Hudson - Paintings

Interlocking Geometric abstract painting in shades of blue on wood panel Divining Blue #1, by Jeanette Fintz in 2021 24 x 24 x 2 inches acrylic on wood panel Signed verso, ready to install Pairs well as diptych with "Divining Blue #2", Ref: LU2278142812 Working in a space between planning and chance, Jeanette Fintz presents a series of paintings that fuse gestural and geometric abstraction. This body of work continues Fintz’s use of the circle, ellipse and hexagon; motifs that embody references to nature, architecture and the decorative arts. Each painting on panel has a smooth, encaustic-like texture. Fintz uses vibrant shades of cobalt blue to create defined shapes that intertwine. Jeanette Fintz is an established artist working in the Hudson Valley, NY. She has taught at the School of Design Strategies at Parsons the New School for Design, SUNY Purchase, and Pratt Institute, among other American universities. Her work is collected in both private and corporate collections worldwide. To read more about her career, please scroll down for see her detailed CV and biography. Artist Statement: My paintings evolve in a space between planning & chance, systems & spontaneity, conveying contradictions that I view as metaphors for maneuvering through “real “life. In this work I play a fairly high stakes game of improvisation around a motif. Using a working method akin to jazz, I counterpoint systematically repeated elliptical shapes against gestural pours & drips and something unexpected emerges. I am drawn to create complexity, and challenged to unify multiple layers through the physicality of the paint, which fuses & knits together, as well as, ultimately, through the power of color to stabilize & resolve. The ellipse, which is hypnotic & spatial in repetition, & monumental, but not static as a shape unto itself, embodies references to nature and to the decorative arts which are both alluded to in the paintings. (The egg, the mirror, the vulva, or the shield.) Dynamic visual rhythms, in these pieces, the momentum of the repetitive ellipse, are typical of my work and help to maintain order within complexity. Their sources for me are both musical, notably the poly-rhythms of Latin jazz, Brazilian & East Indian music, and are also derived from the decorative arts, particularly textiles. The latter have been a source of excitement, often contributing a playful aspect to the paintings. I intentionally disturb the regularity of pattern, encouraging discordance & uniqueness, and then bring it back home after finding another by - way to work things through. Color is my most intuitive source of inspiration, connecting me to nature; It is also, ironically, my most passionately calculated element. In the primal struggle among sometimes apparently random components, subtlely modulated color clarifies purpose, builds context, and holds the structure together. About the artist: Jeanette Fintz is an abstract painter, who resides and paints in Surprise, New York in the upper Hudson River Valley. She is also an arts writer and independent curator. The intermix of being a native New Yorker and now, happily, a resident of the lush Hudson River Valley is evident in her work, which combines an urban edginess with the lyrical influences of her natural surroundings. Ms. Fintz was born in Brooklyn NY, educated at Queens College, The New York Studio School and Boston University. Her personal amalgam of NY School formalist principles, and love of natural light and color was initially forged during her summer at the Skowhegan School of Painting & Sculpture where she painted from the Maine landscape. Ms. Fintz lived and worked in the artist communities of Tribeca and Williamsburg, exhibiting regularly in NYC. Jeanette in part, credits the importance of natural light for her decision to transplant home and studio to Surprise. Ms Fintz has filtered nature through her urban sensibility, stretching color motifs towards the heightened and intensified palette often found in the realms of design and fashion. Her pieces have a rhythmic impact stemming both from her enjoyment of jazz and poly-rhythms of Brazilian and Indian origin, which she also sees displayed in the visual rhythms found in textiles and Islamic tile patterns. Jeanette’s involvement with these resources was enhanced by sabbatical travel to Spain’s Andalusia Region (2005 & 2009) to investigate patterning systems found in Moorish tiles and architecture, and to Turkey (2013), where she focused on the Iznik, Byzantine and Greco-Roman tiles and frescoes. Jeanette also had immersed herself in textile patterns and Ikat designs during her yearlong sojourn in Malaysia, where she was founding faculty in a new Parsons School of Design affiliate in Kuala Lumpur (1996-97). The intuitive rhythmic order of Jeanette’s paintings prior to 2009 which featured repetitive lines, circles and ellipses clashing with fluid gestural streams of color have given way fully in the new work to a given crystalline geometric substructure that unifies all visual events. This work embraces and employs the Oneness found in sacred geometry as the underpinning for improvised pathways that give each work its uniqueness. Shapes that are found have a “role” to play, to riff off some of Jeanette’s series titles. The earlier pieces acknowledge through the unexpected visual event, the imperfection of the human condition while the newer geometries strive for the expression of spiritual wholeness and connection. Selected Grants and Awards include 2015 EYP Architecture & Engineering Award, Artists of the Mohawk Hudson Region 2015 Trustees Award, Albany Institute of History & Art 2013 Sabbatical, Parsons the New School For Design 2008 The Emil & Dines Carlsen Award / Painting, National Academy of Design 2005 Sabbatical, Parsons the New School for School Design 2005 Sudden Opportunity Stipend 2003 Faculty Development Award, Parsons, the New School for School for Design 1995-92 Sudden Opportunity Stipend, NYFA Rensselaer County Council for the Arts 1993 N Y F A, Artists Fellowship / Drawing 1990 E. D. Foundation Grant / Painting 1984 Ludwig Vogelstein Grant / Painting 1980 The Ingram Merrill Award / Painting 1975 Purchase Prize, Painting, Skowhegan School for Painting & Sculpture Ms Fintz has taught as an Assistant Professor of Art & Design, in the School of Design Strategies at Parsons the New School for Design for 17 years. At Purchase College, SUNY, Jeanette taught all levels of painting and drawing for 12 years as Assistant Professor in the BFA conservatory program. She also has taught at Pratt Institute, Brooklyn, NY, Hobart & William Smith Colleges, Geneva, NY, The University of Southern Maine, Portland, The University of the Arts, Philadelphia, PA, and SUNY, Albany. Jeanette shows her work at the Garvey Simon Gallery, New York, NY, Fox Gallery, New York, NY, Geoffrey Young Gallery, Great Barrington MA, the Thompson Giroux Gallery, Chatham NY, Cross Contemporary Gallery, Saugerties, NY. Recent projects include a solo show at Garvey Simon Gallery, NY NY (Sept. 7 - Oct, 2017), and a curatorial project, "The Ritual of Construction," at the Kleinert James Center, Woodstock Byrdcliff Guild (May 19 - July , 2017). Ms Fintz’s Residencies and Fellowships include: The MacDowell Colony, The Millay Colony for the Arts, The Ucross Foundation, and Altos De Chavon & Ossabaw Island Project. Jeanette’s selected Visiting Artist spots include Art New England, Bennington College, Bennington, VT, Ohio State University, Columbus, OH, Illinois State University, Normal, IL, Hobart & William Smith Colleges, Geneva NY. Ms. Fintz received her MFA from Boston Universtiy SFA (1975 ), and her BA from Queens College CUNY (1972). She attended the New York Studio School (1972-73), and received a scholarship to the Skowhegan School in 1975. Ms Fintz’s work can be found in many national & international collections. Collections Par Capital Management Boston MA VYV Apartments, Luxury High Rise, Jersey City, NJ Boca Raton Yacht Club, Waldorf Astoria Resort, Boca Raton, FL Liberty Mutual Insurance Company, Boston, MA, and Plano, TX Robert A.M. Stern Architectural Project, Washington DC Capital G Bank Hamilton, Bermuda Brigham & Women's Hospital, Foxboro, MA Wilmer Cutler Pickering Hale & Dorr, Boston, MA Posternak Blankstein & Lund, Boston, MA Hale & Dorr, Boston, MA Analysis Group, Boston, MA National Televison, 7 Kuala Lumpur, Malaysia Christmas Island Phosphate, Singapore Jewish Free Loan Association, Los Angeles CA Rabobank NYC Commerzbank, New York, NY Commerzbank 2, World Financial Center, New York, NY National Television 7, Kuala Lumpur, Malaysia Hobart & William Smith Colleges, Geneva, NY Skowhegan School, Skowhegan, Maine Collection of Minister of Agriculture Datuk Effendi & Datin Norwawi Collection of the Former Prime Minister Datuk Seri Dr Mahathir Mohamed of Malaysia Jim & Debbie Ellickson -Brown, Cultural Attache, American Embassy, Kuala Lumpur Malaysia (1996) Rohana Tan Sri Mahamad, Kuala Lumpur, MY Suherwan Abu, Kuala Lumpur, MY & Singapore Valentine Willie, Kuala Lumpur, MY Aloysious Goh, Singapore Betsey Swan & Chris Calder, Albuquerque NM Carrie Chen & Stanley Cohen Center Hill, Copake, NY Albert & Linda Eskenazi, Montreal, CA Barbel & Peter Starz, Toulouse, FR Clarissa & Jean Kueller, Rio de Janeiro, Brazil Mr. & Mrs. Andre Keller, K L, MY & Geneva, Switzerland Shirley Greitzer, Esq. Washington DC Mark Meltzer, Los Angeles & Palm Springs, CA Joel & Fran Soroka, Aspen, Colorado Estate of Hella and Carl Ossenberg, NYC & Palm Beach, FL Estate of Gabriel Laderman, New York, NY Stephen Westfall, New York, NY Dr & Mrs Joseph Delisi, Lake Hopatcong, NJ Dr & Mrs Chris Calder & Besty Swan, Menands, NY Carol & Joachim Frank, NY, NY Mark Pettygrove, Los Angeles, CA George A Schulman, Los Angeles, CA Gerald De Silva, Los Angeles, CA Caryl Horn, Port Richmond, CA Joe & Cathy Plumber, Cold Spring, NY Molly Doland, Esq. Washington DC Bethany Beardslee Winham, Rhinebeck, NY David Fox & Associates, Inc. Briarcliff Manor, NY Eric & Carolyn Egas, Greenviille, NY & Vieques, PR Jin Zeng, New York, NY Selected Solo Exhibitions 2017 “Worldline Schreiber Paintings, plus...," Garvey/Simon Gallery 547 W 27th St, New York, NY 2016 "The Presence of the Invisible Proposition," Koussevitsky Art Gallery, Berkshire Community College, Pittsfield, MA 2012 "Andalusian Shards," The Wall Street Journal Bldg Lobby, New York, NY 2012 "The Plaid Paintings...

