Art on Sale

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 12.75 x 9.75 inches condition: excellent provenance: all the paintings we ...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 8.25 x 7.25 inches condition: excellent provenance: all the paintings we h...

Beautiful ca. 1960 portrait by American artist, Vito Tomasello. Oil on sized illustration board measuring 21.5 x 30 inches. Signed lower right. A lifetime NYC resident, Tomasello ...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 10.75 x 8.5 inches condition: excellent provenance: all the paintings we h...

Beautiful abstract sculpture depicting a guitar player. Bronze on wood base measuring 15 x 9 x 4 inches. Actual cast piece without base measuring 17 x 7 x 3 inches. Signed indistinct...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 12.75 x 9.75 inches condition: excellent provenance: all the paintings we ...

Kyohei Inukai Life Forces - 1978 Print - Silkscreen   30'' x 22½'' in Edition: signed in pencil and marked 128/200 Since the 1940s, Kyohei Inukai has created his own brand of illusi...

Acrylic painting on canvas Fluid, expressionist, abstract, moder, minimal style. Unique piece impossible to replicate Unframed

I have worked on a series of abstract paintings. This abstract series is dedicated to a "heart- mind connection". This is the one of them called "Duality". While working on this ar...

This painting is a part of the Summer Bloom Series. Night Bloom Jasmine, commonly known as Lady of the Night, has the sweetest scent and attracts moths and bats in the wild, though i...

Abstract Expressionist Composition by Gilbert Pelissier (French born 1924) signed, inscribed verso oil painting on canvas, unframed canvas size: 36 x 29 inches condition: overall ver...

Summer Bloom series began in 2022, where Shizico Yi celebrating the season by painting en plein air in her garden. In 2024, she embarks on a fresh chapter with her new rose garden, w...

Reaching, ca. 1980. Cast bronze. Signed in lower region on wrist. A rare example from the artist's later period influenced by figurative abstraction with expressionist tendencies. James Edward Lewis (August 4, 1923 – August 9, 1997) was an African-American artist, art collector, professor, and curator in the city of Baltimore. He is best known for his role as the leading force for the creation of the James E. Lewis Museum of Art, an institution of the HBCU Morgan State University. His work as the chairman of the Morgan Art Department from 1950 to 1986 allowed for the museum to amass a large collection of more than 3,000 works, predominantly of African and African diasporan art.[1] In addition, he is also well known for his role as an interdisciplinary artist, primarily focused on sculpture, though also having notable examples of lithography and illustration. His artistic style throughout the years has developed from an earlier focus on African-American history and historical figures, for which he is most notable as an artist, to a more contemporary style of African-inspired abstract expressionism. Early and personal life James E. Lewis was born in rural Phenix, Virginia on August 4, 1923 to James T. Lewis and Pearline (Pearlean) Harvey.[5] Lewis' parents were both sharecroppers. Shortly after his birth, his father moved to Baltimore for increased job opportunity; James E. was subsequently raised by his mother until the family was reunited in 1925. They lived for a short time with distant relatives until moving to a four-bedroom house on 1024 North Durham Street in East Baltimore, a predominantly African-American lower-class neighborhood close to Johns Hopkins Hospital. Lewis' primary school, PS 101, was the only public school in East Baltimore that served black children. Lewis grew up in a church-going family, his parents both active members of the Faith Baptist Church, devoting the entirety of their Sundays to church activities. His parents worked a variety of different jobs throughout his youth:[6] his father working as a stevedore for a shipping company, a mechanic, a custodian, a mailroom handler,[6] and an elevator operator.] His mother worked as both a clerk at a drugstore[7] and a laundress for a private family.[4] Lewis' primary exposure to the arts came from Dr. Leon Winslow, a faculty member at PS 101 who Lewis saw as "providing encouragement and art materials to those who wanted and needed it." In fifth grade, Lewis transferred to PS 102. Here, he was able to receive specialized Art Education in Ms. William's class under the guidance of Winslow. He was considered a standout pupil at PS 102 as a result of his introduction to the connection between the arts and the other studies. His time spent in Ms. Pauline Wharton's class allowed for him to experiment with singing, to which he was considered a talented singer. His involvement in this class challenged his earlier belief that singing was not a masculine artistic pursuit. He was able to study both European classics and negro spirituals, which was one of his earliest introductions to arts specific to American black culture. Under Ms. Wharton's direction, he was also involved in many different musical performances,[6] including some works of the Works Progress Administration's Federal Theatre Project.[8] Lewis attended Paul Laurence Dunbar High School, where his love of the arts was heightened through his industrial art class with Lee Davis...

