Wyoming - Figurative Paintings

"In the Wheatfield (Girl Standing in a Wheat Field)" is a painting by Winslow Homer. The painting is signed, lower left, "Homer 1873". The framed piece measures 29 3/4 x 21 5/8 x 2 7/8 in. During the early 1870s, Winslow Homer frequently painted scenes of country living near a small farm hamlet renowned for generations for its remarkable stands of wheat, situated between the Hudson River and the Catskills in New York state. Today Hurley is far more famous for inspiring one of Homer’s greatest works, Snap the Whip...

A painting by Nathan Oliveira. "Nude Stepping from the Carpet" is a contemporary painting, oil on canvas in a palette of reds, greens, and beiges by Bay Area figurative artist Nathan Oliveira. The artwork is signed in the lower right, "N Oliveira 62". During the early years, Oliveira’s lone figures often suggest an existential angst similar to that of Giacometti, but there is also a weightlessness and a transcendent aura that envelopes these figures; they appear as elemental, universal and eternal projections of selfless consciousness better understood within the bodiless realm of metaphysics. These qualities would remain in his work throughout his long career, yet he would find other themes to explore — the natural world where the essential nature of birds and animals exist in equal profundity with their human counterparts, the transient world of evanescent perception when memory must reconstruct momentary experience, and later, the ‘site’ paintings and monoprints that suggest the abandoned remnants of a long-lost civilization or tribe uncovered at an archeological dig. Nathan Oliveira has left us with a legacy of art that will surely remain untarnished by time or changing trends. His work exists within a realm rarely achieved by artists striving in a similar mode of expression. Unclouded by ego or wayward sentiment, it is also in the warmth and humble nature...

"Untitled" is a painting by American artist David Smith. David Smith’s paintings from the 1930s rarely come to market, and when Untitled (Billiard Players) surfaced at a Christie’s auction in 2018, it created quite a stir, realizing an impressive price of $1.15 million. Painted around the same time, Untitled shares many similarities with Untitled (Billiard Players). Both paintings affirm Smith’s place among the American artists when ideas and style began to intermingle and coalesce around Picasso’s innovations. Uniquely positioned in temperament and ability, Smith was a man of considerable ambition whose direct-metal configurations would have much to do with achieving new ideas about abstraction. Yet all along, he insisted he was a painter, not a sculptor who painted. Paintings by Smith...

With this painting von Morisse portrays a young man swimming peacefully in a green water Lake with his head above the water. It symbolizes the 90% of the ...

A painting by Irving Norman. "American Street Scene" is a macabre social surrealism city scape, oil on canvas in a bold palette of reds, blues, and yellows by artist Irving Norman. T...

The painting is comprised of two horizontal canvases bolted together. This work is part of earlier works done by the artist in the 1990's when he was...

A painting by Irving Norman. "Bacchanal" is a macabre social surrealism painting, oil on canvas in a dark palette of reds, blues, and blacks by artist Irving Norman. The artwork is u...

"Stelae No. 5" is a painting by Bay Area Figurative artist Nathan Oliveira. The painting is signed and dated lower right, "Oliveira 98". The framed piece measures 67 1/2 x 55 3/4 x 2 in. A Californian whose work is of preeminent importance during the post war period, Oliveira is most often associated with Park, Diebenkorn and the other artists with whom he sketched early in his career. Yet it was not an oversight when Oakland Museum director Paul Mills chose not to include Oliveira in the 1957 exhibition “Contemporary Bay Area Figurative Painting.” All came to figuration by initiating a sophisticated dialogue with abstraction, yet it is Oliveira, the often characterized ambivalent loner among Bay Area artists whose work is most often compared to Alberto Giacometti, Francis Bacon, or Willem de Kooning with whom he shared walls and space at The Images of Man exhibition held in New York at the Museum of Modern Art in 1959. During the early years, Oliveira’s lone figures often suggested an existential angst similar to that of Giacometti, but there was also a weightlessness and a transcendent aura that envelopes these figures; they appear as elemental, universal and eternal projections of selfless consciousness better understood within the bodiless realm of metaphysics. These qualities would remain in his work throughout his long career, yet he would find other themes to explore — the natural world where the essential nature of birds and animals exist in equal profundity with their human counterparts, the transient world of evanescent perception when memory must reconstruct momentary experience, and later, the ‘site’ paintings and monoprints that suggest the abandoned remnants of a long-lost civilization or tribe uncovered at an archeological dig. Through and through, flesh to bones, and bones to dust Nathan Oliveira has left us with a legacy of art that will surely remain untarnished by time or changing trends. His work exists within a realm rarely achieved by artists striving in a similar mode of expression. Unclouded by ego or wayward sentiment, it is also in the warmth and humble nature...