Geometric and gestural abstract painting on canvas in earth tones of beige, tan, and light brown with accents of dark magenta, light sienna, and neon pink Disturbances in the Field, 2019 by Jeanette Fintz 60 x 72 x 2 inches, acrylic on canvas Signed verso Hanging wire on reverse "Disturbances in the Field" is a painting in a series of work created during the year of the pandemic. The artist explains that this painting is about "giving structure to something intangible, ephemeral, in-flux or conversely, revealing the dissolving of structure that has been.” As an abstract artist, Fintz has long been interested in the contrast of hard-edged planar geometry (circles, squares, hexagons) existing within an atmospheric field where shapes can float or hold the plane, in a space that appears expansive, transient and increasingly released from the canvas’s edge. A calculated use of opacity and transparency resulting from fluid washes of acrylic create an atmosphere where fragmented geometry becomes “a vocabulary of gestures”. This work merges white and faintly gold hard edge lines with gentle washes of blue and neutrals. Working in a space between planning and chance, Jeanette Fintz presents a series of paintings that fuse gestural and geometric abstraction. This body of work continues Fintz’s use of the circle, ellipse and hexagon; motifs that embody references to nature, architecture and the decorative arts. Jeanette Fintz is an established artist working in the Hudson Valley, NY. She has taught at the School of Design Strategies at Parsons the New School for Design, SUNY Purchase, and Pratt Institute, among other American universities. Her work is collected in both private and corporate collections worldwide. To read more about her career, please scroll down for see her detailed CV and biography. Artist Statement: My paintings evolve in a space between planning & chance, systems & spontaneity, conveying contradictions that I view as metaphors for maneuvering through “real “life. In this work I play a fairly high stakes game of improvisation around a motif. Using a working method akin to jazz, I counterpoint systematically repeated elliptical shapes against gestural pours & drips and something unexpected emerges. I am drawn to create complexity, and challenged to unify multiple layers through the physicality of the paint, which fuses & knits together, as well as, ultimately, through the power of color to stabilize & resolve. The ellipse, which is hypnotic & spatial in repetition, & monumental, but not static as a shape unto itself, embodies references to nature and to the decorative arts which are both alluded to in the paintings. (The egg, the mirror, the vulva, or the shield.) Dynamic visual rhythms, in these pieces, the momentum of the repetitive ellipse, are typical of my work and help to maintain order within complexity. Their sources for me are both musical, notably the poly-rhythms of Latin jazz, Brazilian & East Indian music, and are also derived from the decorative arts, particularly textiles. The latter have been a source of excitement, often contributing a playful aspect to the paintings. I intentionally disturb the regularity of pattern, encouraging discordance & uniqueness, and then bring it back home after finding another by - way to work things through. Color is my most intuitive source of inspiration, connecting me to nature; It is also, ironically, my most passionately calculated element. In the primal struggle among sometimes apparently random components, subtlely modulated color clarifies purpose, builds context, and holds the structure together. The intuitive rhythmic order of Jeanette’s paintings prior to 2009 which featured repetitive lines, circles and ellipses clashing with fluid gestural streams of color have given way fully in the new work to a given crystalline geometric substructure that unifies all visual events. This work embraces and employs the Oneness found in sacred geometry as the underpinning for improvised pathways that give each work its uniqueness. Shapes that are found have a “role” to play, to riff off some of Jeanette’s series titles. The earlier pieces acknowledge through the unexpected visual event, the imperfection of the human condition while the newer geometries strive for the expression of spiritual wholeness and connection. About the artist: Jeanette Fintz is an abstract painter, who resides and paints in Hudson, NY. She is also an arts writer and independent curator. The intermix of being a native New Yorker and now, happily, a resident of the lush Hudson River Valley is evident in her work, which combines an urban edginess with the lyrical influences of her natural surroundings. Ms. Fintz was born in Brooklyn NY, educated at Queens College, The New York Studio School and Boston University. Her personal amalgam of NY School formalist principles, and love of natural light and color was initially forged during her summer at the Skowhegan School of Painting & Sculpture where she painted from the Maine landscape. Ms. Fintz lived and worked in the artist communities of Tribeca and Williamsburg, exhibiting regularly in NYC. Jeanette in part, credits the importance of natural light for her decision to transplant home and studio to Surprise. Ms Fintz has filtered nature through her urban sensibility, stretching color motifs towards the heightened and intensified palette often found in the realms of design and fashion. Her pieces have a rhythmic impact stemming both from her enjoyment of jazz and poly-rhythms of Brazilian and Indian origin, which she also sees displayed in the visual rhythms found in textiles and Islamic tile patterns. Jeanette’s involvement with these resources was enhanced by sabbatical travel to Spain’s Andalusia Region (2005 & 2009) to investigate patterning systems found in Moorish tiles and architecture, and to Turkey (2013), where she focused on the Iznik, Byzantine and Greco-Roman tiles and frescoes. Jeanette also had immersed herself in textile patterns and Ikat designs during her yearlong sojourn in Malaysia, where she was founding faculty in a new Parsons School of Design affiliate in Kuala Lumpur (1996-97). Selected Grants and Awards include 2015 EYP Architecture & Engineering Award, Artists of the Mohawk Hudson Region 2015 Trustees Award, Albany Institute of History & Art 2013 Sabbatical, Parsons the New School For Design 2008 The Emil & Dines Carlsen Award / Painting, National Academy of Design 2005 Sabbatical, Parsons the New School for School Design 2005 Sudden Opportunity Stipend 2003 Faculty Development Award, Parsons, the New School for School for Design 1995-92 Sudden Opportunity Stipend, NYFA Rensselaer County Council for the Arts 1993 N Y F A, Artists Fellowship / Drawing 1990 E. D. Foundation Grant / Painting 1984 Ludwig Vogelstein Grant / Painting 1980 The Ingram Merrill Award / Painting 1975 Purchase Prize, Painting, Skowhegan School for Painting & Sculpture Ms Fintz has taught as an Assistant Professor of Art & Design, in the School of Design Strategies at Parsons the New School for Design for 17 years. At Purchase College, SUNY, Jeanette taught all levels of painting and drawing for 12 years as Assistant Professor in the BFA conservatory program. She also has taught at Pratt Institute, Brooklyn, NY, Hobart & William Smith Colleges, Geneva, NY, The University of Southern Maine, Portland, The University of the Arts, Philadelphia, PA, and SUNY, Albany. Jeanette shows her work at the Garvey Simon Gallery, New York, NY, Fox Gallery, New York, NY, Geoffrey Young Gallery, Great Barrington MA, the Thompson Giroux Gallery, Chatham NY, Cross Contemporary Gallery, Saugerties, NY. Recent projects include a solo show at Garvey Simon Gallery, NY NY (Sept. 7 - Oct, 2017), and a curatorial project, "The Ritual of Construction," at the Kleinert James Center, Woodstock Byrdcliff Guild (May 19 - July , 2017). Ms Fintz’s Residencies and Fellowships include: The MacDowell Colony, The Millay Colony for the Arts, The Ucross Foundation, and Altos De Chavon & Ossabaw Island Project. Jeanette’s selected Visiting Artist spots include Art New England, Bennington College, Bennington, VT, Ohio State University, Columbus, OH, Illinois State University, Normal, IL, Hobart & William Smith Colleges, Geneva NY. Ms. Fintz received her MFA from Boston Universtiy SFA (1975 ), and her BA from Queens College CUNY (1972). She attended the New York Studio School (1972-73), and received a scholarship to the Skowhegan School in 1975. Ms Fintz’s work can be found in many national & international collections. Collections Par Capital Management Boston MA VYV Apartments, Luxury High Rise, Jersey City, NJ Boca Raton Yacht Club, Waldorf Astoria Resort, Boca Raton, FL Liberty Mutual Insurance Company, Boston, MA, and Plano, TX Robert A.M. Stern Architectural Project, Washington DC Capital G Bank Hamilton, Bermuda Brigham & Women's Hospital, Foxboro, MA Wilmer Cutler Pickering Hale & Dorr, Boston, MA Posternak Blankstein & Lund, Boston, MA Hale & Dorr, Boston, MA Analysis Group, Boston, MA National Televison, 7 Kuala Lumpur, Malaysia Christmas Island Phosphate, Singapore Jewish Free Loan Association, Los Angeles CA Rabobank NYC Commerzbank, New York, NY Commerzbank 2, World Financial Center, New York, NY National Television 7, Kuala Lumpur, Malaysia Hobart & William Smith Colleges, Geneva, NY Skowhegan School, Skowhegan, Maine Collection of Minister of Agriculture Datuk Effendi & Datin Norwawi Collection of the Former Prime Minister Datuk Seri Dr Mahathir Mohamed of Malaysia Jim & Debbie Ellickson -Brown, Cultural Attache, American Embassy, Kuala Lumpur Malaysia (1996) Rohana Tan Sri Mahamad, Kuala Lumpur, MY Suherwan Abu, Kuala Lumpur, MY & Singapore Valentine Willie, Kuala Lumpur, MY Aloysious Goh, Singapore Betsey Swan & Chris Calder, Albuquerque NM Carrie Chen & Stanley Cohen Center Hill, Copake, NY Albert & Linda Eskenazi, Montreal, CA Barbel & Peter Starz, Toulouse, FR Clarissa & Jean Kueller, Rio de Janeiro, Brazil Mr. & Mrs. Andre Keller, K L, MY & Geneva, Switzerland Shirley Greitzer, Esq. Washington DC Mark Meltzer, Los Angeles & Palm Springs, CA Joel & Fran Soroka, Aspen, Colorado Estate of Hella and Carl Ossenberg, NYC & Palm Beach, FL Estate of Gabriel Laderman, New York, NY Stephen Westfall, New York, NY Dr & Mrs Joseph Delisi, Lake Hopatcong, NJ Dr & Mrs Chris Calder & Besty Swan, Menands, NY Carol & Joachim Frank, NY, NY Mark Pettygrove, Los Angeles, CA George A Schulman, Los Angeles, CA Gerald De Silva, Los Angeles, CA Caryl Horn, Port Richmond, CA Joe & Cathy Plumber, Cold Spring, NY Molly Doland, Esq. Washington DC Bethany Beardslee Winham, Rhinebeck, NY David Fox & Associates, Inc. Briarcliff Manor, NY Eric & Carolyn Egas, Greenviille, NY & Vieques, PR Jin Zeng, New York, NY Selected Solo Exhibitions 2017 “Worldline Schreiber Paintings, plus...," Garvey/Simon Gallery 547 W 27th St, New York, NY 2016 "The Presence of the Invisible Proposition," Koussevitsky Art Gallery, Berkshire Community College, Pittsfield, MA 2012 "Andalusian Shards," The Wall Street Journal Bldg Lobby, New York, NY 2012 "The Plaid Paintings...