Klaus Ihlenfeld (b.1934). Untitled, ca. 1960. Welded bronze. 8" h.; 5.5 " w; 3.25" d (base). Signed with initial under base. Provenance: Directly from estate of Harry Bertoia. The piece was a gift from Ihlenfeld and is a very early example created during Bertoia apprenticeship era. Excellent condition. Klaus Karl Otto IhlenfeldHe was born in Berlin, Germany in 1934. He studied art at the Hochschule für Bildende Künste and completed graduate work with the metal sculptor Hans Uhlmann. He visited the US in 1957 for the first time living in Durham, NC, where he befriended Dr. W. R. Valentiner, the Rembrandt authority and Director of the Museum of Art, Raleigh, NC. Through this friendship in 1960 he met and worked with the metal sculptor Harry Bertoia in Barto, PA. He joined the Staempfli Gallery in NYC and entered in many group and one-man shows. He has been an Artist-in-Residence in Ogden, Utah; Huntington Museum of Art in West Virginia, Penn State University at University Park; the Colorado State University in Denver; and Shippensburg University. He has large commissions at Kutztown University, Pottstown Hospital, and a monumental relief sculpture at the Emigrant Savings Bank in NYC. He has traveled extensively in Spain, Greece, and Mexico. He is living and working on a farm in Barto, PA welding bronze and forged iron metal sculptures and painting watercolors. Group Shows: North Carolina Museum of Art in Raleigh, NC - 1957 Solomon R. Guggenheim Museum in New York City - 1962 Staempfli Gallery in New York City - 1962, 1964 and 1965 Gallery Ludwig Lange in West Berlin, Germany - 1977 Gallery Herbert Remmert and Dr. Barth in Dusseldorf in West Germany - 1981 Jack Savitt Gallery in Macungie, PA - 1981 and 1984 Heinz Ortleb Gallery, West Berlin, Germany - 1992 Central Bucks Chamber of Commerce Show at the James A. Michener Art Museum in Doylestown, PA - 1997 Berks Art Alliance Show at the Reading Art Museum in Reading, PA - 1997 Mayfair Festival of the Arts at the Allentown Art Museum - 1998 Baum School of Art in Allentown, PA - 1997 Schwenkfelder Library and Heritage Center Art Show in Pennsburg, PA - 2001 Reading Public Museum in Reading PA, 2014 Solo Shows: Kutztown University in Kutztown, PA - 1960 and 1965 Allentown Art Museum in Allentown, PA - 1960 and 1961 Staempfli Gallery in New York City - 1962 Penn State University in University Park, PA - 1964 and 1972 Berks Art Alliance in Wyomissing, PA - 1966 Bertha Eccles Art Center in Ogden, Utah - 1967 Mansfield University in Mansfield, PA - 1967 Huntington Museum of Art in Huntington, WV - 1971 Shippensburg University in Shippensburg, PA - 1972 Albright College in Reading, PA - 1973 Ianuzzi Gallery in Scottsdale, AZ - 1974 Gallery Heimat 85 in West Berlin, Germany - 1977 Jack Savitt Gallery in Macungie, PA - 1981 College Misericordia in Dallas, PA - 1983 Schwenkfelder Library and Heritage Center in Pennsburg, PA, 2013 Periodical Reference: Kaye, Ellen "The Obsessive Collector," Philadelphia Inquirer Sunday Magazine Sptember 21, 1986 pp. 32-33. Chronology: 1-30-1934 Born in Berlin, Germany. Father, Kurt Ihlenfeld, Lutheran pastor, novelist, critic and publisher was born in 1901 in Colmar, Alsace Lorain. Mother, Annie Stuhlmann, was born in 1905 in Breslau, Lower Silesia. 1940 - 1950 Public schools in Berlin; Löwen, Lower Silesia; Coswig, Radebeul, Glaubitz, Saxony. Königin Luise-Gymnasium in Dahlem, Berlin. First artworks, drawings and paintings; few sculptures. 1950 - 1956 Studied at the Hochschule für Bildende Künste in West Berlin, Germany. Graduate work with metal sculptor Hans Uhlmann. For 2 years maintained own studio at the Academy. Friendship with writer Günter Grass, and painter F. S. Sonnenstern. Met painters: Max Pechstein, Karl Schmidt-Rottluff, Carl Hofer, Max Kaus, and sculptors: Bernhard Heiliger, Renee Sintenis, and Richard Scheibe...

