140 results for "sinks"

A striking 1967 mid-century abstract coastal oil painting titled Rocky Shore by American artist Ann Sink, capturing the rugged energy of the shoreline through expressive brushwork an...

"Billy at the Sink" by RU8ICON1 is an oil painting on canvas, from 2021. It is a figurative panting that depicts a cat at the kitchen sink. The pallet is earth tones. It measures 26...

In her work, Allison Gildersleeve addresses the theme of memory, exploring the phenomenon of past and present becoming collapsed or entwined by the emotional experience. Gildersleeve...

Sinks the sun as a flamingo, 100x80cm, acrylic, pastel, canvas

Calgary artist Aron Hill likes both the structure and the bold form found in architectural elements. This new work on paper is rendered in a striking black on white palette which acc...

Artist Comments
"The flowers hide the face so that you don’t make assumptions about the model, you focus on the beauty of existence," states artist David Shepherd. "You appreciate that they are a person without any impressions of their character. When I compose a painting I think back to my childhood memories. It ties in with what I was saying above. When you’re a child it’s much easier to make friends and enjoy people. That innocence allows for such pure emotion. I always try and get back to that feeling when I’m composing my work."

About the Artist
Canadian artist David Shepherd fuses techniques from both old and modern masters to create contemporary interpretations of the human form. While offering strong nods to pop art and cubism, the work remains grounded by David’s training in 19th Century academic realism. Combining discrete techniques within a single tableau is initially jarring to the viewer, creating an unexpected visual complexity in the work and demonstrating the artist’s breadth of skills. “I think in the future we will be much more interested in works of art that show a mastery of multiple styles,” says David. Each artwork effectually suggests the surreal nature of human existence within a convoluted modern society.

Words that describe this painting: flowers, floral, portrait, realism, hyperrealism, photorealism, hyperreal, face, beauty, eye, rainbow, calm, calming, love, lips, people, large, people, flora, realism, oil painting, pink

Loose Lips...

"Moroccan Sink" is an original oil painting made using high quality oil paints on 3/4" cradled hardwood panel and framed in a birchwood floater frame. T...

Jenny Day is a painter who divides her time between Santa Fe, New Mexico and Tucson, Arizona. She paints a fragmented space, examining human demand and the effects of environmental d...

'Noonan Junk Sink no. 1' featured in the historic San Francisco, Pier 70, mixed media painting with mainly acrylic paint. The 'Dog Patch' region in San Francisco is under mass change...

In this painting, tulips are no longer decorative flowers but living forms with weight, gravity, and presence. Their stems bend, the petals thicken, and the bouquet seems to sink gen...

Bathed in the golden light streaming through the leaves of early spring, a mother hen moves on the fence with quiet purpose of hunting for insects to feed her newly hatched chicks. H...

Through the warm sunset sky, the ocean soars toward the light. A single wave, igniting, bursts into a thousand sparkling droplets, each seemingly holding the last glimmers of the dep...

"My work is about Place. There has always existed within me an urgency to define myself through place that stems from an upbringing full of uprooting and re homing. In the absence o...

Medium: Oil on Canvas Signature: Signed Lower Right

At once elegant and expressive, this dynamic and colourful abstract painting is one in a series created by Canadian visual artist Richard Tosczak in collaboration with an Italian artist. The colour palette is vivid—deep blue, yellow, orange, green, pink turquoise and melon. Tosczak is perhaps best known for his beautiful figurative sculptural work. Angela Letizia Renzi, the Italian artist who worked with Tosczak is a ‘lover of literature and linguistics.’ This acrylic painting was inspired by an Italian myth—the story of a young man who saved the island of Sicily from sinking by diving underwater and shouldering the columns that hold up the island. Renzi and Tosczak paint these canvases together and at the same time. Their artistic interaction is important to the works they create. “The philosophical artistic formation of one and the literary humanistic of the other, are intertwined in a common vocabulary, a visual language of colour, gesture and form: this is our lexicon, our morphosyntax, the grammar of our language." Tosczak and Renzi Richard Tosczak was born in Belgium. He studied philosophy and sculpture at the University of Alberta. At that time, Tosczak began working in steel and was influenced by a number of his professors who appreciated the work of a British abstract sculptor, Sir Anthony Caro considered one of the greatest sculptors of his generation. Further studies were pursued in France with another internationally acclaimed classic sculptor, Martine Vaugel...

The Shipwreck by Anthony Hedges (British marine artist, 20th century) signed oil painting on canvas, framed framed: 25.5 x 35 inches canvas: 20 x 30 inches Provenance: private collec...

Kitchen Sink 16.0 x 22.0 x 1.0, 5.0 lbs Acrylic paint Hand signed by artist Artist's Commentary: "The 'Kitchen Sink' is a beautiful artwork I created using collage, ink, acrylic paint, and other materials. It features subtle colors with green and red tones. It measures 16x22 inches and comes in a white wooden frame, ready to hang. It's perfect for adding creativity and character to your space, showcasing Marc Garrison...

Todd Carpenter's (US based) "Sinking In" is an acrylic painting that depicts a black and white landscape of an industrial river scene. Bio/artist statement: Todd Carpenter is a Lo...

Matthieu Van Plattenberg (Antwerp 1608 - Paris 1660) workshop of Stormy sea with ships Oil on canvas 90 x 120 cm - In antique frame 103 x 133 cm This evocative coastal view...

Items on a dry sink :: Painting :: Impressionist :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: Yes :: Signed: Yes :: Signatu...

signed and dated Otto Sinding Karlsruhe 1873 lower right oil on relined canvas framed 59 × 101 cm (23.2 × 39.8 in) unframed 41 × 83.5 cm (16.1 × 32.9 in) Provenance: The collection ...