Abstract ceramic wall sculpture on panel of black birds and mosaic blue and teal tile 13 x 13 inches Earthenware, ceramic glazes on panel This contemporary ...

Figurative abstract style black, white, and blue acrylic painting of the Greek Goddess, Nike, "Winged Victory of Samothrace" with an antique wood f...

Susan Stover Nettie Jane 40" X 43 1/2" cardboard, latex paint, waxed linen thread This contemporary pattern-based abstract mixed media work was created by San Francisco-based artis...

Abstract landscape of fern leaves in a dense forest painted in dark gold and bronze against black and muted turquoise "Chasm", painted by Frank Faulkner, c. 2007 60 x 48 x 1.5 inches, acrylic on wood panel Wire backing for secure installation Signed, verso This minimalist abstract landscape was painted by Frank Faulkner in 2007. The artist captures a scene of an abstract floral motif of gilded fern leaves in dark gold and bronze against a dark forest landscape. The floral motif and leaves are constructed with built up acrylic that creates an impasto surface, similar to a relief. Silhouettes of hands painted in black and white polka dots are captured behind several of the leaves, further accentuating the painting's alluring textural quality. The painting is unframed and the edges reveal drips from the layers of paint applied the surface. More about the work: Revered artist and designer Frank Faulkner was well known among locals for his handsome restorations of prominent historic proprieties on Hudson’s Warren Street and beyond. It is apparent that the applied arts like classical architecture, Persian rugs, chinoiserie, and Samurai armor greatly influenced his own painting style. His technique employs a rich variety of texture and color evoking the qualities of mosaics and tapestry. According to the artist, the paintings on view experiment with representational imagery. Central designs are positioned in spaces suggestive of landscapes where the settings utilize horizon lines and natural, atmospheric light. Organic compositions take their cues from natural flora endowed with fantasy, which intentionally disorient the viewer. These works present the argument for the imaginary versus the empirical world. About the artist: Born in Sumter, South Carolina in 1946, Frank Faulkner received his B.F.A. from the University of North Carolina in 1968, Phi Beta Kappa, and his M.F.A. from the same institution in 1972. Faulkner’s work quickly won him numerous grants and awards, including an individual artist grant from the National Endowment for the Arts in 1974. He was selected for the Whitney Biennial in 1975, which prompted him to settle in New York. There, he came to the attention of Dorothy Miller, Curator Emeritus of the Museum of Modern Art with a legendary eye for new talent. Since then, Faulkner has continued to garner acclaim and awards. He has been featured in dozens of one-person exhibitions (not to mention group exhibitions) in this country, as well as in Japan, Switzerland, and Germany. Faulkner’s work is owned by leading museums (the Smith College museum in Northampton, Massachusetts, for example, the National Museum of American Art and the Hirshhorn in Washington, D.C.) and by renowned collectors such as Nelson Rockefeller, Baron Leon Lambert, Phillip Hanes and Abba Eban. What a viewer first notices is the sheer elegance of the pieces, no matter what materials Faulkner uses—metal, wood and fabric as well as canvas and paper. Obvious, too, is the artist’s originality. Faulkner belongs to no school. His work is patterned but is far too intellectual to qualify as so-called “pattern art,” which mainly strives to be merely pretty. Rather, he paints in his own highly organized way, filling the surface without being excessive or boring. Faulkner sets up a system, say, of dots or dashes, then subtly changes the visual rhythms in order to add life and surprise—what he calls “the gymnastics of seeing.” He works and reworks the surfaces of his canvases, often laying down one thin layer of slightly reflective gold, silver or bronze paint upon another until the final work seems to glow with inner light. John Ashbery, a leading critic and poet, has likened Faulkner’s art to minimalist music, which achieves both simplicity and beauty from its obsessive repetitions. The critic Carter Ratcliff describes it more simply as “brilliant artifice.” Faulkner’s current work, a series of paintings on paper, continues and deepens this exploration of the relationship between wrought surface and changing light. Another striking aspect of the work is the influence of the decorative arts. Faulkner has made some paintings on wood that stand independently and fold open like screens. Other pieces resemble large tapestries, and yet others take their inspiration from Art Nouveau inlays...