Nerea Caos (1993) - the all-seeing eye - Oil on canvas Canvas size 54X65 cm. Frameless. Nerea Sánchez Castro, born in Ferrol, Galicia in 1993, an art stude...

Louise Delorme (b. 1928). Vase of Flowers, 1969. 26 x 36 inches; 27 x 37 inches framed. Signed lower left. Titled and dated on verso. Excellent condition.

This special large Ink and Gold leaf on canvas board created by Shizico in early autumn, her Cat and the garden take centre stage. The pictorial language in this series pays homage t...

"Red" is a striking piece from Elizabeth Art Candy’s latest series dedicated to "Marshmallows", inspired by the evocative power of "sweet memories". This contemporary wall sculpture ...

Light Thoughts, 2024 Mix Media on artist board Size - 72" height x 84" width x 1.75" depth Signed Murray Duncan is a self-taught creative visionary. Know for his large-scale, expres...

This contemporary abstract expressive vivid painting by French artist Natalya Mougenot is titled "Peace 0.2". It’s a bold and emotionally charged piece inspired by the subtle harmony...

Russian Icon by Peter Kalkhof (German, 1933-2014) acrylic painting on canvas, unframed 61cm x 56cm Stunning original painting by the very well listed German born painter, Peter Kalk...

This painting is in excellent condition, new gallery arrival. Cortes is a Spanish artist born in Valencia in 1963. He began law studies in his hometown, which he abandoned to devote...

Interior design paintings. The work was done with alcohol ink in ultramarine blue color on Yupo paper. The work is 11 by 14 inches in size, framed (gold or black) with a styrene face...

Impasto-painted strokes of bright colors are the framework of artist Shiri Phillips’ abstract artworks. Her paintings are flooded with texture through t...

Roland Ayers (1932-2017). Untitled, 1983. Ink on paper, measures 17 x 23 inches. Unframed and unmounted. Signed and dated lower left. Ayers holds the distinction of having participated in the first important survey of African-Americans, Contemporary Black Artists in America, a 1971 show at The Whitney. Biography: Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of Alice and Lorenzo Ayers, and grew up in the Germantown district of Philadelphia. Ayers served in the US Army (stationed in Germany) before studying at the Philadelphia College of Art (currently University of the Arts). He graduated with a BFA in Art Education, 1954. He traveled Europe 1966-67, spending time in Amsterdam and Greece in particular. During this period, he drifted away from painting to focus on linear figurative drawings of a surreal nature. His return home inaugurated the artist’s most prolific and inspired period (1968-1975). Shorty before his second major trip abroad in 1971-72 to West Africa, Ayers began to focus on African themes, and African American figures populated his work almost exclusively. In spite of Ayers’ travel and exploration of the world, he gravitated back to his beloved Germantown, a place he endowed with mythological qualities in his work and literature. His auto-biographical writing focuses on the importance of place during his childhood. Ayers’ journals meticulously document the ethnic and cultural make-up of Germantown, and tell a compelling story of class marginalization that brought together poor families despite racial differences. The distinctive look and design of Germantown inform Ayers’ visual vocabulary. It is a setting with distinctive Gothic Revival architecture and haunting natural beauty. These characteristics are translated and recur in the artist’s imagery. During his childhood, one of the only books in the Ayers household was an illustrated Bible. The images within had a profound effect on the themes and subjects that would appear in his adult work. Figures in an Ayers’ drawing often seem trapped in a narrative of loss and redemption. Powerful women loom large in the drawings: they suggest the female role models his journals record in early life. The drawings can sometimes convey a strong sense of conflict, and at other times, harmony. Nature and architecture seem to have an antagonistic relationship that is, ironically, symbiotic. A critical turning point in the artist’s career came in 1971 when he was included in the extremely controversial Whitney Museum show, Contemporary Black Artists in America. The exhibition gave Ayers an international audience and served as a calling card for introductions he would soon make in Europe. Ayers is a particularly compelling figure in a period when black artists struggled with the idea of authenticity. A questioned often asked was “Is your work too black, or not black enough?” Abstractionists were considered by some peers to be sell-outs, frauds or worse. Figurative* work was accused of being either sentimental or politically radical depending on the critical source. Ayers made the choice early on to be a figurative artist, but considered his work devoid of political content. Organizations such as Chicago’ s Afri-Cobra in the late 1960‘s asserted that the only true black art of any relevance must depict the black man and woman...