A painting by Nathan Oliveira. "Untitled" is a Bay Area Figurative Painting, oil on canvas in a brown and tan palette by American artist Nathan Oliveira. The artwork is signed in the lower right, "Oliveira 64". A Californian whose work is of preeminent importance during the post war period, Oliveira is most often associated with Park, Diebenkorn and the other artists with whom he sketched early in his career. Yet it was not an oversight when Oakland Museum director Paul Mills chose not to include Oliveira in the 1957 exhibition “Contemporary Bay Area Figurative Painting.” All came to figuration by initiating a sophisticated dialogue with abstraction, yet it is Oliveira, the often characterized ambivalent loner among Bay Area artists whose work is most often compared to Alberto Giacometti, Francis Bacon, or Willem de Kooning with whom he shared walls and space at The Images of Man exhibition held in New York at the Museum of Modern Art in 1959. During the early years, Oliveira’s lone figures often suggested an existential angst similar to that of Giacometti, but there was also a weightlessness and a transcendent aura that envelopes these figures; they appear as elemental, universal and eternal projections of selfless consciousness better understood within the bodiless realm of metaphysics. These qualities would remain in his work throughout his long career, yet he would find other themes to explore — the natural world where the essential nature of birds and animals exist in equal profundity with their human counterparts, the transient world of evanescent perception when memory must reconstruct momentary experience, and later, the ‘site’ paintings and monoprints that suggest the abandoned remnants of a long-lost civilization or tribe uncovered at an archeological dig. Through and through, flesh to bones, and bones to dust Nathan Oliveira has left us with a legacy of art that will surely remain untarnished by time or changing trends. His work exists within a realm rarely achieved by artists striving in a similar mode of expression. Unclouded by ego or wayward sentiment, it is also in the warmth and humble nature...

This painting is unframed and is made of two panels. The project Pink Freud and the Pleasant Horizon stems from Andre von Morisse’s interest in the powerful influence of Freud, Darw...

The project Pink Freud and the Pleasant Horizon stems from Andre von Morisse’s interest in the powerful influence of Freud, Darwin, and Christ on ideas about psychological, scientific and spiritual motors of human life and on popular culture since the 20th century. The exhibition at ART 3 focuses on the impact of Sigmund Freud theories on contemporary society. Von Morisse is particularly concerned with the moment when society ceased to treat shared responsibilities and values as fundaments of its organization, and became atomized by bringing needs of the individual to the fore. A pivotal figure in this transition was Freud’s nephew, Edward Bernays (1891-1995). An American born in Vienna, he became the father of public relations. Bernays combined the psychoanalytical ideas of his uncle with theories of crowd psychology to pioneer the PR industry's use of social sciences to design public persuasion campaigns. He developed techniques of manipulating public opinion while serving Woodrow Wilson during WWI and later worked for the biggest US companies. He was the one responsible for the 1920s smoking campaign targeted at women. Born in Norway in an artistic family and educated in the US, von Morisse turns his acute insight rooted in the European tradition of intellectual irony to examination of American visual and popular culture. His imagery combines cartoon aesthetics with surrealism and pop-art, employing icons of mass culture and history of art for a playful exploration of the consumerist era. ABOUT ANDRE VON MORISSE ANDRE VON MORISSE (Norwegian, b. 1966 in Oslo, Norway, lives and works in the US) Von Morisse is a conceptual painter, interested in exploring aspects of human psychology and how we interact with the world. With his work End of a New Dawn, reviewed by Jonathan Goodman in Art in America (Oct. 2005, p.180), he was the Winner of the Best New Contemporary Artists Award 2005 at the Kunstnerenes Hus Museum in Oslo, Norway. End of a New Dawn explores relationship between painting and photography “reversing" the traditional roles of the two mediums by using paintings as the starting point for an elaborate and intricate photographic process. Andre von Morisse was born in Oslo, Norway in 1966 and came to America in 1978. In 1990, he graduated cum laude from the Art Center College of Design in Pasadena, CA and moved to New York in 1991. His works were featured in many group shows in galleries and museums in the US: Kunstnerenes Hus Oslo, Norway; The Gibbes Museum of Art, Charleston, SC; Mobile Museum of Art, Mobile, AL; Leigh Yawkey Woodson Art Museum, Wausau, WI; Museum of Southwest Texas, Midland, TX ; Art Museum of South Texas, Corpus Christi, TX. He had solo exhibitions with Silas Von Morisse Gallery (2016 & 2018), McKenzie Fine Art (2005 & 2003), and James Graham and Sons (2000, 1997) in New York, NY. His work was reviewed in: Artsy (2018), Artcritical (2018), Two Coats of Paint (2018), Artnet news (2017), The Vienna Psychoanalyst (2016), Photograph (2016), New York Times T Magazine (2014), ELLE Girl Japan (2014), Blouin Art Info (2014), Luxe Immo (2013), Art News (2007), The Morning News...