415 results for "chuck close"

This exquisite watercolor by Ian Hornak (1944–2002), titled Still Life with Fruit Bowls and Yellow Flowers, was executed circa 1963 during the artist’s undergraduate studies. Created...

This exquisite watercolor by Ian Hornak (1944–2002), titled Expressionist Floral Bouquet, was executed in 1963 during the artist’s undergraduate studies. Created during the formative...

This exquisite watercolor by Ian Hornak (1944–2002), titled Still Life with Lantern and Floral Arrangement, was executed circa 1963 during the artist’s undergraduate studies. Created...

This exquisite watercolor by Ian Hornak (1944–2002), titled Intimate Still Life with Potted Plant and Glass Vessel, was executed circa 1963 during the artist’s undergraduate studies....

This exquisite watercolor by Ian Hornak (1944–2002), titled Vibrant Floral Still Life with Chair and Fruit Bowl, was executed circa 1963 during the artist’s undergraduate studies. Cr...

This exquisite watercolor by Ian Hornak (1944–2002), titled Abstract Floral Still Life with Basket and Fruit, was executed circa 1963 during the artist’s undergraduate studies. Creat...

This exquisite watercolor by Ian Hornak (1944–2002), titled Interior Still Life with Potted Plant and Drapery, was executed circa 1963 during the artist’s undergraduate studies. Crea...

This exquisite watercolor by Ian Hornak (1944–2002), titled Autumn Still Life with Grapes and Pine Cone, was executed circa 1963 during the artist’s undergraduate studies. Created du...

This exquisite watercolor by Ian Hornak (1944–2002), titled Interior Still Life with Floral Arrangement and Textile, was executed circa 1963 during the artist’s undergraduate studies...

This exquisite watercolor by Ian Hornak (1944–2002), titled Abstract Floral Still Life, was executed circa 1963 during the artist’s undergraduate studies. Created during the formativ...

This exquisite watercolor by Ian Hornak (1944–2002), titled Floral Still Life with Decorative Vase, was executed circa 1963 during the artist’s undergraduate studies. Created during ...

This exquisite watercolor by Ian Hornak (1944–2002), titled Seated Female Nude in Interior, was executed circa 1963 during the artist’s undergraduate studies. Created during the form...

This exquisite watercolor by Ian Hornak (1944–2002), titled Abstract Floral Arrangement, was executed circa 1963 during the artist’s undergraduate studies. Created during the formati...

This exquisite watercolor by Ian Hornak (1944–2002), titled Abstract Floral Composition, was executed circa 1963 during the artist’s undergraduate studies. Created during the formati...

This exquisite watercolor by Ian Hornak (1944–2002), titled Seated Male Figure, was executed circa 1963 during the artist’s undergraduate studies. Created during Hornak’s formative y...

This exquisite watercolor by Ian Hornak (1944–2002), titled Still Life with Brass Instruments, was executed circa 1963 during the artist’s undergraduate studies. Created during the f...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Primeval Landscape, was executed in 1985. The work belongs to one of the most fascinating transitional periods of Ho...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Raphael’s Stairway, was executed in 1975. The masterfully conceived composition belongs to Hornak’s celebrated serie...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Ancient flowers beneath a Black Sun (Solar Eclipse), was executed in 1987. The masterfully conceived composition exe...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled The Banyan Tree, Variation #4, was executed in 1981. The masterfully conceived composition exemplifies Hornak’s cele...

This exquisite oil painting by Ian Hornak (1944–2002), titled Les fleurs a la Maniere de Redon #7: Anemones (Flowers in the Manner of Redon #7: Anemones), was executed in 1998. The r...

