Robert Kipniss

Robert Kipniss Original Landscape Painting Oil On Canvas Large Signed Artwork

Sleeping Mountain 2021, canvas, oil, 80x80cm Artwork in black and white Agate Apkalne. Born in Riga, 1977 Education: 2005 – MA in arts, Art Academy of...

White, yellow and red asters. 1964. Oil on canvas, board, 46x58 cm Vimba Voldemars ( 1904 St. Petersburg – 1985 Riga, Latvia) He began his artistic education at the St Petersburg...

Antique American modernist street scene oil painting. Oil on canvas. Framed. Image size, 29L x 20H.

Impressive early American modernist landscape oil painting. Framed. Oil on canvas. Signed. Image size, 28 H by 22L.

Artist: Lowell Nesbitt (1933-1993) Title: NASA, Apollo 9 Space Mission Series Year: 1970 Medium: Oil on canvas Size: 26 x 18 inches Inscription: Signed, dated by the artist, verso No...

Artist: Lowell Nesbitt (1933-1993) Title: Impossible Series (Mountain in Winter) Year: 1982 Medium: Oil on canvas Size: 78 x 104 inches Inscription: Signed, dated by the artist, vers...

"In the series “This is a real place!” I was fascinated by how the underside of the pier at Saint Simons Island, GA was like a readymade collage. The way the pilings and rails divide and frame the spaces between them looks artificially imposed on the scene until you notice the way the waves bounce off the pilings and the railings cast shadows on the water. In some iterations, I chose to simplify the structures of the pier and lighten the values so that it would emphasize the detail in the water. Likewise, I omitted a family of starlings and their droppings in favor of highlighting the geometry of the architecture and the colors and patterns of the water. Making paintings in a series allows me to investigate the results of making different decisions about an image. How I crop or stylize it, the manner in which I apply the paint, what gets included or excluded all add shades of meaning to each piece. Additionally, depictions of the same subject in different weather, seasons, times of day, and tides allows me a deeper understanding. I notice more relationships, colors, and details every time I paint the subject. Every painting is a pile of decisions. Playing with removing more and more details to see what is truly important sometimes improves the painting. The fewer elements you include in an image, the more each one means, and the more important it is to get each thing perfect. At times I like to paint every single detail I can find in a scene, and other times I feel like the unadorned components are sufficient to hold each other in a satisfying composition. I often add simplified shapes to my paintings to highlight the presence of absence or to heighten the importance of each area by creating stark visual contrasts. ⁠The physicality of the paint also plays a role. I used highly textured, thickly applied paint to construct the solid structural elements, and luminous layers of thinly glazed paint for the delicate linework and subtle blending of the water." - Brooke Lanier...

Artist Commentary: Based on Chicago, Point to the Sky is the amalgamation of architectural genres that thrive in dense, urban environments, and present a human cliff on many a city b...

Artist Commentary: A plaza sculpture that leads up to the sky. Keywords: city, painting, skyscraper, manhattan, ariel, perspective, sky, spiral, looking up

Sonia Gechtoff False Faces, circa 1950-52 Signed lower right Oil on canvas 30 x 22 1/4 inches Sonia Gechtoff was born in Philadelphia to Ethel "Etya" and ...