Small, square still life oil painting of stainless steel pliers with a bright red handle against a cream colored backdrop oil on panel, framed in a light wood frame 9 x 12 inches unf...

Neutral toned abstract painting of green plant leaves on a light beige cream colored encaustic background "Snowflowers 8," by Hudson Valley artist, Allyson Levy, made in 2020 spurge ...

Colorful abstract painting with geometric details in bright hues of blue, red, green, and yellow, against a black background "Instead", painted by Anne Francey in 2017 Mixed media on Masonite 10 x 10 x 2 inches, sides reveal raw wood Excellent condition, signed verso Ready to hang Anne Francey has been working with subject matter inspired by nature for most of her artistic career. Since the pandemic, this focus has become ever more apparent as her new acrylic paintings on paper demonstrate her intuitive process of reinterpreting literal subjects like leaves, flowers, birds, or bugs into vibrant worlds of layered color. She begins by drawing from life but then allows fluctuating colors, traces of the hand, and evidence of the physical medium to be introduced as the composition evolves and finds its final imprint on the surface. The spontaneity of her process welcomes the unknown, she explains: “The things that moved me first…might have become by now just a faint whispering. But I know that a story is being told, even if I don’t understand yet all the words.” About the artist: Anne Francey was born in 1956 in Grandson, Switzerland. She attended the Ecole des Beaux-Arts de Lausanne (ECBA) from 1976 to 1981, where she received a diploma of Fine Arts in painting. In 1981, she moved to New York where she attended the School of Visual Arts and the graduate program of Fine Arts at Hunter College. She graduated in 1987 with a Master of Fine Arts (MFA). EDUCATION 1983-1987 Hunter College: Master of Fine Arts, New York EXHIBITIONS (Most recent) 2021 Le Comptoir des Motifs, Artefactory, Geneva, Switzerland, fabric design, group show 2018 Eric Laffer Gallery, Upstate Invitational, 3 person show, Schuylerville, NY The Arts Center of the Capital Region, Configurations, one person show, Troy, NY Carrie Haddad gallery, Ebb and Flow, Hudson, NY Saratoga Arts, Then and Now, Saratoga Springs, NY 12866 2017 Byrdcliffe Kleinert/James Center, The Ritual of Construction, group show, Woodstock, NY Carrie Haddad gallery, Summer, group show Thompson Giroux gallery, En Masse, group show Eric Laffer gallery, Winter Show, Schuylerville, NY 2016 Saratoga Arts, 30th Anniversary Invitational, Saratoga Springs, NY Carrie Haddad Gallery, Summer Color, Hudson, NY Laffer Gallery, 5th Annual Juried Group Show, Schuylerville, NY 2015 Carrie Haddad Gallery, Paper, group show, Hudson, NY 2014 Luminarté, Contemporary Islamic Art, group show, Dallas, TX Spring Street Gallery, Where are you from? 3 persons show, Saratoga Spgs, NY Albany Institute of History and Art, Mohawk Hudson Regional, group show NY Albany International Airport, Natural Gestures, 3 persons show Albany, NY Laffer Gallery, Winter show, Schuylerville, NY COMMUNITY MURALS, GRANTS, RESIDENCIES, SYMPOSIUMS, 2021 Community Mural United Nations International school, NY “The Year that Zoomed by” 2020 Fulbright U.S. Scholar award 2020-2021 (travel postponed to 2021-2022) 2019 1001 Hands (“1001 Mains”) Concept, design and direction of a 150 sqft community ceramic mural with 600 participants, Ibn Rachiq Art Center,Tunis, Tunisia. Funded through the US Embassy and the Swiss Embassy in Tunis. Colors of the City, Wall Ceramic and Architecture in Tunis, International symposium, Tunis/Tunisia 1997- 2018 Artist in residence at various schools for the creation of community murals 2018 Bir-el Bey...

Photo-realist watercolor painting of iconic American Coca Cola can in red, white and silver Coca Cola II, painted by Scott Nelson Foster in 2019 7 x 5 inches watercolor on paper, 21 x 17 inches with black frame and white mat Wire backing for easy hanging Pop-Art meets Photo Realism in this wonderful still life painting of a bright red Coca-Cola soda can...

Photorealist, pop art style still life watercolor painting of iconic American cigarettes "Marlboro II" by Scott Nelson Foster, painted in 2017 watercolor on paper 29 x 21.5 inches, 39 x 29 inches framed with glazing, white mat and black moulding Wire backing for secure hanging This photo-realist still-life of a classic red Marlboro pack...

Balance & Beam, Locus in Transit #2, 2021 by Jeanette Fintz 60 x 72 inches, acrylic on canvas Signed verso Hanging wire on reverse Balance and Beam - Locus in Transit #2 is a paint...

Contemporary abstract geometric painting on 12 x 12 inch wood panel in colorful shades of orange, burnt sienna, with pops of hot pink and cobalt blue. Goddess of the Expansion & Mani...

Abstracted cityscape painting on paper in blue and red oil wash of industrial beams and water towers in New York City "Untitled II," painted by Ricardo Mulero in 2018 7.5 x 5 inches, oil wash on paper 16.5 x 13.5 inches in a soft white wood frame with an 8-ply window mat and non-glare glass Excellent condition, ready to hang as is Ricardo Mulero is fascinated with capturing the brilliance of light and the contrast of natural beauty with utilitarian landscapes. Here, Mulero focuses on an abstracted New York cityscape of rooftop water towers and he fragments the industrial urban landscape to highlight bold shapes with contrasting color palettes in blue, black, and red. The piece is in excellent condition and ready to hang. About the Artist: Growing up in Puerto Rico, I observed how people and nature could co-exist in harmony. Today, that principle guides my design and artistic work. My paintings are expressions that draw upon my life experiences, traditions, and surroundings. These unique environments inspire my oil paintings: Puerto Rico, where I grew up, New York City, Fire Island Pines...