Sinks the sun as a flamingo , 100x80cm, acrylic, pastel, canvas

Horizontal figurative photo-realist painting of women swimming in an aqua blue pool "Weightless, Timeless," painted by Hudson Valley artist, Samantha French, is 2019 oil on canvas, 48 x 60 inches Sides are cleanly painted white so additional framing is optional Excellent condition and ready to hang as is This photorealist figurative painting captures a peaceful water scene of a women leisurely floating in a crisp, aqua blue pool. The sunlight reflecting off their sun kissed skin complements the cool color palette, making for a serene visual experience. The brush work is highly detailed with little texture (impasto) on the surface. The horizontal painting on canvas is currently unframed and has clean, white painted sides, so additional framing is optional. About the Artist: Born and raised in north central Minnesota, Samantha French graduated from the Minneapolis College of Art and Design in 2005. French’s current body of work explores the idea of escape, the tranquility and nostalgia for the lazy summer days of her childhood. The series is inspired by Samantha’s own reflections and memories of her childhood summers spent in the lakes of Northern Minnesota. French actively exhibits her paintings and is included in many private and public collections throughout the country while her work has garnered extensive international and national press. She is a full-time painter and keeps a studio in New York’s Hudson Valley. "My current body of work is focused on swimmers underwater and above. Using vague yet consuming memories from my childhood summers spent immersed in the tepid lakes of northern Minnesota, I attempt to recreate the quiet tranquility of water and nature; of days spent sinking and floating, still and peaceful. These paintings are a link to my home and continual search for the feeling of the sun on my face and warm summer days at the lake. They are my escape, a subtle reprieve from the day-to-day. At the same time, I am drawn to an idealistic time before my own, where swim caps and wool swimsuits were commonplace. This combination of memory, observation and photography has allowed me to preserve the transitory qualities of water and remembrance." Artist Resume: 2019 Winter Swim, Rubine Red...

‘After Trafalgar: HMS Neptune and HMS Prince with the sinking Santisima Trinidad, 1805’ by John Lashbrook Tudgay (1798-1874). The painting – one the artist's finest large-scale works...

Ready for a change? You may want to take a look at Hunter’s “Sink or Swim Demoâ€

Beautiful historically significant oil painting of the Congregational Church of Soquel by Mary DeNeale Morgan (American, 1868-1948). Signed "M. DeNeale Morgan" lower right corner. Exhibit label on verso. Canvas on Masonite. Displayed in giltwood frame. Image, 24"H x 20"W. Born in San Francisco in 1868, she was taken to Oakland in 1872, where the painter and teacher William Keith was her first teacher. She was precocious. In 1886 she enrolled in the California School of Design in San Francisco and studied with Emil Carlsen and Amédée Joullin until 1890. She paid her first visit to Carmel in 1903. In 1910 she returned to buy the studio and home of the late Sydney Yard...

A British-born, American based painter, Richard Combes focuses his subjects on the forgotten corners of New York City, subway stations, the cobblestone s...

Loose brushwork, thick with expressive, bold colors and strong contrast in shadows, add to the overall aesthetic. While the task of checking under the sink may seem mundane, artist G...

A British-born, American based painter, Richard Combes focuses his subjects on the forgotten corners of New York City, subway stations, the cobblestone streets with puddles in Tribec...

Robin Cole's "Pruned," a 2024 original, is an intimate oil on mounted linen painting that measures 12 x 12 inches, encased in a frame that extends the dimensions to 17 x 17 inches. T...

Contemporary Fauvist-inspired floral still life, expressive acrylic painting on heavyweight professional acid-free paper (50 × 65 cm / 19.7 × 25.6 inches), radiant bouquet compositio...

An impressionistic painting of fruits and vegetables. Some are soaking in the sink while the rest sit to the side of the sink. A depiction of a bountiful summer harvest. Framed dim...

A powerful and emotionally charged work by renowned American illustrator and painter Frank Schoonover, *The Flood* (1914) captures the drama, humanity, and masterful storytelling tha...

This is an oil on linen canvas mounted on a 1/4 inch plywood panel. It is signed and dated on the reverse side

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

Eric James Mellon (1925-2014) Eric James Mellon was a painter, printmaker and ceramicist who was born in Watford, Hertfordshire. In his early teens he attended Watford Technical and Art Institute to prepare for a career in the local printing industry and at weekends he would Harrow School of Art for life drawing and pottery classes. In 1944 he enrolled at the Central School of Arts and Crafts in London to study book production and printmaking. The wood-engraver John Farleigh...

Neo Impressionist Still Life by Louis Bellon (French 1908-1998) signed lower right gouache painting on paper, unframed measurements: 10 x 12.75 inche...

"Mist Over Water" captures the transience and enigma of nature. Softened lines and gentle hues create the effect of a mist descending like a delicate veil upon the tranquil water su...

Work on wood Dimension with frame :80 x 61 x 3 cm This work of art is a striking painting that captures an intimate moment with remarkable skill. The image depicts a woman seen from ...

You will receive this painting stretched, with painted edges and completely ready for hanging. Framing is not obligatory and depends only on your preference. This series of works a...