This exquisite oil painting by Ian Hornak (1944–2002), titled Les fleurs à la Manière de Redon #8: delphiniums and poppies (Flowers in the Manner of Redon #8: Delphiniums and Poppies...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Last Song: Beim Schlafengehen (Going to Sleep), was executed between 1985 and 2001. The masterfully conceived compos...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Last Song: Im Abendrot (In Evening’s Glow), was executed between 1985 and 2001. The masterfully conceived compositio...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Sandpit, was executed in 1966. Created during the formative years of Hornak’s artistic development, this luminous la...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled The Angel Concert, Variation #2, was executed in 1979. The masterfully conceived composition belongs to Hornak’s cel...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Primeval Landscape, was executed in 1985. This masterfully conceived composition belongs to a pivotal and highly sig...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Primeval Landscape, was executed in 1985. The masterfully conceived composition belongs to a pivotal and highly sign...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Childhood of Hephaestus, Variation #5, was executed in 1985. The masterfully conceived composition belongs to Hornak...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Pastoral Landscape (Pastoral Landscape), was executed circa 1971. The masterfully conceived composition belongs to H...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Georgica Pond at Sunset, East Hampton, was executed in 1973. The masterfully conceived composition belongs to Hornak...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Transparent Barricades: Variation #2, was executed in 1974. The masterfully conceived composition exemplifies Hornak...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Gabriel’s Pavilion: Variation #2, was executed in 1979. The masterfully conceived composition exemplifies Hornak’s c...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Transparent Barricades: Sunrise and Moonrise, was executed in 1985. The masterfully conceived composition exemplifies Hornak’s celebrated series of multiple-exposure landscape paintings, a body of work that transformed conventional landscape imagery into complex meditations on memory, perception, and the passage of time. Through the seamless fusion of distinct moments within a single visual field, Hornak creates a dreamlike yet convincing reality in which sunrise and moonrise coexist simultaneously, dissolving traditional boundaries between day and night, observation and recollection. The silhouetted tree forms, luminous celestial light, and brilliantly layered sky are rendered with extraordinary precision, producing an image that is at once visually breathtaking and intellectually engaging. By combining photographic realism with poetic invention, Hornak invites viewers to contemplate the fluid nature of time and experience, presenting multiple realities within a unified composition. Executed during a pivotal period in the artist’s career, the painting demonstrates Hornak’s remarkable ability to synthesize technical mastery, environmental observation, and metaphysical inquiry into a singular and unforgettable vision of the natural world. Executed in acrylic on canvas, this work measures 30 x 40 inches (76.2 x 101.6 cm). Signed by the artist. Artwork Details: Artist: Ian Hornak (1944–2002) Title: Transparent Barricades: Sunrise and Moonrise Medium: Acrylic on canvas Dimensions: 30 x 40 inches (76.2 x 101.6 cm) Inscription: Signed by the artist Date: 1985 Condition: Well preserved, consistent with age and medium Provenance: Armstrong Gallery, New York, New York About the Artist: Ian Hornak (1944–2002) was an American painter, draughtsman, printmaker, and pioneering force in Photorealism and Hyperrealism whose extraordinary technical mastery, visionary imagination, and innovative approach to realism established him as one of the most distinctive and original artists of the late twentieth century. Widely recognized as a founding member of both the Photorealist and Hyperrealist movements, Hornak helped redefine the possibilities of contemporary realism by combining photographic precision with symbolism, romanticism, mythology, environmental awareness, art historical references, and metaphysical inquiry, creating a body of work that stands apart within postwar American art for both its visual brilliance and intellectual ambition. Born in Philadelphia and raised in Michigan before establishing his career in New York and East Hampton, Hornak emerged during one of the most transformative periods in modern art and developed a highly individual visual language that transcended conventional artistic categories. While many of his contemporaries focused on strict photographic transcription, urban imagery, or detached observation, Hornak utilized realism as a foundation for exploring profound themes of memory, beauty, mortality, spirituality, environmental fragility, and humanity’s relationship with nature, producing works that operate simultaneously as visual spectacles and philosophical meditations. His artistic vision reflects an awareness of the revolutionary innovations introduced by Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, while simultaneously drawing inspiration from the Hudson River School, particularly Frederic Edwin Church, Martin Johnson Heade, Thomas Cole, and Albert Bierstadt, as well as the spiritual landscapes of Caspar David Friedrich and the botanical precision of Dutch Golden Age masters such as Jan van Huysum and Rachel Ruysch. Through this extraordinary synthesis of influences, Hornak created a visual language that united scientific observation, photographic realism, romantic grandeur, allegorical symbolism, and philosophical reflection into a form entirely his own. During the late 1960s and early 1970s, Hornak emerged as one of the earliest artists associated with the newly developing Photorealist movement, producing panoramic landscapes of astonishing complexity and technical sophistication that challenged prevailing assumptions regarding realism and representation. These groundbreaking paintings incorporated the visual effects of multiple-exposure photography, allowing Hornak to present numerous viewpoints, shifting perspectives, and compressed moments in time within a single composition, years before such approaches became commonplace in contemporary art. He was also among the first contemporary artists to extend pictorial imagery beyond the edges of the canvas and onto elaborately painted frames, dissolving the boundary between artwork and object and anticipating later developments in installation art and expanded-field painting. These innovations earned widespread critical acclaim and positioned Hornak alongside major contemporaries such as Chuck