Modern, abstract mixed media painting on canvas in shades of bright teal, turquoise, yellow, and green 40 x 30 inches acrylic, pigmented plaster, wax on canvas Ready to hang as is. Vincent Pomilio is master when it comes to color composition. His abstractions on canvas and wood panel come to life with the most brilliant, yet unexpected color combinations. This mid century modern style abstract painting exemplifies Pomilio celebrated technique of combing vibrant shades of acrylic paint, pigmented plaster, and encaustic. The painting's complexity is made possible through the use of multiple layers of acrylic and plaster. Here the artist begins with an under-layer of teal acrylic paint and then sections off each cross hatching pattern in varying shades of pale yellow, purple, teal, green, and turquoise. Details of gestural splatters of green paint compliments the surface while a final coat of encaustic medium creates an elegant, matte finish. The sides of the abstract geometric painting are painted a dark royal blue, so no framing is necessary. The work is equipped with sturdy wire and is ready to hang. About the artist: Vincent Pomilio specializes in all painting media, canvas, paper and wooden panel. A visit to his studio in the bustling neighborhood of Manhattan’s Greenwich Village offers a unique insight into the artist’s process of his own art making. The right brain dominates here; skillful use of color, shape, line and scale are discovered via intuition, experimentation and quarter turns of the canvas. Pomilio has occupied this bohemian artist’s pad since his school days ended at New York University in 1978 and it is here that he continues to paint to this day. Abstractions of color explosions are harmoniously composed using a combination of acrylic, wax, pigmented plaster and marble dust to build up surfaces and introduce texture. “In the end, the challenge is to know when to stop,” says Pomilio. The result is a stunningly complex and layered composition of color that one could interpret as an aerial landscape view or motifs that resemble woven baskets. When it comes to abstractions, the artist rationalizes, “If you see it, it is there.” At one point in his career, Pomilio felt he was struggling to successfully produce small paintings using the scaled patterns that was common in his work. This prompted a new series - the Big-Little series – which encompasses a study of big images on a small scale. By introducing a degree of ‘minimalism’ he could explore color relationships while magnifying techniques used on larger canvases. The effect this project had on his work flow was one of renewed energy and confidence. He could complete a painting much quicker than with the larger canvases, allowing him to try various solutions and expel creative energy in a focused way. Earlier this year, he completed the 100th 12 x 12 inch painting in the series. This exhibit will feature #100 (as well as #99 and #98), highlighting other selections from this series in addition to select medium and larger paintings on canvas. Vincent Pomilio is represented by the seller based in Hudson, NY. EDUCATION 1973 Kutztown State University, Kutztown, PA, BFA - Painting 1976 New York University, NY, Graduate Studies - Painting 1976 TylerSchool of Art, Elkins Park, PA, Graduate Studies - Paint Selected SOLO EXHIBITIONS 2015 Paintings, Lemonade Stand...

Abstract landscape of a floral leaf motif with a patina of dark silver and dark bronze "Abstract Flora III", painted by Frank Faulkner, c. 2010 60 x 48 x 1.5 inches, acrylic on wood panel Wire backing for secure installation Signed, verso This minimalist abstract landscape was painted by Frank Faulkner in 2010-12. The artist captures a scene of an abstract floral motif with long leaves that fan outwards. The subject in the center is framed with a vignette of dark fern leaves around the edges of the painting. The floral motif and leaves are constructed with built up acrylic that creates an impasto surface, similar to a relief. The painting is unframed and the edges reveal drips from the layers of paint applied the surface. More about the work: Revered artist and designer Frank Faulkner was well known among locals for his handsome restorations of prominent historic proprieties on Hudson’s Warren Street and beyond. It is apparent that the applied arts like classical architecture, Persian rugs, chinoiserie, and Samurai armor greatly influenced his own painting style. His technique employs a rich variety of texture and color evoking the qualities of mosaics and tapestry. According to the artist, the paintings on view experiment with representational imagery. Central designs are positioned in spaces suggestive of landscapes where the settings utilize horizon lines and natural, atmospheric light. Organic compositions take their cues from natural flora endowed with fantasy, which intentionally disorient the viewer. These works present the argument for the imaginary versus the empirical world. About the artist: Born in Sumter, South Carolina in 1946, Frank Faulkner received his B.F.A. from the University of North Carolina in 1968, Phi Beta Kappa, and his M.F.A. from the same institution in 1972. Faulkner’s work quickly won him numerous grants and awards, including an individual artist grant from the National Endowment for the Arts in 1974. He was selected for the Whitney Biennial in 1975, which prompted him to settle in New York. There, he came to the attention of Dorothy Miller, Curator Emeritus of the Museum of Modern Art with a legendary eye for new talent. Since then, Faulkner has continued to garner acclaim and awards. He has been featured in dozens of one-person exhibitions (not to mention group exhibitions) in this country, as well as in Japan, Switzerland, and Germany. Faulkner’s work is owned by leading museums (the Smith College museum in Northampton, Massachusetts, for example, the National Museum of American Art and the Hirshhorn in Washington, D.C.) and by renowned collectors such as Nelson Rockefeller, Baron Leon Lambert, Phillip Hanes and Abba Eban. What a viewer first notices is the sheer elegance of the pieces, no matter what materials Faulkner uses—metal, wood and fabric as well as canvas and paper. Obvious, too, is the artist’s originality. Faulkner belongs to no school. His work is patterned but is far too intellectual to qualify as so-called “pattern art,” which mainly strives to be merely pretty. Rather, he paints in his own highly organized way, filling the surface without being excessive or boring. Faulkner sets up a system, say, of dots or dashes, then subtly changes the visual rhythms in order to add life and surprise—what he calls “the gymnastics of seeing.” He works and reworks the surfaces of his canvases, often laying down one thin layer of slightly reflective gold, silver or bronze paint upon another until the final work seems to glow with inner light. John Ashbery, a leading critic and poet, has likened Faulkner’s art to minimalist music, which achieves both simplicity and beauty from its obsessive repetitions. The critic Carter Ratcliff describes it more simply as “brilliant artifice.” Faulkner’s current work, a series of paintings on paper, continues and deepens this exploration of the relationship between wrought surface and changing light. Another striking aspect of the work is the influence of the decorative arts. Faulkner has made some paintings on wood that stand independently and fold open like screens. Other pieces resemble large tapestries, and yet others take their inspiration from Art Nouveau inlays...

Abstract gouache on paper drawing in a palette of beige and soft blue with accents of sienna red and dusty yellow Created by Hudson ...

Nature-Inspired Minimalist Abstract Color Field painting on three wood panels in shades of green, gray, and black Acrylic on three panels, Each panel measures 20 x 16 x 2 inches The panels can be oriented horizontally or vertically Signed on verso We are amazed by this artist's ability to achieve multiple flawless layers of acrylic paint, wiping it on and off with cotton cloth, to create a subtle yet distinctive woven texture on a smooth surface. The artist's work is inspired by patterns found in nature such as tree rings, rock lines, ethereal horizons, or water ripples. It appears as though a light source is originating behind the panel, glowing softly in a vibrant green palette. This unique surface spreads all the way to the very edge of each panel. The 2 inch deep sides are cleanly painted white for a seamless finish. These panels hang flush to the wall by resting on two nails on either side of the panel, and can be arranged in any number of ways, highlighting the work's sculptural element. Artist's Statement: My paintings merge the detailed textures and colors found in the natural world with the linear and geometric patterns visible in industrial and architectural structures. The interplay of these elements drives the work and provides a platform for constant change and narrative. By simultaneously layering and removing paint with rags instead of brushes, my hand is directly involved with the process. Each piece contains multiple panels that evoke a nuanced and evolving universe. Ginny Fox builds up each non-representational piece with overlapping streaks of paint that frequently span two or three panels. Working with rags instead of brushes, Fox’s hand moves along parallel paths, emergent colors cascading gently towards the edges of the composition's plane. There’s something vaporous to the outer layers of the work, the interwoven strands of color offering glimpses at the painting’s earthy base and hinting at the artist’s gradual process. Having received her education from New York University in the 1970s, Fox has since exhibited throughout the United States, especially in New York City and the northeastern U.S. RESUME Solo Exhibits 2019 Winterscape Soho20 Bushwick, New York 2017 Perpetual Earth Soho20 Bushwick, New York 2015 Intimate Universe Soho20 Chelsea New York...