Barbara Keidel Untitled (XX) (Abstract, Red, Grey) Linocut 1996 Edition: 3 Numbered and dated by hand in pencil Size: 9 x 8.25 inches (22.86 x 20.95 cm) COA provided Tags: Abstr...

Blue phthalocyanine , 180x150 cm, acrylic, canvas

This reproduction of Ellsworth Kelly's iconic work "Red, Yellow and Blue" (originally created in 1963) exemplifies his mastery of color, form, and minimalist abstraction. Published b...

Imposing and very large scale mixed media 'assemblage' by French artist Armand Avril. The work includes the French tricolour flag colours, his symbolic cat sculptures and a highly colourful geometric image of the artist's mother sitting in a chair. The work is signed and dated to the reverse and comes with a certificate of authenticity from the gallery. This montage fully demonstrates Avril's geometric period whilst also expressing the humour and joy that he puts into all his work. A very strong sculptural image and a feast for the eyes in searching for and recognising the everyday objects used in making this piece come alive. This montage is made from wood pieces, plywood, oil paint, acrylic, bottle top and nails . The more sculpted areas of the piece stand out up to 3cm from the frame. Armand Avril was born in 1926 in Lyon. His father, Marcel Avril was a painter and collector of African art. At 16 Armand became an apprentice shepherd in Provence. Avril could always be seen equipped with a sketchbook and a book on the history of art whilst tending his flock. It was not until the age of 30, in 1956, that Armand embarked on painting as an autodidact, influenced by Raoul Dufy, Pierre Bonnard, Henri Matisse and the Lyonnaise School of Painting. He exhibited for the first time in 1957. In 1960, he left for a one-year trip to Africa. There he met the painter Jean Arène who introduced him to the village of Cotignac in the Var and to Louis Pons...

Raul Diaz (Argentina, b.1950). Abstract Figure, ca. 1970s. Canved Walnut. Measures 17 inches tall including wood base. Carved signature in lower region. Excellent condition. An ear...

’Les Oiseaux De Feu’ By Lars Bo Medium - Etching on BFK Rives paper Signed - Yes Edition - 61/120 Date - 1964 Size - 650mm x 500mm Condition - 9 Colour of print may not be ac...

Yuri Larin (1936-2014). Landscape, 1986. Watercolor on paper, 16.5 x 18 inches. Mounted on cardboard sheet measuring 24 x 28 inches. Signed and dated lower ...

Water lilies , 180x120 cm, acrylic, canvas

Title: Lotus Rhyme 4 Medium: Oil on canvas Size: 20"" x 25"" Frame: Framing options available! Age: 2000s Condition: Painting appears to be in excellent condition. Note: This ...

Maggy Clarysse (1931-2011) Oil on thick card, unframed, 7 x 9.5 inches Signed Initials ...

'Lily in Charcoal' 2023 From raw energy to sublime. 'Lily in Charcoal' is an expression piece combining an abstract charcoal drawing with a live lily emerging from a gash. The charc...

Red Chair Interior by Akos Biro (Hungarian 1911-2002) pastel painting on artist paper, unframed painting: 7 x 9 inches provenance: the artists estate, France condition: go...

Artist/ School: Sally Bradshaw, British contemporary Title: abstract expressionist composition Medium: oil on board, framed Framed: 33 x 25 inches Board : 31 x 23 inches Provenan...

Untitled, from ‘The International Association of Art Portfolio’ By Max Bill Medium - Screen print Edition - 3/25 Signed - Yes Size - 640mm x 460mm Date...

