Pop Art Paintings

Judy Rifka (American, b. 1945) Roman Nose 1982 Oil on canvas Dimensions: 30 x 24 inches (76.2 x 61.0 cm) Hand signed on stretcher: Judy Rifka Provenance: Brooke Alexander Galle...

In this original acrylic paint on paper Jose Palacios depicts "Macrogarden 09", in a pop art style reminiscent of Henri Matisse. He uses vibrant green, red, blue and purple leaf like shapes to create his composition. Palacios' work is characterized by it's geometry, precision of his figures and the use of a refreshing and bold palette. Jose Palacios was born in Spain in 1970. A self taught artist, he began his career in the world of comic books and illustration publications. He later transitioned to graphic design and street art. Jose was greatly influenced by the "Movida Madrileña" an explosive cultural period in the 1980's during Spain's transition from dictatorship to democracy which produced arist's such as Ceesepe, Fernando Vicente, Ana Juan, Ouka Leele and Javier de Juan.

Gérard Schlosser (1931-2022) is a renowned French artist celebrated for his hyperrealist figurative paintings that capture cinematic, and often erotic, private moments. Schlosser's ...

Sid Maurer (American 1926) is an American artist best known for his commercial success painting celebrity portraits. This is an original oil and media on ca...

Gary John's pop-street artworks have a whimsical, yet exciting and bold quality inspired by classic cartoon and comic book characters. Blending pop sensibilities with a roughened fau...

Electric Pink Excess 3 from Chloe Hedden’s Excess series is an electrifying explosion of color and texture, a vivid declaration of energy and movem...

1990 Acrylic on canvas 7 1/10 x 5 1/2 in. (18 x 14 cm) Unique Signed, titled, and dated on the reverse Registration Card on File Framed, excellent condition

Star Wars Storm Trooper Pop Art by British Urban Graffiti Artist, Chris Pegg. Entitled The Good The Bad & The Ugly. Art measures 42 x 24 inches Frame measures 50 x 32 inches Chri...

Queen Elizabeth II. portrait. “I love being a free spirit. Some people don't like it, but that's how I am." © Queen Elizabeth II. Painted in a modern style with brushes and a palette...

Playing with the interaction between positive and negative space, strong colors on neutral backgrounds, Canadian artist Virginie Schroeder creates pop art portraits and iconic pop cu...

Zing Wreck by Muffinhead, American (1975) Date: 2003 Acrylic on Canvas, signed, titled and dated verso Size: 54 x 63 in. (137.16 x 160.02 cm)

Red poppies have different meanings in different cultures. Through the prism of symbols and associations accepted in society, we perceive red poppies as a symbol of memory of war vic...

Original, mixed media on canvas. Taking inspiration from street and pop art, mixed with a cartoon element, Geraldine creates colourful and exquisitely finished paintings. Bright an...

Denied Warhol Flowers, (Red) Silkscreen Painting by Charles Lutz Silkscreen and acrylic on canvas with Denied stamp of the Andy Warhol Art Authentication Board. 5 x 5" inches 2008 L...

Chloe Hedden’s Persian Rose Excess from her Excess series continues her exploration of Excessivism, using thick, sculptural paint to embody themes of overconsumption and indulgence. ...

One-of-a-kind Pop Art Original Painting on Canvas by Gardani available for you. Hand signed by the Artist front and back, comes with official Gardani Certificate of Authenticity with...

I have no idea why all of a sudden I wanted to paint flags, but I did! I tend to paint in "series," and this is one of the flag paintings from a series. ...

Playing with the interaction between positive and negative space, strong colors on neutral backgrounds, Canadian artist Virginie Schroeder creates pop art portraits and iconic pop cu...

Reut Harel is a Pop Art artist who works in Tel Aviv and creates colorful, optimistic, vibrant art that combines detailed elements and emotions. Her works are characterized by a tend...

In this original acrylic paint and vinyl on paper from Art Angler Gallery, Jose Palacios depicts an abstract pop art style. He uses vibrant pink, white, green, blue, black and red sh...

Cowgirl Barbie 1980 by McKenzie West is an original contemporary oil painting that merges photorealistic technique with nostalgic pop imagery. This striking artwork features a detail...

One-of-a-kind Pop Art Original Original Painting on canvas by Gardani available for you. Hand signed by the Artist front and back, comes with official Gardani Certificate of Authenti...

Oil On Canvas Inspired By Nature. My Abstract Paintings Are All About Creating Excitement For The Viewer Through Concentrated Exploration. Each Painting Is Inspired By Nature, Trave...

This large-scale installation brings together eight acrylic portraits from the You Are The One series, creating a powerful visual ensemble that amplifies the conceptual and chromatic...

A woman sunbathes on a lounger. She is in that nebulous region somewhere between relaxing under the sun and feeling restless. Painted on a fine textur...