Untitled White 1, 2018 12" X 14" mixed media on board This abstract geometric composition on wooden board, part of the "Unititled White" series, features a playful grid motif that ...

Figurative abstract style black and white acrylic and graphite painting of the Greek Goddess, Nike, "Winged Victory of Samothrace" "Nike Descending...

Impressionist en plein air landscape painting on linen of a rural country farm during late summer with lush green fields and blue mountains 'Ted's Farm', an upstate New York landsca...

Academic style figurative painting on canvas of a family and red tractor against a classic American farm field "Prosperous Family", painted by Mark Beard under his fictitious persona, Bruce Sargeant 84 x 58 inches unframed, 91 x 65 x 3 inches with a gold painted wood frame Excellent condition, ready to hang as is This Academic style figurative oil painting on canvas was painted by Mark Beard as Bruce Sargeant, a pseudonym in homage to the fashion photographer, Bruce Weber, and figurative painter, John Singer Sargeant. Here, the artist captures a blue collar American farming family in their field with an old red tractor. The man and woman stand stoically with their young child, dressed in simple white garments, perhaps to symbolize their purity. Rolling mountains...

"Two Sisters" by Richard Britell 86 x 45 inches vertical, monochromatic blue contemporary landscape oil painting on canvas This large vertical blue monochromatic...

Graphic abstract painting on paper in in complementary hues of red-orange, dark teal and yellow "Duo" by Jenny Kemp, painted in 2020 acrylic on linen over panel 14 x 11 inches Signed, verso Jenny Kemp’s abstract paintings are inspired by the artist’s desire to represent unseen phenomenon. With intricate and calculated line-work, the artist builds parallel layers against opaque backgrounds, while shifts in color and shape call attention to organic forms that give reference to the human body or atomic structures. Precise lines in light green arc over a layer of opaque moss green before colliding with forms of bright red-orange. A serene layer of dark teal complements these contrasting colliding forms, allowing a visual reprieve. The gouache painting on paper is complimented with a light wood frame, protected by non-glare glass. Wire is installed on the back for seamless hanging. About the artist: Jenny Kemp received a BS in Art from the University of Wisconsin - Madison and an MFA in Painting from the University at Albany. Her work has been exhibited in galleries and museums across the country, most recently at Gold/Scopophilia* in Montclair, NJ and the Mandeville Gallery at Union College in Schenectady, NY. She has been featured in publications such as 100 Painters of Tomorrow published by Thames & Hudson, New American Paintings, The Huffington Post, Seattle’s City Arts, New York Times, and The New England Review. Kemp is also a recipient of the 2015 NYFA fellowship in painting and the 2015 Emerging Artist Award recipient from the Art Center of the Capital Region in Troy, NY. She sits on the board of Collar Works, an art space dedicated to the support of emerging and under-represented artists exhibiting challenging and culturally relevant contemporary artworks in Troy, NY where she lives and works. EDUCATION MFA - Painting, University at Albany, SUNY 2012 BS - Art, University of Wisconsin, Madison 2002 EXHIBITIONS 2019 Gold / Scopophilia* Art on Paper, Pier 36, NYC Steady Curve Gold / Scopophilia*, Montclair, NJ (solo) 2018 Slow Grow Mandeville Gallery, Union College, Schenectady, NY (solo) FENCE + ECHO, Far x Wide, Brooklyn, NY (curated by Jes Cannon) Crazy Beautiful III, Kenise Barnes Gallery, Larchmont, NY Three Square, Geoffrey Young Gallery, Great Barrington, MA (curated by Phil & Sue Knoll) 2017 When We Were Young: Rethinking Abstraction from the University at Albany Art Collections (1967-present) University at Albany Art Museum, Albany, NY Surface 4, ARENA at Brooklyn Dermatology, Brooklyn, NY (curated by Renée Riccardo) The Whitney Houston Biennial: Greatest Love of All, Chashama, NYC (curated by Christine Finely) 2016 Reality is Wrong, Dreams are Real, David&Schweitzer Contemporary, Brooklyn, NY (curated by Phil and Sue Knoll) Squared, Geoffrey Young Gallery, Great Barrington, MA (curated by Phil & Sue Knoll) Something Else, The Painting Center, New York, NY (curated by Dee Shapiro and Miriam Brumer) Living Color, Art Center of the Capital Region, Troy, NY (2 person) 2015 Howdy Doody, Collar Works, Troy, NY (curated by Leona Christie) Remains to be Seen, Geoffrey Young Gallery, Great Barrington, MA (curated by Phil & Sue Knoll) Painting Parallels, GRIDSPACE, Brooklyn, NY (solo) Double Vision, Laffer Gallery, Schuylerville, NY (2 person) Mohawk Hudson Invitational Albany Center Gallery, Albany, NY Snowbirds Kenise Barnes Gallery, Larchmont, NY Valentine’s Day Cardiovascular, Geoffrey Young Gallery, Great Barrington, MA (curated by Phil & Sue Knoll) Variations in Paint (invitational), The Painting Center, New York, NY 2014 100 Painters of Tomorrow: New York Exhibition, One Art Space, New York, NY Mohawk Hudson Regional, Albany Institute of History and Art (juror: Stephen Westfall) Tracery, PS209 Gallery, Stone Ridge, NY Connections Todd Art Gallery at Middle Tennessee State University, Murfreesboro, TN (2 person) Perceptions Opalka Gallery at Sage College, Albany, NY Modern Artists Carrie Haddad Gallery, Husdson, NY 2013 Second Nature Albany Airport Gallery, Albany, NY Admit One Collar Works Gallery, Troy, NY Works by Jenny Kemp and Richard Harrington Gallery 105, curated by MCLA Gallery 51, N. Adams, MA An Early Spring Carrie Haddad Gallery, Hudson, NY 2012 Recent work and new paintings on paper Fulton Street Gallery (solo) FISSURE GalleryEll online exhibition, curated by Amanda Kates In Orbit Little Gallery at Sage College of Albany. Albany, NY. Works on Paper Carrie Haddad Gallery, Hudson, NY MFA National Competition First Street Gallery, NYC. Juror: John Yau BioLogical Salem Art Works Carry House Gallery, Salem, NY MFA Thesis Exhibition University at Albany Art Museum, Albany, NY 2011 Back to School Fulton Street Gallery, Troy, NY Fence Select The Art Center of the Capital Region, Troy, NY. Juror: Carrie Haddad Honorable Mention Chain Letter Samson Projects, Boston, MA SUNY Best of Show New York State Museum, Albany, NY Members Only Collar Works Gallery, Troy, NY Fountain Art Fair Pier 66, New York, NY Nathan Meltz with Jenny Kemp and Doug Holst...

David Konigsberg From a Window Seat #1, 2021 56" X 58" oil on canvas This contemporary abstracted landscape was made by Hudson, NY-based artist, David Konigsberg, in 2021. The art...

Photo-realist watercolor painting on paper of colorful wooden children's blocks in bright hues of rose pink, golden orange, and blue "Toys" painted by Scott Nelson Foster in 2020 13"...

"Screw Driver" by Matthew Hopkins Small, square still life oil painting of a grey utility knife against a cream colored backdrop oil on panel, framed in ...