Richard Diebenkorn 1984 Olympic Lithograph (Hand signed deluxe limited edition w/Olympic Committee COA), 1982 Lithograph with offset lettering on 100% cotton Parsons Diploma Parchment paper 24 × 36 inches Edition of 750 Hand signed by Richard Diebenkorn in graphite pencil on the front (unnumbered) Published by Knapp Communications Corporation for Los Angeles Olympic Organizing Committee Accompanied by a letter of authenticity from the publisher. This is one of only 750 hand signed lithographic posters, published in 1982 to celebrate the 1984 Los Angeles Olympics . However, the publisher is said to have destroyed many of the works that did not sell in the original marketing period, so only about 200-250 are said t remain. The Olympic Committee commissioned 15 nationally known artists, including West Coast artists like Sam Francis and Richard Diebenkorn, to create unique designs to promote the event. This was Diebenkorn's contribution to the portfolio. Hand signed Richard Diebenkorn prints (with the full signature) like this are extremely elusive and desirable. excellent provenance as it was acquired as part of the complete portfolio of limited edition hand signed Olympic prints, all held in the original box with colophon. All of the works in this rare portfolio, including this Diebenkorn lithograph...

This original limited-edition poster by Eduardo Chillida was published by the renowned Galerie Maeght for the artist’s 1968 exhibition. While unsigned and unnumbered, it remains a va...

Swedish artist Jonas Fisch’s imagery is vibrantly buzzing with colorful commentary on society - past and present - morphed into figures, words, and shapes. His heavily layered canvas...

Abstract Geometric Composition Date: Second half of the 20th century Medium: Gouache on paper Dimensions: H 50 cm x W 65 cm approx. Description: Modular geometric structure with ove...

Edition of 20 pieces

WE WILL SHIP THIS ARTWORK WORK TO YOU WITH A COURTESY PEDRO FRIEDEBERG STYLE BLACK AND GOLD STRIPED FRAME . . . . Pedro Friedeberg is an Italian-born Mexican artist and designer kn...

Title: Untitled Artist: Deyan Valkov Medium: Oil on canvas Dimensions: 24 x 20 inches Year: 2002 (signed on the artwork) Frame: Unframed Style: Abstract Expressionism Description of...

mesmerizing color compositions of liquid cloudscape painting in water, hypnotizing abstract liquidscapes from Christian Stoll‘s body of works titled 'Hemisphere' Hemisphere I by Christian Stoll 58 x 58 inches (147 x 147cm) signed edition of 7 48 x 48 inches (122 x 122cm) signed edition of 7 40 x 40 inches (102 x 102cm) signed edition of 25 archival fine art pigment print signed + numbered by artist on certificate label „frameless“ glass face mounting available on request _________________________ Christian Stoll has experimented with the photography medium since 1991. His predominant interest is the still-life on a monumental scale. As his subject matter, Stoll shoots static objects, forms...

Roland Ayers (1932-2017). Improvisation, 2nd Series, #5. Ink on paper, measures 19 x 24 inches. Unframed and unmounted. Signed and dated lower right, titled lower left. There are a few minor areas of loss in margins as depicted in close-up photos. Additionally, there a a few minor tears in margins. Ayers holds the distinction of having participated in the first important survey of African-Americans, Contemporary Black Artists in America, a 1971 show at The Whitney. Biography: Artist and art educator, Roland Ayers was born on July 2, 1932, the only child of Alice and Lorenzo Ayers, and grew up in the Germantown district of Philadelphia. Ayers served in the US Army (stationed in Germany) before studying at the Philadelphia College of Art (currently University of the Arts). He graduated with a BFA in Art Education, 1954. He traveled Europe 1966-67, spending time in Amsterdam and Greece in particular. During this period, he drifted away from painting to focus on linear figurative drawings of a surreal nature. His return home inaugurated the artist’s most prolific and inspired period (1968-1975). Shorty before his second major trip abroad in 1971-72 to West Africa, Ayers began to focus on African themes, and African American figures populated his work almost exclusively. In spite of Ayers’ travel and exploration of the world, he gravitated back to his beloved Germantown, a place he endowed with mythological qualities in his work and literature. His auto-biographical writing focuses on the importance of place during his childhood. Ayers’ journals meticulously document the ethnic and cultural make-up of Germantown, and tell a compelling story of class marginalization that brought together poor families despite racial differences. The distinctive look and design of Germantown inform Ayers’ visual vocabulary. It is a setting with distinctive Gothic Revival architecture and haunting natural beauty. These characteristics are translated and recur in the artist’s imagery. During his childhood, one of the only books in the Ayers household was an illustrated Bible. The images within had a profound effect on the themes and subjects that would appear in his adult work. Figures in an Ayers’ drawing often seem trapped in a narrative of loss and redemption. Powerful women loom large in the drawings: they suggest the female role models his journals record in early life. The drawings can sometimes convey a strong sense of conflict, and at other times, harmony. Nature and architecture seem to have an antagonistic relationship that is, ironically, symbiotic. A critical turning point in the artist’s career came in 1971 when he was included in the extremely controversial Whitney Museum show, Contemporary Black Artists in America. The exhibition gave Ayers an international audience and served as a calling card for introductions he would soon make in Europe. Ayers is a particularly compelling figure in a period when black artists struggled with the idea of authenticity. A questioned often asked was “Is your work too black, or not black enough?” Abstractionists were considered by some peers to be sell-outs, frauds or worse. Figurative* work was accused of being either sentimental or politically radical depending on the critical source. Ayers made the choice early on to be a figurative artist, but considered his work devoid of political content. Organizations such as Chicago’ s Afri-Cobra in the late 1960‘s asserted that the only true black art of any relevance must depict the black man and woman...

