions of some 50 different images whose sometimes stringy abstract forms and more solid, architecturally arresting elements became the precursors of his later, mature style." (Gomez, Raw Vision #35, p. 36) "Front Elevation of Section 17" is plate number 34, and is reproduced in "The First Fifty Prints: Valton Tyler" with text by Rebecca Reynolds, published for Valley House Gallery by Southern Methodist University Press, Dallas, Texas, 1972. In "The First Fifty Prints," Reynolds writes, “this plate can be seen as a culmination of the artist’s earlier uses of aquatint and as a new direction the artist will take in his compositions. In early plates such as ‘Joy,’ Plate No. 12, and ‘Do Not Touch,’ Plate No. 20, the artist has presented his designs to our unaccustomed eyes, either formally, by placing them on sculpture pedestals, or more abstractly, using smaller soft ground silhouettes. In later examples such as ‘One Little Stage,’ Plate No. 24, or ‘Heritage,’ Plate No. 25, we were brought closer to a direct interaction with the forms as they began to fill the plates with increasing sculptural and monumental qualities. It was still possible to maintain a more passive point of view because of the stage format of the compositions. In ‘Avenue 11,’ Plate No. 26, as we have seen, the artist unveils the true authority of his designs by placing them in our environment to compete with our reality of a familiar cityscape and to make us question our ideas of aesthetics and logic. In ‘Front Elevation’ we enter into and are confronted with these structures in their own massive landscape...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

The High Desert near Abiquiu is the inspiration for Texas artist Jim Woodson. His paintings are a unity of the intuitive process of painting, personal ideology, and the desert landsc...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (Edward M. Gomez, "Futuristic Forms Frolic Under Eerie Texan Skies...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

The High Desert near Abiquiu is the inspiration for Texas artist Jim Woodson. His paintings are a unity of the intuitive process of painting, personal ideology, and the desert landsc...

Sedrick Huckaby's paintings and works on paper metaphorically express universal themes of faith, family, community, and heritage. Huckaby focuses on the subjects of quilts and portra...

The High Desert near Abiquiu is the inspiration for Texas artist Jim Woodson. His paintings are a unity of the intuitive process of painting, personal ideology, and the desert landsc...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Alex Corno achieves a sense of poetry in his use of proportion, rhythm, color, texture, and the dance between negative and positive spaces. Casting sentimentality aside, Corno is rel...

Alex Corno achieves a sense of poetry in his use of proportion, rhythm, color, texture, and the dance between negative and positive spaces. Casting sentimentality aside, Corno is rel...

Vera Barnett is best known for creating elements of her composition—by sewing and painting plastic, building objects with cardboard and tape, and assembling found objects—then settin...

Signed "Reily" at lower right Frame is wormy chestnut with a casein liner, and measures 33 1/4 x 43 1/4 inches.