Photorealist still life painting of pink lotus flowers with brown lotus pods and green petals against a light grey background oil on canvas, 16 x 16 inches, 17 x 17 inches in dark wood moulding Signed lower right Painted with the exactness of a still life photograph, this hard edge realist painting by artist Frank DiPetiro features a brown lotus pod, light pink flower, with lush green leaves on a pale grey-blue background. Inspired by close observations of the natural world and encounters with still moments that give us pause. Lines, shapes and colors encountered in nature, reveal the cycles of decay and regeneration that are life’s constant state of change. The work has a quiet, meditative quality. The subject is portrayed in a manner true to their existence in a specific time and place and selected based on considerations of visual relationships to formal elements of painting. Aspects of photo realism, hard edge and color field techniques are utilized to isolate the uniqueness of the subject’s detail, as well as emphasize flatness and illusion of depth within the two-dimensional space of the painting. About the artist: Frank DiPietro was born and raised in Scranton PA. He received a Bachelor of Art from Bloomsburg University in 1997, majoring in both Painting and Ceramics with a minor in Art History. In 2000 he earned a degree in Art Education from Moore College of Art and Design while continuing his studies in painting. Frank lived in Philadelphia for twelve years painting and teaching at several museums, art centers and schools in the region. In 2010 he and his family moved to Chester County PA, where he currently resides. Frank currently teaches painting classes and workshops at the Delaware Art Museum and Longwood Gardens...

This small, horizontal oil on canvas en plein air landscape painting was painted by Hudson Valley based artist, Judy Reynolds. The composition features a peaceful landscape as the fo...

Impressionist style en plein air landscape painting on linen of a rural country farm with green fields and bright blue sky "Braymer Hill," an upstate New York landscape, painted plei...

Big Little 119 (Striped Abstract Geometric Painting in Tones of Blue & Red) by Vincent Pomilio Colorful abstract painting on panel made with mixed media in tones of Yellow Pink & bu...

Romantic cityscape oil painting on linen, looking upwards at the New York City skyline with the Empire State Building glowing at night "Empire" by Hudson, NY based artist, Ricardo Mulero Painted in 2019 Oil on linen, dark grey wood fram with aluminum stretcher bars 42 x 56 x 2 inches Signed, bottom right Excellent condition, ready to hang as is Ricardo Mulero is fascinated with capturing the brilliance of light and the contrast of natural beauty with utilitarian landscapes. Here, he focuses on the romantic glowing light of New York City's iconic Empire State Building in the nighttime sky. The viewer's eye is drawn up towards the beacon of soft yellow light that radiates through a misty grey-blue night sky. Dark rust colored skyscrapers elegantly frame the focal point is the distance while silhouettes of water towers make reference to old New York and windows aglow with electric light play on it's reputation of being the city that never sleeps. Mulero's brush work is subtle and captures the soft brilliance of electric light with a Romantic sensibility. The painting is currently unframed with aluminum stretcher bars. It's in excellent condition and ready to hang as is. About the Artist: Growing up in Puerto Rico, I observed how people and nature could co-exist in harmony. Today, that principle guides my design and artistic work. My paintings are expressions that draw upon my life experiences, traditions, and surroundings. These unique environments inspire my oil paintings: Puerto Rico, where I grew up, New York City, Fire Island Pines...

Abstract cityscape painting of Hudson, NY rooftops with accents of pink, magenta, green, yellow and teal "Rooftops Power Lines and Five & Diamond," by Hudson, NY based artist, Ricardo Mulero 12 x 6 inch oil on wood panel, Painted in 2021 Excellent condition, ready to hang as is Signed, lower left Ricardo Mulero is fascinated with capturing the brilliance of light and the contrast of natural beauty with utilitarian landscapes. Here, he abstracted the city skyline of Hudson, NY. Buildings and rooftops in shades of magenta, teal, and green are segmented in the foreground and cropped with black power lines. A soft yellow sky is layered with thin strokes of gesturally applied pale blue paint, furthering abstracting the city landscape. The piece is in excellent condition and ready to hang as is. The sides are painted a very dark, warm magenta so framing is not necessary. About the Artist: Growing up in Puerto Rico, I observed how people and nature could co-exist in harmony. Today, that principle guides my design and artistic work. My paintings are expressions that draw upon my life experiences, traditions, and surroundings. These unique environments inspire my oil paintings: Puerto Rico, where I grew up, New York City, Fire Island Pines...

Small, horizontal still life oil painting on panel of a red and silver wrench against a cream colored backdrop oil on panel, framed in a light wood frame 9 x 12 inches, 12 x 15 inche...

WPA style figurative painting of a "Adam & Eve" in pink dress and blue shirt with suspenders, and red snake "Adam and Eve in Twickenham", painted by Mark Beard aka 'Edith Thayer Cromwell...

Horizontal, monochromatic impressionist style blood orange and red abstract landscape oil painting on canvas "Fallow Field" painted by Richard Britell in 2020 oil on canvas 20 x 48 x...

WPA style figurative painting of a man with suit and tie "Man in Suit," painted by Mark Beard aka 'Edith Thayer Cromwell' Oil on canvas, 39.5 x ...

Abstract Deconstructionist watercolor painting of a rural landscape with a cool grey blue palette and earth tones "Mindscape 10", painted by Susan Hope Fogel in 2020 22 x 30 inches ...

My works give the viewer the sense of flying through them, hovering, as the earth shifts in subtle twists and turns. This slightly unsettling vantage point merges with vivid color, p...

Nature-Inspired Minimalist Abstract Color Field painting on two wood panels in shades of light, icy blue, white and grey Acrylic on two wood panel, Each panel is 18 x 24 x 1.5 inche...

My works give the viewer the sense of flying through them, hovering, as the earth shifts in subtle twists and turns. This slightly unsettling vantage point merges with vivid color, p...

Abstract color-field landscape painting of the New York City skyline against an ethereal soft blue and red hazy sky "Burning Fog Over NYC" by Hudson, NY based artist, Ricardo Mulero,...

Impressionistic, en plein air summer landscape of a sunlit valley with clouded blue sky #5700 View from Saw Hill, painted by Harry Orlyk in 2019 oil on linen mounted on homasote board, ready to hang as is 11.75 x 19.75 inches unframed Signed lower left corner Harry Orlyk is celebrated for his ability to capture rural country landscapes with impressionistic brushstrokes and bright color palettes. Painting daily, the artist drives throughout the upstate New York, stopping to observe and paint 'en plain air' whenever and wherever a landscape strikes him. Orlyk prefers to leave his canvases unframed to reveal the exposed linen which are nailed to sturdy homasote boards for easy installation. This painting is a perfect example of Orlyk's impressionistic aesthetic. Here, the artist captures a quaint country landscape overlooking a valley and mountains in the distant horizon. Warm, sunny, tones in yellow create a luminous atmosphere and gestural strokes of paint culminate onto a textured, impasto surface. The artist's signature is located in the lower left corner. The artist prefers to leave his paintings unframed. The painting can be installed with one nail, hammered behind the linen and through the homasote board. About the artist: Harry Orlyk was born in Troy, New York in 1947. In 1971 after graduating college, he went on to graduate school at the University of Nebraska at Lincoln . Over the next nine years, he was influenced by several Nebraskan artists. "Still-life painter Robin Smith taught me how to use paint without turpentine - to paint from the tube." He also admits the influence of photographer Lawrence McFarland who taught him what spiritual space was, and how to emphasize it. Lastly he credits well-known Lincoln painter Keith Jacobshagen...

Colorful abstract geometric painting in various shades of red, orange, green and blue, with accents of white, black, pink and light yellow "Partly Perpendicular", made by Hudson Vall...

Acrylic on 3 wood panels Each panel is 36 x 18 x 1 inches Suggested installation is 1-2 inches between panels, which can be oriented in any direction Overall dimensions: 36 x 56 x 1...

Impressionist style en plein air landscape painting on linen of a rural country farm with red trucks in a yellow field under a blue sky #5745 Winter Quarters, painted by Harry Orlyk ...

Abstract painting with assorted neutral toned golden tree bark and purple violet encaustic "Barking Betula", by Hudson Valley artist, Allyson Levy, mad...