Close, Richard Estes, Audrey Flack, Ralph Goings, Robert Bechtle, Malcolm Morley, Richard McLean, and Don Eddy, yet his work remained distinguished by its emotional resonance, romantic sensibility, and deep engagement with both art history and the natural world. As his career evolved, Hornak increasingly moved beyond the concerns of mainstream Photorealism and developed a more personal and ambitious artistic vision, culminating in the monumental botanical, allegorical, and symbolic masterpieces of the 1980s and 1990s that many scholars regard as the pinnacle of his achievement. These extraordinary paintings combined hyperreal floral imagery, celestial phenomena, rare minerals, birds, insects, architectural motifs, mythological references, and complex still-life arrangements into dazzling visual orchestrations that reward prolonged viewing and intellectual engagement. Major works such as Raphael’s Stairway, Echo Loses Narcissus, Hannah’s Mirror, Very Baroque Flowerpiece, and the celebrated Last Song series transformed traditional genres into contemporary meditations on beauty, mortality, history, science, religion, art history, and the cosmos. Unlike many photorealists whose work remained rooted primarily in observation, Hornak elevated realism into a vehicle for symbolic and philosophical exploration, creating paintings that function simultaneously as technical masterpieces, visual narratives, intellectual puzzles, and poetic reflections on existence itself. Throughout his career, Hornak was represented by influential galleries including Tibor de Nagy Gallery, Fischbach Gallery, and Katharina Rich Perlow Gallery, exhibiting extensively in New York and internationally. His work received praise from leading critics and publications, including The New York Times, which described him as being “right at the top of romantically descriptive painters today.” His paintings entered important private, corporate, and institutional collections, and his reputation has continued to grow through significant posthumous exhibitions at institutions including the Forest Lawn Museum, the Board of Governors of the Federal Reserve System in Washington, D.C., the Washington County Museum of Fine Arts, the Anton Art Center, and the Moss-Thorns Gallery of Art. Hornak’s influence extends far beyond Photorealism into later generations of realist, hyperrealist, symbolic, environmental, and representational painters who continue to explore the intersection of photography, illusion, narrative, environmental awareness, and metaphysical content. Today, his paintings, drawings, and prints remain highly sought after by collectors who recognize their rarity, beauty, technical excellence, and historical importance, while his personal papers are preserved in the Smithsonian Institution’s Archives of American Art, affirming his place within the broader narrative of twentieth-century American art. As international interest in museum-quality realism continues to expand and collectors increasingly seek historically significant artists whose scholarly importance exceeds their current market valuations, Hornak’s work has attracted growing attention for its originality, ambition, and uniqueness within American art. His highest recorded sale was achieved in 2017, when Large Orchid Bouquet (1988) was sold in a private transaction conducted in association with the heir of the Ian Hornak estate to the Van Andel family, co-owners of Amway, for US$165,000 ($219,168.11 USD, calculated for inflation in 2025), underscoring the growing recognition of an artist whose significance within the history of American realism continues to expand. Ian Hornak Transparent Barricades: Sunrise and Moonrise, Ian Hornak multiple exposure landscape, Ian Hornak acrylic on canvas, Ian Hornak 1985 painting, Ian Hornak sunrise landscape, Ian Hornak moonrise painting...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled October: The Nature Trail, East Hampton, was executed between 1973 and 1994. The masterfully conceived composition e...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Marcia’s Meadow, Vermont, Variation #2, was executed in 1984. The masterfully conceived composition exemplifies Horn...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Martin Heade’s Window, was executed in 1980. The masterfully conceived composition exemplifies Hornak’s celebrated s...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Lilies and Mushrooms with my Parrot Kouka, was executed in 1986. The masterfully conceived composition exemplifies H...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Scarlet and Blue Macaw, was executed in 1985–1986. The masterfully conceived composition exemplifies Hornak’s mature synthesis of Hyperrealism, symbolism, illusionism, and art historical reference, presenting a brilliantly rendered scarlet and blue macaw within a meticulously constructed visual environment of extraordinary complexity and sophistication. The dazzling plumage, dramatic architectural enclosure, tropical vegetation, and luminous artist-painted frame are depicted with astonishing clarity and chromatic intensity, transforming a traditional avian subject into a meditation on beauty, captivity, freedom, perception, and the relationship between the natural and constructed worlds. Through his remarkable command of light, texture, color, and spatial illusion, Hornak elevates the bird portrait into a philosophical exploration of observation and existence, demonstrating the intellectual ambition and technical virtuosity that distinguish his finest works. Executed during one of the most celebrated periods of his career, the painting reflects Hornak’s unique ability to unite photographic realism, symbolic meaning, decorative splendor, and painterly refinement within a single, visually sublime composition. The artist-painted frame functions as an integral extension of the imagery, dissolving the boundary between painting and object while reinforcing the immersive and metaphysical qualities of the work. Executed in acrylic on panel with artist’s painted frame, this work measures 58.5 x 42.5 inches (148.59 x 107.95 cm). Signed and dated by the artist. Artwork Details: Artist: Ian Hornak (1944–2002) Title: Scarlet and Blue Macaw Medium: Acrylic on panel with artist’s painted frame Dimensions: 58.5 x 42.5 inches (148.59 x 107.95 cm) Inscription: Signed, dated by the artist Date: 1985–1986 Condition: Well preserved, consistent with age and medium Provenance: Katharina Rich Perlow Gallery, New York, New York; Estate of Ian Hornak, East Hampton, New York About the Artist: Ian Hornak (1944–2002) was an American painter, draughtsman, printmaker, and pioneering force in Photorealism and Hyperrealism whose extraordinary technical mastery, visionary imagination, and innovative approach to realism established him as one of the most distinctive and original artists of the late twentieth century. Widely recognized as a founding member of both the Photorealist and