Signed lower left, 'R. Bowman' for Richard Irving Bowman (American, 1918-2001), titled, 'Kg. 55' (Kinetogenics 55) and dated February 1962. Additionally titled, on stretcher bar verso, 'Kg 55'. Accompanied by a first edition copy of 'Richard Bowman: Radiant Abstractions', by Patricia Watts and Stefanie De Winter, published 2018. Richard Bowman's work is featured in the July/August 2024 issue of Architectural Digest, in an article titled, 'Inside a 1920s LA Respite, Re-envisioned by Jamie Bush. Richard Bowman was awarded a scholarship to study at the Art Institute of Chicago and received his Bachelor's degree in 1942. He subsequently attended the University of Iowa, receiving his Master's degree in 1945. Over the course of a long and distinguished career, Bowman exhibited internationally with success and was the recipient of numerous gold medals, prizes and juried awards. With the Kinetogenics Series, which he began in 1956, Bowman explored the intersection of color and light using contemporary advances in light theory and fluorescence technology. "For this series, he started using fluorescent enamel alkyd paint, which, Bowman stated, emitted an actual, measurable energy from the canvas. He combines his early concept of elemental radiants with the gestures of a mature Abstract Expressionist. Incorporating bold fluorescent strokes of orange, yellow and blue, which are activated by the ultraviolet in daylight, Bowman's new abstractions represented a synthesis of the physical and sensorial transmissions of energy. The combination of the artist's interests in nuclear physics, atoms, and dynamism with these vibrant colors reflected Bowman's increasing confidence as an unconventional artist working in an unconventional medium." (Richard Bowman: Radiant Abstractions, p. 13) "The 'kinetogenic' series which Bowman has been painting recently, are whorls of pure energy in colors from the violet edges of the spectrum in vibrant relationship to the vivid primaries of the center. These paintings have much less sense of place or landscape than Bowman paintings we have seen before. The “Environs” group accompanying the energy pictures in this exhibition, are, on the other hand, specific about place: are of flower beds and branches of trees, painted with the same brilliant color intensity. This use of vibrant colors gives an all-over electric, textural effect in contrast to the after-image jump which obtains when the vibrants are painted flat and geometric. This textural mosaic effect is close to the vision of heat and passionate rhythm which was central to pre-Columbian art, and is still present in the Mexican arts and crafts, which were one of Bowman’s formative sources. It is interesting to note that several of the painters who have influenced many others to experiment with vibrancy and glow in color, found their own impetus in this direction while painting in Mexico. Bowman was one of the painters who was working with fluorescents when the general tendency was to paint with muck. One feels that using color thus leads the artist, as it did his pre-Columbian esthetic ancestors, in the direction where the ecstatic becomes mystic." (courtesy: Artforum, April 1964) Thomas Albright writes of the artist, "Visiting Mexico on a traveling fellowship in the early 1940s, [Bowman] met Gordon Onslow-Ford, with whom he renewed a friendship after moving to San Mateo County in the early 1950s. His paintings, although gestural and abstract, were close in spirit to those of the Dynaton artists than to the mainstream of Abstract Expressionism. They constituted an intensely lyrical and metaphorical abstract Impressionism inspired by Bonnard and an intimacy with the natural environment. Bowman was also influenced by jazz improvisation and the jazz poetry of Kenneth Patchen, a close friend" (p. 263) EDUCATION Art Institute of Chicago, BFA, 1944 University of Iowa, MFA, 1949 AWARDS 1942 Edward L. Ryerson Foreign Traveling Fellowship, Art Institute of Chicago (Mexico) 1945 William M. R. French Memorial Gold Medal, Art Institute of Chicago 1952 Modern Painting Prize, Montreal Museum of Fine Arts 1972 Gift of Time Grant, Roswell Museum and Art Center, Roswell, New Mexico SOLO EXHIBITIONS 1945 The Pinacotheca Gallery (Rose Fried Gallery) New York 1946 Milwaukee Art Institute, Wisconsin 1949 Swetzoff Gallery, Boston 1949 Bern Porter Gallery, Sausalito, CA 1950 Kinetic ... A commentary on the relationship of SCIENCE and ART. Stanford Art Gallery, Stanford University, Palo Alto, CA 1956 Stanford University, Palo Alto, CA 1957-1977 (every 18 months) Rose Rabow Galleries, San Francisco 1961 Richard Bowman: Paintings and Reflections.1943-1961. San Francisco Museum of Art 1970 Richard Bowman: Paintings from 1966-1970. San Francisco Museum of Art 1972 Richard Bowman: Paintings, 1943-1972. Roswell Museum and Art Center, New Mexico. Traveled to the Museum of Texas Tech University, Lubbock, 1972; and Sacred Heart Convent Gallery, Menlo Park, 1972 1986 Richard Bowman: Forty Years of Abstract Painting. Harcourts Modern Gallery, San Francisco 2000 Rock and Sun: Richard Bowman's Pioneer Abstractions of the 1940s. Steven Wolf Fine Arts, San Francisco 2019 Radiant Abstractions, Curated by Patricia Watts. the Landing Gallery, Los Angeles TWO-PERSON EXHIBITIONS 1945 Room of Chicago Art: Paintings by Richard Bowman and Russell Woeltz. Art Institute of Chicago. 