Abstracted cityscape painting on paper in blue, black, grey and white oil wash of an industrial New York City rooftop "Untitled I," painted by Ricardo Mulero in 2018 7.5 x 5 inches, oil wash on paper 16.5 x 13.5 inches in a soft white wood frame with an 8-ply window mat and non-glare glass Excellent condition, ready to hang as is Ricardo Mulero is fascinated with capturing the brilliance of light and the contrast of natural beauty with utilitarian landscapes. Here, Mulero focuses on an abstracted New York City rooftop where water towers stand in the distance. Contrasts in light and shadow accentuate the urban landscape's geometric forms and highlight bold color palettes of blue, black, and grey. The piece is in excellent condition and ready to hang. About the Artist: Growing up in Puerto Rico, I observed how people and nature could co-exist in harmony. Today, that principle guides my design and artistic work. My paintings are expressions that draw upon my life experiences, traditions, and surroundings. These unique environments inspire my oil paintings: Puerto Rico, where I grew up, New York City, Fire Island Pines...

Realistic figurative oil painting on canvas of men working at a construction site Neutral palette with pops of mulberry and sky blue Men at Work II, painted by Allan Skriloff, ca. 1980's 42 x 54 x 3 inches with a custom steel frame Excellent condition, ready to hang as is Skriloff shines a glorified light on the muscles of men in hard hats that sweat and contort aboard an oil rig, elevating blue worker brawniness to an other-worldly status. This figurative painting highlights the beauty found in the every day. Scenes one might overlook are given careful attention by the artist's trained eye. Tanned skin and muscles glistening with sweat radiate in the summer sun while shadows on the construction site and men's faces contrast in the background. The piece is complemented with a custom thin steel floater frame, is in excellent condition, and ready to hang as is. About "Men at Work:" While on a trip to Australia, I was in Alice Spring. Where I took an excursion to Palm Valley. My tour guide mentioned there was gas fields in a remote section of the Outback. I said I'd love to go there and he replied, "no worries, Mate - we'll get you there.” He happened to be a pilot and we flew in his prop plane...

10 x 9 inches unframed 21.5 x 19.75 inches framed Liz Rundorff Smith renders visual forms that fluctuate between the stability of present-ness and the loss of clarity that is tied t...

Horizontal, monochromatic impressionist style navy blue abstract landscape oil painting on canvas "Saw Mill" painted by Richard Britell in 2020 oil on canvas ...

Colorful Faux Naive Style Cityscape Painting, Portrait of the Artist 'Self Portrait' painted by Darshan Russell in 1997 Oil on canvas, 21.5 x 24 inches framed with thin wood strippin...

Cityscape painting on wood panel of Hudson, NY with a purple rooftop against a golden yellow and orange winter sunset and black silhouettes of trees in the distance in purple violet red orange and yellow "Winter Solstice Sunrise on North 5th," by Hudson, NY based artist, Ricardo Mulero 9 x 12 inch oil on wood panel, Painted in 2020 Framed with a custom dark wood Larson Juhl frame Excellent condition, ready to hang as is Ricardo Mulero is fascinated with capturing the brilliance of light and the contrast of natural beauty with utilitarian landscapes. Here, he focuses on the intense golden glow of a winter sunset against a small town skyline. The painting has a smooth texture with no impasto on the surface and is complemented with a dark wood, Larson Juhl floater frame. It's in excellent condition and ready to hang as is. About the Artist: Growing up in Puerto Rico, I observed how people and nature could co-exist in harmony. Today, that principle guides my design and artistic work. My paintings are expressions that draw upon my life experiences, traditions, and surroundings. These unique environments inspire my oil paintings: Puerto Rico, where I grew up, New York City, Fire Island Pines...

Realistic figurative oil painting on canvas of a lone man working on an industrial construction site with a rust red backdrop Palette is composed of grey gunmetal, deep rust red, black, mulberry, and golden yellow Men at Work #5, painted by Allan Skriloff, ca. 1980's 42 x 54 x 2.5 inches with a custom steel frame Excellent condition, ready to hang as is Skriloff shines a glorified light on the muscles of men in hard hats that sweat and contort aboard an oil rig, elevating blue worker brawniness to an other-worldly status. This figurative painting highlights the beauty found in the every day. Scenes one might overlook are given careful attention by the artist's trained eye. A lone worker is captured behind a foreground of metal bars against a backdrop of rest red. Shadow's cast by the man's hard hat allude to his anonymity. The piece is complemented with a custom thin steel floater frame, is in excellent condition, and ready to hang as is. About "Men at Work:" While on a trip to Australia, I was in Alice Spring. Where I took an excursion to Palm Valley. My tour guide mentioned there was gas fields in a remote section of the Outback. I said I'd love to go there and he replied, "no worries, Mate - we'll get you there.” He happened to be a pilot and we flew in his prop plane...

Couple / Love / Romance / Kathy Osborn paints highly detailed, interior scenes, inspired by imagery from the Post-War era of the 1950s and 60s. Osborn’s multi-step process begins w...

Abstract landscape painting of a white cloud in a light blue sky over an expansive dark brown country field "West Wind," painted by David Konigsberg in 2019 18 x 24 x 2 inches Ready...

Abstract painting with green encaustic and light yellow flower petals on wood panel "Wallpaper 2" made by Allyson Levy in 2020 encaustic and flower petals on wood panel, 24 x 24 x 2 ...

Large, photo-realist painting on canvas featuring a crimson red and yellow industrial boatyard lift against a bright sky blue background 47 x 31 x 2 inches oil on canvas, thin wood stripping signed verso, "Joseph E. Richards" Hangs with wire installed on the back This precisely detailed photo-realist painting was made by Joseph E. Richards in 2001. The artist painted this piece when he was 71 years old during a long career of painting trains, cargo ships, and industrial machinery. Richards served in the US Navy during WWII and went on to study at the American Academy of Art in Chicago and the Pennsylvania Academy of Fine Arts in Philadelphia before showing with Ivan Karp of O.K. Harris Gallery in NYC. The artist moved upstate to Hillsdale, NY for the later years of his life. This painting captures one of Richards' most beloved subjects, industrial cranes. With a photo-realist approach to the subject, Richards was able to capture detailed changes in light and shadow, shape and form. The red and yellow crane, painted with extreme detail and focus, vividly contrasts against a bright blue sky. Areas of brown rust, attesting to the machine's power and longevity, are captured with immaculate precision. Since the painting has a very smooth surface, one could easily mistake this painting with a photograph. It is not until you examine the painting up close, do you realize the artist's calculated brushwork. The painting is framed with natural wood stripping. The work is lightweight and easy to hang with pre-installed wire. The artist's signature is located on the back of the canvas. About the artist: Joseph Richards’ precisely painted canvases of giant cranes, cargo booms, propellers and train engines are fueled with a fascination like that of a six-year old boy. Working directly from photographs, Richards unites light and color together as one element, evident in the reflective surfaces of steel. The otherwise mundane signs of corrosive wear are magnified; rust stains glow on the canvas and yellow painted pulleys radiate like beacons against a bright, blue sky. Richards finds beauty in their dramatic color, resilient texture, definitive form and functionality. Richards paints sections of these objects in grand scale, with canvases up to 6 feet long and eye-popping color, calling attention to their massive proportions and exceptional strength. Richards had solo exhibits in New York City, Scottsdale AZ, and Washington DC, and his work is found in private and corporate collections here and abroad, e.g., the Tucson Museum of Fine Arts, Mobil Oil, Lankenau Hospital in Philadelphia, and E. Jean Belloni in Geneva, Switzerland. Resume: Born in 1921 in Des Moines, Iowa, Joseph Richards left for Chicago after high school to pursue a career in art. After serving in the U.S. Navy from 1942 – 1945, he went on to study at the American Academy of Art in Chicago and the Pennsylvania Academy of Fine Arts in Philadelphia. He eventually settled with his wife, Betty, in New York City. In 1969, longtime dealer Ivan Karp opened The OK Harris Gallery on West Broadway in Manhattan’s SoHo. Karp was at the forefront of the Photorealism movement, showing artists such as Duane Hanson and Manny Farber...