Hyperrealist movements, Hornak helped redefine the possibilities of contemporary realism by combining photographic precision with symbolism, romanticism, mythology, environmental awareness, art historical references, and metaphysical inquiry, creating a body of work that stands apart within postwar American art for both its visual brilliance and intellectual ambition. Born in Philadelphia and raised in Michigan before establishing his career in New York and East Hampton, Hornak emerged during one of the most transformative periods in modern art and developed a highly individual visual language that transcended conventional artistic categories. While many of his contemporaries focused on strict photographic transcription, urban imagery, or detached observation, Hornak utilized realism as a foundation for exploring profound themes of memory, beauty, mortality, spirituality, environmental fragility, and humanity’s relationship with nature, producing works that operate simultaneously as visual spectacles and philosophical meditations. His artistic vision reflects an awareness of the revolutionary innovations introduced by Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, while simultaneously drawing inspiration from the Hudson River School, particularly Frederic Edwin Church, Martin Johnson Heade, Thomas Cole, and Albert Bierstadt, as well as the spiritual landscapes of Caspar David Friedrich and the botanical precision of Dutch Golden Age masters such as Jan van Huysum and Rachel Ruysch. Through this extraordinary synthesis of influences, Hornak created a visual language that united scientific observation, photographic realism, romantic grandeur, allegorical symbolism, and philosophical reflection into a form entirely his own. During the late 1960s and early 1970s, Hornak emerged as one of the earliest artists associated with the newly developing Photorealist movement, producing panoramic landscapes of astonishing complexity and technical sophistication that challenged prevailing assumptions regarding realism and representation. These groundbreaking paintings incorporated the visual effects of multiple-exposure photography, allowing Hornak to present numerous viewpoints, shifting perspectives, and compressed moments in time within a single composition, years before such approaches became commonplace in contemporary art. He was also among the first contemporary artists to extend pictorial imagery beyond the edges of the canvas and onto elaborately painted frames, dissolving the boundary between artwork and object and anticipating later developments in installation art and expanded-field painting. These innovations earned widespread critical acclaim and positioned Hornak alongside major contemporaries such as Chuck Close, Richard Estes, Audrey Flack, Ralph Goings, Robert Bechtle, Malcolm Morley, Richard McLean, and Don Eddy, yet his work remained distinguished by its emotional resonance, romantic sensibility, and deep engagement with both art history and the natural world. As his career evolved, Hornak increasingly moved beyond the concerns of mainstream Photorealism and developed a more personal and ambitious artistic vision, culminating in the monumental botanical, allegorical, and symbolic masterpieces of the 1980s and 1990s that many scholars regard as the pinnacle of his achievement. These extraordinary paintings combined hyperreal floral imagery, celestial phenomena, rare minerals, birds, insects, architectural motifs, mythological references, and complex still-life arrangements into dazzling visual orchestrations that reward prolonged viewing and intellectual engagement. Major works such as Raphael’s Stairway, Echo Loses Narcissus, Hannah’s Mirror, Very Baroque Flowerpiece, and the celebrated Last Song series transformed traditional genres into contemporary meditations on beauty, mortality, history, science, religion, art history, and the cosmos. Unlike many photorealists whose work remained rooted primarily in observation, Hornak elevated realism into a vehicle for symbolic and philosophical exploration, creating paintings that function simultaneously as technical masterpieces, visual narratives, intellectual puzzles, and poetic reflections on existence itself. Throughout his career, Hornak was represented by influential galleries including Tibor de Nagy Gallery, Fischbach Gallery, and Katharina Rich Perlow Gallery, exhibiting extensively in New York and internationally. His work received praise from leading critics and publications, including The New York Times, which described him as being “right at the top of romantically descriptive painters today.” His paintings entered important private, corporate, and institutional collections, and his reputation has continued to grow through significant posthumous exhibitions at institutions including the Forest Lawn Museum, the Board of Governors of the Federal Reserve System in Washington, D.C., the Washington County Museum of Fine Arts, the Anton Art Center, and the Moss-Thorns Gallery of Art. Hornak’s influence extends far beyond Photorealism into later generations of realist, hyperrealist, symbolic, environmental, and representational painters who continue to explore the intersection of photography, illusion, narrative, environmental awareness, and metaphysical content. Today, his paintings, drawings, and prints remain highly sought after by collectors who recognize their rarity, beauty, technical excellence, and historical importance, while his personal papers are preserved in the Smithsonian Institution’s Archives of American Art, affirming his place within the broader narrative of twentieth-century American art. As international interest in museum-quality realism continues to expand and collectors increasingly seek historically significant artists whose scholarly importance exceeds their current market valuations, Hornak’s work has attracted growing attention for its originality, ambition, and uniqueness within American art. His highest recorded sale was achieved in 2017, when Large Orchid Bouquet (1988) was sold in a private transaction conducted in association with the heir of the Ian Hornak estate to the Van Andel family, co-owners of Amway, for US$165,000 ($219,168.11 USD, calculated for inflation in 2025), underscoring the growing recognition of an artist whose significance within the history of American realism continues to expand. Ian Hornak Scarlet and Blue Macaw, Ian Hornak macaw painting...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Echo Loses Narcissus, was executed in 1978. The masterfully conceived composition exemplifies Hornak’s mature synthe...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled The Song of Zephyrus, Variation #2, was executed in 1979. The masterfully conceived composition exemplifies Hornak’s...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Volcano #2, was executed in 1971. The masterfully conceived composition exemplifies Hornak’s early synthesis of Phot...