1947 Joan Mitchell and Richard Bowman: Oil Paintings. Harry and Della Burpee Art Gallery, Rockford, Illinois. Traveled to University of Illinois. Sponsored by Rockford Art Association. 1959 Gordon Onslow Ford and Richard Bowman. San Francisco Museum of Art 1990 Independent Abstraction: A Survey of Paintings by Richard Bowman and Emerson Woelffer. Harcourts Modern & Contemporary Art, San Francisco. SELECT GROUP EXHIBITIONS 1943 Ras-Martin Gallery, Mexico City 1945 56th Annual American Exhibition of Oil Paintings. Art Institute of Chicago 1945 Art of This Century Gallery, New York 1947–48 Abstract and Surrealist American Art: Fifty-Eighth Annual Exhibition of American Paintings and Sculpture. Art Institute of Chicago. Curators: Daniel Catton Rich, Frederick A. Sweet, and Katherine Kuh. Catalogue. 1948 Fourth Summer Exhibition of Contemporary Art. State University of Iowa, Iowa City. Organized by Lester D. Longman. Included Milton Avery, Max Beckmann, Leonora Carrington, Max Ernst, Hans Hofmann, and others. Brochure. 1948 Joslyn Memorial Art Museum, Omaha, NE 1949 2nd Biennial Exhibition of Paintings and Prints. Walker Art Center, juried show, Minneapolis, 1949. Brooklyn Museum. 1951 [Group exhibition of University of Manitoba, Winnipeg, artists.] Montreal Museum of Fine Arts. Included William McCloy, Robert Gadbois, John Kacere, and other instructors from the School or Art, University of Manitoba. 1952 Sixty-ninth Annual Spring Show. Montreal Museum of Fine Arts. Bowman awarded Modern Painting Prize. 1953 Annual Exhibition of Canadian Painting. The National Gallery of Canada, Ottawa. Included John Kacere, William McCloy, Roland Wise, and Takao Tanabe. 1953 Winnipeg Group. Vancouver Art Gallery. Included William McCloy, John Kacere, Cecil Richards, Roland Wise. 1953–54 São Paulo Biennial of Modern Art, Second edition. Canadian section. Traveled to Caracas, Venezuela, and the Palacio de Bellas Artes, Mexico City. Catalogue. 1954 [Group exhibition of Winnipeg artists.] Art Gallery of Ontario, Toronto. Included Oscar Cah n, William McCloy, and Cecil Richards. 1954 Royal Ontario Museum, Toronto 1958 Esther Robles Gallery, Los Angeles 1959 Rabow Galleries, San Francisco. Included Julius Wasserstein, Gordon Onslow Ford, and Fred Reichman. June 18, 1960 David Cole Gallery, Inverness, CA. Included Ruth Awasa, John Baxter, Nankoku Hidai, Onslow Ford, Fritz Rauh, David Simpson, and Jean Varda. 1961 Paintings from the Pacific: Japan, America, Australia, & New Zealand. Auckland City Art Gallery, New Zealand. Catalogue. 1961–62. Pittsburgh International Exhibition of Contemporary Paintings and Sculpture. Fine Arts Gallery, Carnegie Institute. 1962 50 California Artists. Whitney Museum of American Art, New York. Organized by the San Francisco Museum of Art, with assistance of the Los Angeles County Museum of Art. Traveled to Walker Art Center, Minneapolis, MN; Albright-Knox Gallery, Buffalo, NY; and Des Moines Art Center, IA. Catalogue. February 1966 Contrasts. San Francisco Art Institute. Included Hassel Smith, Gordon Onslow Ford, and Ruth Asawa. October 1967 Arleigh Gallery, San Francisco. Included Lee Mullican, Fred Reichman, Amalia Schulthess, and John Baxter. 1975 Gallery 865, San Francisco 1976 Painting and Sculpture in California: The Modern Era. San Francisco Museum of Modern Art. 1978 Creation. Galerie Schreiner, Basel, Switzerland. Included Joan Mir , Fritz Rauh, John Anderson, Ruth Asawa, J.B. Blunk, Roberto Matta, Lee Mullican, Gordon Onslow Ford, Wolfgang Paalen, Fritz Rauh, Yves Tanguy, and others. Accompanying book by Onslow Ford. 1984 A Personal Selection/Collection. David Cole Gallery, Inverness, CA. Forty-eight artists including Richard Diebenkorn, Claire Falkenstein, Richard Faralla, Sam Francis, Arthur Holman, Frank Lobdell, Ed Moses, Gordon Onslow Ford, Fritz Rauh, David Simpson, Amalia Schulthess, Jean Varda, Jack Wright, J.B. Blunk. 1987 Visions of Inner Space: Gestural Painting in Modern American Art. Wight Gallery, UCLA. Fifteen artists including Sam Francis, Morris Graves, John Anderson, Lee Mullican, Gordon Onslow Ford, Mark Tobey, and Ed Moses. Co-curated by Merle Schipper and Lee Mullican. Catalogue. Traveled to National Gallery of Modern Art, New Delhi, India, 1988 1997 Through the Light: An Exploration into Consciousness. Arts and Consciousness Gallery, John F. Kennedy University, Berkeley, California. Curated by Farbiba Bogzaran. Catalogue. 1998 Lee Mullican Memorial Exhibtion. Herbert Palmer Gallery, Los Angeles. 2007 The Rose Rabow Galleries Retrospective: 1959-1977. The 8 Gallery, San Franicsco. 2008 Landscapes of Consciousness: A Circle of Artists at the Beginning of Lucid Art. Weinstein Gallery, San Francisco. Included Gordon Onslow Ford, Fritz Rauh, John Anderson, and Jack Wright. Catalogue. 2016 Palm Springs Fine Art Fair, the Landing Gallery, Palm Springs, CA 2018 Ship of Dreams: Artists, Poets, and Visionaries of the S.S. Vallejo. Sonoma Valley Museum of Art, Sonoma, CA. Catalogue. 2019 FOG Design+Art. the Landing Gallery, San Francisco, CA 2020 FOG Design+Art. the Landing Gallery, San Francisco, CA 2022 FOG Design+Art. the Landing Gallery, San Francisco, CA MUSEUM COLLECTIONS Nora Eccles Harrison Museum of Art, Utah State University, Logan Oakland Museum of California San Francisco Museum of Modern Art Santa Barbara Museum of Art, California The Smart Museum of Art, University of Chicago Taubman Museum of Art, Roanoke, Virginia BOOKS AND CATALOGUES 1947 Rich, Daniel Catton. Abstract and Surrealist American Art: Fifty-Eighth Annual Exhibition of American Paintings and Sculpture. Chicago: Art Institute of Chicago. 