Contemporary Art, Abstract Painting Acrylic on canvas 220 x 210 cm Signed FREE SHIPPING ROLLED UP About the artist Enrique Pichardo (Mexico City, 1973) graduated from Escuela Naci...

This original lithograph by Joan Miró, titled "Lithografia III," is a first printing published in "Joan Miró Lithographs Volume II" in 1975 by Maeght Editeur in Paris. This particula...

Thomas Morin (1934-2017) Untitled, 1962. Cast iron on wood base. Cast sculpture measures 24 x 7 x 5 inches and weighs 49 lbs. Overall measures 26 inches tall on wood base. Proc...

This print was created by Albers for the occasion of an exhibition at Goethe House in Manhattan in 1973. It is in an excellent white contemporary frame. Artist: Josef Albers, German...

This lithograph is part of my private collection. It is limited in edition artist pencil signed lower right and is in very good condition. Roger Bezombes a print maker born in Paris ...

Abstract Figurative Composition in Oil on Board Boldly colored abstract composition by an unknown Bay area California artist (20th Century)...

“Maine Edge 3” 36 x 36 inches is a one-of-a-kind original, modern, abstract impressionist nature inspired painting by Juanita Bellavance. In this highly expressive painting Juanita a...

Abstract Geometric Composition with Handmade Paper, Fibers and Acrylic on Canvas (Red) Whimsical abstract composition by an unknown artist (20th Century). Red acrylic paint makes up...

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Catalogue raisonné references: Axsom, Richard H., and Ellsworth Kelly. The Pri...

Artist/ School: French School, signed lower corner, circa 1980's period. Title: Cubist abstract composition of figures. Medium: oil painting, on canvas. Size: frame: 32.5 x ...

Contemporary Art, Abstract Painting Acrylic on canvas 210 x 215 cm Signed FREE SHIPPING ROLLED UP About the artist Enrique Pichardo (Mexico City, 1973) graduated from Escuela Naci...

Abstract textured acrylic painting on canvas 100x100x2 cm (39,4 x39,4 x 0,8 inches). Mixed Media on gallery wrapped canvas. The work is ready to hang. No framing required. The sides of the work are painted. The artwork is signed, dated and titled. Original artwork with signed Certificate of Authenticity. My artworks are a result of years of studying spiritual books written by Eckhart Tolle. Eckhart Tolle, a spiritual teacher and author, often uses flowers as a metaphor for living in the present moment, which is a central concept in his philosophy. He notes that a flower doesn't think about the past or the future; it simply exists in the present moment, fully expressing its beauty and essence. By observing and appreciating a flower, we can learn to live more fully in the present moment and experience the beauty of life around us. In Tolle's view, flowers can also remind us of the interconnectedness of all things. A flower is not separate from its environment; it relies on the sun, the soil, and other elements to grow and thrive. Similarly, we are not separate from the world around us; we are part of a larger interconnected web of life. By recognizing this interconnectedness, we can develop a greater sense of empathy and compassion for all living beings. Overall, flowers can serve as a powerful symbol and reminder of important concepts in art and spirituality. Whether we are admiring a beautiful flower in a painting or contemplating the lessons that flowers can teach us, they can help us connect with the beauty and interconnectedness of the world around us. I would like to invite you to immerse yourselves in a colorful yet calm world of impasto colors full of meditative floral magic. Style: My technique shows some influence from abstract expressionism and modern art. I use original mixed media in which undiluted acrylic paint, ink, gel medium and structure paste are applied to the canvas. I like to paint impasto abstract paintings...