This exquisite acrylic and pen and ink painting by Ian Hornak (1944–2002), titled Female Nude: Moonlight (Andy Warhol Superstar, Ultra Violet), was executed in 1971. The masterfully ...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Sorcerer Series: Beast Head, Spider Web, was executed in 1969. The masterfully conceived composition exemplifies Hor...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Cockatoo, was executed in 1985. The masterfully conceived composition exemplifies Hornak’s mature synthesis of Hyper...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Nocturne I: White Peacock, Black Cockatoo, was executed in 1990. The masterfully conceived composition exemplifies H...

This exquisite oil painting by Ian Hornak (1944–2002), titled Still Life with Lobster, Helicona, and Silver Pitcher, was executed in 1998. The masterfully conceived composition exemp...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Landscape Painted for a Marriage, was executed in 1980. The masterfully conceived composition occupies a unique and ...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Light from the Past, 1st Version, was executed in 1985. The work belongs to one of the most compelling transitional ...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Domain of Asmodeus, was executed in 1985. The painting belongs to one of the most fascinating transitional periods o...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Waiting for the Barbarians, was executed in 1985. The painting belongs to one of the most intriguing and transitiona...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Ghosts at Dawn, was executed in 1985. The monumental and visionary composition represents one of the most ambitious ...

Chuck Close Self Portrait, 2012 is hand-signed by Chuck Close (Washington, 1940 - New York, 2021) in pencil in the lower right margin and is ...

Original Painting of Flamingo with attitude. On linen. This is a beautiful piece by a world-renowned artist whose recent international exhib...

Jack Tworkov "TL#6" 1978 Lithograph Edition 103/250 (aside from 15 artist's proofs) Signed, titled, numbered and dated in pencil Printed at Tamarind Institute, Albuquerque, NM by Bil...