1948 Fourth Summer Exhibition of Contemporary Art. Iowa City: State University of Iowa. 1956 Porter, Bern. Kinetic: A commentary on the relation of Science and Art in conjunction with a retrospective exhibition of paintings by Richard Bowman. Palo Alto: Stanford University Art Gallery. 1986 Kim Eagles-Smith, ed. Richard Bowman: Forty Years of Abstract Painting. San Francisco: Harold Parker in association with Harcourts Modern Gallery, Inc. 1961 Culler, George D. Richard Bowman, Paintings and Reflections, 1943-1901. San Francisco: San Francisco Museum of Art. 1962 Culler, George D. 50 California Artists. New York: Whitney Museum of American Art. 1972 Nordland, Gerald. Richard Bowman, Paintings, 1943-1972, Roswell, NM: Roswell Museum and Art Center. 1978 Onslow Ford, Gordon. Creation. Basel: Galerie Schreiner. 1987 Schipper, Merle. Visions of Inner Space: Gestural Painting in Modern American Art. Los Angeles: Frederick S. Wight Art Gallery, UCLA. With introduction by Lee Mullican. 1997 Bogzaran, Fariba. Through the Light: An Exploration into Consciousness. San Francisco: Dream Creations. 2008 Bogzaran, Fariba. Landscapes of Consciousness: A Circle of Artists at the Beginning of Lucid Art. San Francisco: Weinstein Gallery. 2018 Bogzaran, Fariba, ed. Artists, Poets, and Visionaries of the S.S. Vallejo: 1949-1969. Inverness, CA: Lucid Art Foundation. ARTICLES AND REVIEWS [Review of Solo Exhibition at The Pinacotheca Gallery.] Art News. March 1945. “Joan Mitchell, Richard Bowman Open TwoMan Show Tomorrow at Art Association Meeting.” Rockford Morning Star (IL). January 1947. Robert Ayre. [Review of Exhibition, Montreal Mu-seum of Fine Arts.] Montreal Daily Star. 1951. Ben Metcalfe. "Varsity Art Shock —A Morbid Hoax?" Winnipeg Tribune, December 3, 1951. Beverly Wright. "Richard Bowman, abstract painter, has one-man show at Stanford Gallery." Palo Alto Times. February 17, 1956. "Atomic Art Show at Stanford." San Francisco Chronicle. February, 19, 1956. "P.A. Artist Portrays Energy in Oils." San Jose Mercury News. July 25, 1958. Neita Crain Farmer. "A Solitary Voice: Richard Bowman's Paintings Say Something, In A New Way." Palo Alto Times. May 30, 1959. Barbara Bladen. "Dick Bowman's Paintings Show Atomic Awareness," San Mateo Times. July 18, 1959. Arthur Bloomfield. "Two Top Painters at San Francisco Museum." San Francisco Call Bulletin. July 31, 1959. Alfred Frankenstein. "Slow and Fast Sculpture and Kinetogenics." San Francisco Chronicle. May 24, 1959. "Paintings on Display: Bowman and Onslow Ford Show." San Francisco Weekly. July 1959. Herman Wong. "Bowman's Art Seen At Show, Artist Builds Studio Near Hillside House." Red-wood City Tribune, September 15, 1960. Dean Wallace. "Four Bring Their Art to Perfec-tion." San Francisco Chronicle. September 30, 1960. Dean Wallace. "A Painter Looks at the Atom." San Francisco Chronicle. May 29, 1961. Alfred Frankenstein. [Review of retrospective at San Francisco Museum of Art.] San Francisco Chronicle. November 12, 1961. "International Art." Pittsburgh Post-Gazette, Sunday Magazine. October 29, 1961. "Pacific Paintings Show Common Character-istics." The Press (Auckland, New Zealand). August 5, 1961. Naomi Baker. "San Francisco's Art Is Viewed." San Diego Evening Tribune. January 26, 1962. John Canaday. "Visitors From the West." New York Times. October 28, 1962. Arthur Bloomfield. "Lost in a World They Were Never Made For." San Francisco News-Call Bulletin. August 3, 1963. Arthur Bloomfield. "Bowman Paints His Own Path." San Francisco News-Call Bulletin. February 11, 1964. "The Rockford Fifty States of Art Exhibition." Palo Alto Times. October 5, 1965. Alfred Frankenstein. "Bowman's Radiant Ab-stract Art." San Francisco Chronicle. November 12, 1965. Thomas Albright. "A Kind of Non-Art Show: Brilliant Work by Bowman." San Francisco Chronicle, February 14, 1970. Paul Emerson, "Menlo Gallery Shows Bow-man Art: Major Retrospective Show." Palo Alto Times. October 6, 1972. Arthur Bloomfield. "A Luxuriant Impact to Bowman Paintings." San Francisco Examiner. November 20, 1972. Thomas Albright. "Two Artists Views of Na-ture." San Francisco Chronicle. October 9, 1974. Arthur Bloomfield. "All But the Kitchen Sink." San Francisco Examiner. September 24, 1974. Thomas Albright. "Realism Moves In." San Francisco Chronicle. Thursday, September 4, 1975. Suzanne Muchnic. "Inspired Visions of Inner Worlds at UCLA." Los Angeles Times. January 10, 1988. Reference: Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. 1, page 404; E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. 2, page 701; Art in the San Francisco Bay Area: 1945-1980, Thomas Albright, University of California Press, 1985, page 263; A Dictionary of Contemporary American Artists, Paul Cummings, St. Martin’s Press: New York 1966, page 66-67; Mallett’s Index of Artists, Supplement, Daniel Trowbridge Mallett, Peter Smith: New York 1948 Edition, R.R. Bowker Company 1940, page 31; Richard Bowman: Radiant Abstractions, essays by Patricia Watts and Stefanie De Winter, published by Watts Art...

From birth, man carries the weight of gravity on his shoulders. He is bolted to earth. But man has only to sink beneath the surface and he is free.

Elena Burykina's "Kawari Kabuto" (2024) is an original, handmade oil painting on panel. Artist Statement: Helmet in the Shape of a Crouching Rabbit Japanese 17th century Higher rank...

Original Oil painting by Ukrainian artist Evgeny Chernyakovsky "morning silense" 25.0 X 35.0 CM / 9.8 X 13.7 IN HIGH QUALITY oil on canvas Signed on the front and back Dated 2024 Go...

Doug Newton’s hyper-real oil paintings observe reality, explore translucency, reflections and luminosity, and dazzle the viewer with all the ways light can transform our perceptions. His subject matter concentrates on still lives of food, toys, candy and household objects. In addition to many group shows across the country, Mr. Newton’s show, “HARD CANDY and other confections” represents his fifth solo exhibition. His paintings have been collected in numerous private collections. Dr. Sonia Coman writes in her essay, Doug Newton’s hard candy: the confection of painting Doug Newton’s paintings are about… painting. The hyperrealist technique of trompe l’oeil or “trick the eye” is knowingly playful. It simultaneously calls attention to the illusion of a different material—for example, translucent candy wrappers—and the reality of the layers of paint, masterfully applied to the canvas. In that, Newton’s paintings pay homage to an esteemed series of trompe l’oeil masters, from Inquisition-era Spanish painter Francisco de Zurbarán to Gilded-Age American painter William Michael Harnett...

SALE ONE WEEK ONLY Stephen Goodfellow's figurative paintings can be read as a narrative puzzle that are a challenge to pick apart. In this painting both characters are smiling suggesting something pleasant has happened or is about to happen. There is much more going on: sink full of forgotten dirty dishes...

“From birth, man carries the weight of gravity on his shoulders. He is bolted to earth. But man has only to sink beneath the surface and he is free.” ~ Cousteau, 1960

This painting demonstrates Bruno Surdo’s ability to merge the tradition of the classical nude with the quiet realism of contemporary interior life. A solitary female figure stands within a glass shower enclosure, her body partially obscured by reflections and framing devices. The tiled bathroom, sink, mirror, and everyday objects are rendered with careful observational precision, grounding the scene firmly in the present. Yet the treatment of the body—its sculptural modeling, soft chiaroscuro, and subtle contrapposto—reveals Surdo’s atelier training and deep engagement with Renaissance figure painting. The nude is not casual or incidental; it is constructed with the same anatomical discipline seen in High Renaissance studies of the human form. Art historically, the work enters into dialogue with the long tradition of bathing figures—from Titian’s and Giorgione’s reclining Venuses to Degas’ intimate bathers. However, unlike the mythological or voyeuristic framing of many historical precedents, Surdo situates the figure in a modern, enclosed domestic space. The glass partition becomes both a literal and metaphorical barrier, recalling the reflective complexities of artists like Degas and even the spatial investigations of modern realist painters. The presence of mirrors and layered surfaces introduces subtle commentary on perception and self-awareness. Rather than eroticizing the nude, Surdo emphasizes vulnerability and introspection. Within his broader practice—often centered on allegory, myth, or theatrical spectacle—this work feels restrained and contemplative, suggesting that the same classical language of form can articulate private, contemporary moments of solitude and embodiment. Bruno Surdo Venetian Shower, 2023 oil on panel 36h x 24w in 91.44h x 60.96w cm BRS119 Bruno A. Surdo b. Chicago, 1963 EXHIBITIONS 2023 New Work, Gallery VICTOR, Chicago, IL 2021 Ethos + Truth, Gallery Victor Armendariz, Chicago, IL 2020 Realities, Gallery Victor Armendariz, Chicago, IL 2018 Liberation, Gallery Victor Armendariz, Chicago, IL Blood Sport, Gallery Victor Armendariz, Chicago, IL Art on Paper 2018, Gallery Victor Armendariz, Pier 36, New York, NY SOFA Chicago 2018, Gallery Victor Armendariz, Navy Pier, Chicago, IL 2017 POP!ARAZZI, Gallery Victor Armendariz, Chicago, IL Coming Attractions, Gallery Victor Armendariz, Chicago, IL 2015 SOFA Chicago 2015, Ann Nathan Gallery, Navy Pier, Chicago, IL Bruno Surdo: Allegories, Ann Nathan Gallery, Chicago, IL 2014 Bruno Surdo: Respond, Ann Nathan Gallery, Chicago, IL Modern Metaphors, Rockford Art Museum, Rockford, IL 2013 Bruno Surdo: Revelations, Ann Nathan Gallery, Chicago, IL Vice + Virtue, Northern Illinois University Museum of Art 2012 Contemporary Realism Biennial, Fort Wayne Museum of Art, Fort Wayne, IN 2011 Bruno Surdo, University of St. Francis School of Creative Arts, Fort Wayne, IN Uncensored, Ann Nathan Gallery, Chicago, IL 2010 Art Chicago 2010, Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2009 Art Chicago 2009, Ann Nathan Gallery, Merchandise Mart, Chicago, IL 2007 Bruno Surdo, Art Institute of Indianapolis, Indianapolis, IN 2006 Context/Content: Making Meaning with the Figure, University of Arkansas, Conway, AR Creative Imaginings, Mobile Museum of Art, Mobile, AL Bruno Surdo: Cycles, Ann Nathan Gallery, Chicago, IL 2005 Art Chicago 2005, Ann Nathan Gallery, Chicago, IL 2004 Tragedy, Memory, & Honor, Richard M. Daley Center, Chicago, IL Art Chicago 2004, Ann Nathan Gallery, Chicago, IL Group Show, Arcadia Gallery, New York, NY Drawings VII, Koplin Del Rio Gallery, West Hollywood, CA Armory Show, New York Armory, New York, NY 2003 Paintings & Drawings, College of Lake County, Grayslake, IL The Art Show, New York, NY Bruno Surdo: New Work, Ann Nathan Gallery, Chicago, IL Art Chicago 2003, Ann Nathan Gallery, Chicago, IL 2003-10 International Show of Contemporary Artists, Chicago Art Open, Chicago, IL 2002 Bruno Surdo: Perception of Appearance, Frye Museum, Seattle, WA Tragedy, Memory, & Honor, Richard M. Daley Center, Chicago, IL Bruno Surdo: Transcendence, Ann Nathan Gallery, Chicago, IL Art Chicago 2002, Ann Nathan Gallery, Chicago, IL Tragedy, Memory, & Honor, Ann Nathan Gallery, Chicago, IL 2001 Magic Vision, Arkansas Art Center, Little Rock, AR 1998 Evanston and Vicinity Artists, Evanston Art Center, Evanston, IL 1996 Bruno Surdo: A Personal View, University of Wisconsin, Kenosha, WI 1995 Bruno Surdo: Recent Works, College of Lake County, IL AIDS in Our Society, Loyola University, Chicago, IL Bruno Surdo: Life, Struggle, and Hope, Chicago Cultural Center, Chicago, IL 2001 Magic Vision, Arkansas Art Center, Little Rock, AR Bruno Surdo: Dualities of Life, Ann Nathan Gallery, Chicago, IL 1999 Group Show, Ann Nathan Gallery, Chicago, IL 1998 Group Exhibition, Fine Arts Building Gallery, Chicago, IL 1995 Spiritual Inquiries, Struve Gallery, Chicago, IL 1994 Recent Works, The 14th Annual Juried Exhibition for Lake County Artists, Grayslake, IL Go Figure, Figurative Works on Paper, Chicago Printmakers Collaborative, Chicago, IL SELECTED COLLECTIONS The Re-Birth of Venus, Temporary Loan, Fort Wayne Museum of Art Arkansas Art Center, Little Rock, AR College of Lake County, Greyslake, IL Flashpoint Academy, Chicago IL John Robert Wiltgen Design Shoemaker Ruud Collection Julie & Thomas Danilek Michael Vozzella and Mike Silver Benjamin Fernandez Tom Braake Betsy Colburn Michael Diemand & Lor LaRose Michael Staab & Kathy Brock Bruce Leep Frank Tzurect Mary Foley Rosalyn Carlson Mimmy Turney Janet Long Halstead Billy Hunt Carol Galli Myles Kerrigan Honorable & Mrs. Edwin Berman Theodore Gage Northrop Art Museum Past Present & Future Company Dr. James & Peggy Kemmler Salvatore Monastero Nix & Virginia Lauridsen Joel Miller David & Marlene Zerkel Ann & Andy Abel Claudia Rush Marc Miller Leonard Goldberg Lawrence Pucci Howard Tullman Collection Susan & Manny Kramer James Rinnert Richar Interiors Michael & Nancy Colt Khalid Altijir Dr. Joe Grodman Beryl & Jack Gore Larry Wolf & Eric Naegle Chuck Wolandi Jack Schwab & David Sandelin Thomas Kaczmarek Marti Dinerstein Craig & Michael Golden Mike & Jill Rose SELECTED PUBLICATIONS Bruno Surdo: The Method Artist Responds, by Lucia Mauro, June 26, 2014, anitathemovie blog An Exhibition of Exhibitionism: Bruno Surdo’s ‘Respond’, by Carrie McGath, July 1, 2014, The Chicagoist Website, Arts and Entertainment “Inspired Environs: A renowned designer decks out his Loop abode in art and texture” Modern Luxury, Men’s Book, Spring 2014 “Master Class” What’z Up Magazine, Fort Wayne, 2011 ”9/11 Painting will be on Display” Fort Wayne Journal Gazette, 2011 “Illuminated Images” Fort Wayne Reader, 2011 “Two Faces of Beauty” American Art Collector Magazine, Issue #3 and #59, 2006/2010 “Art and Calamity” Art Papers, 2009 “Versions of the Present, Techniques of the Past” American Artist Magazine, 2004 “Living Artists” Crow Book Publishing, Chicago, IL 2004 “The New Master” by Craig Keller, Chicago Social Magazine, 2004. “Tragedy, Memory, and Honor,” by William Hageman, Chicago Tribune, March 28, 2002 “Mural Depicts Tragedy of 9/11” Art Section, Chicago Sun Times, 2002 Review by Dennis Raverty, Art Papers Magazine, July 2001 WTTW Channel 11...

This beautiful painting by Jeroen Allart is part of his minimalist landscape and interior painting he did in his home country the Netherlands. 'A farm st...

Landscape with Trees Watercolor on paper, 1929 Signed in pencil lower right corner Obviously influenced by the Cezanne works in the collection of ...

Oil paint on canvas Doug Newton’s hyper-real paintings observe reality, explore translucency, reflections and luminosity, and dazzle the viewer with all the ways light can transform our perceptions. His subject matter concentrates on still lives of food, toys, candy and household objects. In addition to many group shows across the country, Mr. Newton’s show, “HARD CANDY and other confections” represents his fifth solo exhibition. His paintings have been collected in numerous private collections. Mr. Newton resides in Fort Greene, Brooklyn, NY. Dr. Sonia Coman writes in her essay, Doug Newton’s hard candy: the confection of painting Doug Newton’s paintings are about… painting. The hyperrealist technique of trompe l’oeil or “trick the eye” is knowingly playful. It simultaneously calls attention to the illusion of a different material—for example, translucent candy wrappers—and the reality of the layers of paint, masterfully applied to the canvas. In that, Newton’s paintings pay homage to an esteemed series of trompe l’oeil masters, from Inquisition-era Spanish painter Francisco de Zurbarán to Gilded-Age American painter William Michael Harnett...

Doug Newton’s hyper-real oil paintings observe reality, explore translucency, reflections and luminosity, and dazzle the viewer with all the ways light can transform our perceptions....

A coastal scene, Sunyata is painted with a unique intensity. A great artist and hard to get works on canvas by her. The painting itself measures 42 x 64 inches so other dimension is framed. It is signed in the lower right and again on the stretcher. In a lovely wood stained frame. Through this intensity, Sarah has found expression for a range of moods that encompass the whole human condition—awe, grief, anger, and joy are all represented here in haunting forms. These are the emotions that inspired the work and they are expressed metaphorically and spiritually, directly and indirectly in her works: her awe at the beauty of the natural world touched by the hand of the divine; her anger at the willful destruction of our planet and its resources; her grief in the form of a wave crashing against rocks; and her joy and exhilaration as sunlight bursts through the branches of a willow tree. Sunyata was directly inspired by lines from Keats’ “When I have Fears:” Then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink Signed: Gillespie lower right Marked: Sarah Gillespie...

Henrietta Rae Her Eyes are Homes of Silent Prayer 1828-1928 Oil on canvas, signed lower right Image size: 24 x 20 inches (61 x 51cm) Original gilt frame Henrietta Rae’s painting Her Eyes are Homes of Silent Prayer takes its title from a famous line in Section XXXII of Alfred, Lord Tennyson's elegiac poem In Memoriam A.H.H. (1850). It describes Mary of Bethany's profound faith and love for Jesus, highlighting her silent, intense devotion after her brother Lazarus's resurrection. The line signifies deep love surpassing words, focusing on inner spirituality and divine reverence. The work depicts the head and shoulders of a woman in white, turning to look gently up top left of the canvas, her head crowned with ivy and set against a background of Chinese-style inspired motifs. The serene and pensive expression on the woman’s face reflects the subject of devotion described by Tennyson’s poem. Rae often depicted literary figures and this is not the only work by Rae that drew inspiration from Tennyson, with her painting Elaine Guarding the Shield of Lancelot based on the poem Lancelot and Elaine. However, other than the title and the sitter being lost in thought, there is little to identify the subject as one from literature. Victorian art frequently merged with literature to highlight moral, social and emotional themes, however, artists such as Leighton, with whom Rae was acquainted, chose to move away from narrative and design works based purely on aesthetic appeal. Here we see the same focus on beauty over the narrative of religious devotion on which Tennyson’s poem is based. The background of the work is based on Chinese paintings with auspicious clouds (Xiangyun 祥云; 祥雲) scrolls with Chinese-esque characters and two Chinese lion dogs (shíshī 石獅) flanking the woman’s head. In keeping with Chinese tradition, the shíshī are painted as a pair, symbolising the harmony of Yin and Yang. Chinese art had a significant impact on Victorian art, developing from the 18th Century ‘Chinoiserie’. Here, this is combined with ‘Japonisme’, a trend that had been growing from the 1850s, with its influence from Japanese woodblock prints in the flat pattern and vibrant colours. Rae was also influenced by Chinese and Japanese in her earlier work Azaleas (1895), similarly showing the head and shoulders of a woman, gazing up to the left, dressed in a kimono and holding a fan, against a background of an embroidered Chinese dragon. Henrietta Rae (1856 - 1928) Henrietta Rae was born 30th December 1856 in Hammersmith, London, to a civil servant father and musician mother as the youngest of seven children. Though her mother had trained her as a professional concert singer to ensure her future financial self-sufficiency, she began formally studying art aged 13 at the Queen Square School of Art before becoming Heatherley’s School of Art’s first female pupil. After at least five attempts she was awarded a seven-year scholarship to the Royal Academy of Arts and it was there that she met her husband, fellow painter and Academy student Ernest Normand...

Alfred BRUNEL NEUVILLE (1852-1941) Interior with cats Oil on canvas signed low right Old frame re-gilded with gold leaves Dim canvas : 54 X 75 cm Dim frame : 74 X 85 cm Alfred BRUNE...

Oil on canvas, color superrealism Doug Newton’s hyper-real oil paintings observe reality, explore translucency, reflections and luminosity, and dazzle the viewer with all the ways li...

Original cover for Liberty magazine, published January 19, 1930. Ma Morse tries to convince Lil to accompany her to the church fair, but Lil doesn’t want to venture out into the sto...

An oil painting of a a hallway interior. "Hallway in Green" presents to us a sunlit interior from one large window on the left. Forms McGuire incorporates creates playful geometric c...

Johan Jacob Bennetter Oslo, Norway 1822 -1904 Norwegian Painter 'White Cliffs of Dover' Signature: signed lower right Medium: oil on canvas Dimensions: image size 41,50 x 63 cm, f...

The subject of the painting’s story is inspired by thoughts about the structure of our world.Is it as obvious as our eyes can see?..