The painting is permeated with memories of childhood and early dawns, the smell of grass, earth, sunlight, long walks and fresh coffee. A story about how to be free, light, brave. Be...

Alexander Girard designs belong in a museum. :: Painting :: Pop-Art :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang: Yes :: Sig...

Original Painting on Canvas. One-of-a-kind Pop Art Original Painting on Canvas by Gardani available for you. Hand signed by the Artist front and back, comes with official Gardani ...

One-of-a-kind Pop Art Original Painting on Canvas by Gardani, hand signed by the Artist front and back, comes with official Gardani Certificate of Authenticity with a unique dollar b...

MIXED MEDIA PAINTING signed by the artist. Ask us for custom framing options for this piece. This original mixed media painting by Craig Alan belongs to his acclaimed work that blur...

Original acrylic painting on canvas. Hand signed upper right by Peter Max. Canvas size: 37.5 x 49.5 inches Frame size: 41 x 53 inches. Dedicated and remarqued on verso by Peter Ma...

This painting, one of ten, belonging to a series of works exhibited in 2017 for the " DECADES " exhibition, that tell the atmosphere of 70's Dimension: 150 cm x 150 cm. Acrylic on C...

The Pancake Eater, 1981 by Red Grooms (b. 1937), an Artist's Proof, 2 of 9 (apart from the edition of 31). Multi-layer lithograph and silkscreen in 31 colors with gold radiance powder. Cut out collage and vinyl window shade with pull-cord in original acrylic box frame. A wonderful & whimsical piece of Pop Art by one of America's most famous Pop Artists, please see the video attached. Signed and dated in red pencil, lower right, an Artist's Proof numbered 2 of 9 on a brass plaque affixed to the reverse of the original acrylic box frame. Co-published by Brooke Alexander, Inc. and Marlborough Gallery, Inc., New York. Condition is excellent. Born in Nashville Tennesee in 1937 Red Grooms is a; "Sculptor, painter, installation artist, filmmaker, and printmaker. An eager participant in late 1950s happenings, in the 1960s he developed high-spirited, mixed-media environmental sculpture on an enormous scale. In these “sculpto-pictoramas,” as he has called them, multiple, life-size, cartoonish figures inhabit sharply observed localities, usually areas of New York. Related to pop art, his zany work often carries a sarcastic edge but not at the expense of good-natured hilarity. It also plays on nostalgia that stems from the artist's evident affection for his acutely rendered subjects, as befits an admirer of Edward Hopper's paintings. Charles Roger Grooms left Peabody College there to enroll in the School of the Art Institute of Chicago for a year. He then decamped for New York to continue his studies at the New School for Social Research (now New School). He also attended Hans Hofmann's summer school in Provincetown. In the late 1950s, along with Allan Kaprow...

Original and unique artwork by Russell Young. Acrylic paint and enamel screen print on linen, unframed dimensions 62 x 48 inches, 2008, from the series "Fame + Shame". Red and dark c...

Artist: Michael Knigin, American (1942 - 2011) Title: Sign of Power Year: 1990 Medium: Acrylic and enamel on canvas, signed and dated in pencil Size: 75...

Patrick Hughes b. 1939 British Ideal Home Oil on panel Signed, titled and dated “Ideal Home / Patrick Hughes / 2023” Patrick Hughes, a London artist, creates works that blend pai...

Carl Smith explores the area between Pop Art and Surrealism and expresses it in one-of-a-kind original works on canvas, paper or wood. With the use of found images he tells slightly ...

In this original acrylic paint on paper Jose Palacios depicts "Macrogarden 18", in a pop art style. He uses vibrant blue, red, orange and fluorescent green shapes to create his composition. Palacios' work is characterized by it's geometry, precision of his figures and the use of a refreshing and bold palette. Jose Palacios was born in Spain in 1970. A self taught artist, he began his career in the world of comic books and illustration publications. He later transitioned to graphic design and street art. Jose was greatly influenced by the "Movida Madrileña" an explosive cultural period in the 1980's during Spain's transition from dictatorship to democracy which produced arist's such as Ceesepe, Fernando Vicente, Ana Juan, Ouka Leele and Javier de Juan.

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

1951 Born in Tel Aviv, Israel Since graduating from the Fine Art Academy in Florence, Italy and his return to Israel, Griffit presents a fascinating and unique journey from etchings...

The painting is permeated with memories of childhood and early dawns, the smell of grass, earth, sunlight, long walks and fresh coffee. A story about how to be free, light, brave. Be...

One of kind creation by the famed artist. Collected worldwide. Homage to Benjamin Franklin and the Hundred Dollar Bill. Acrylic on Canvas Wrapped over Custom Made Box. About the Artist: Ultra Fine Money Artist TRAN$PARENT is an American based artist whose work is now on the moon. He specializes in museum quality, ultra-fine money art. Specifically American denominations from the $1 to the $10,000 bill and with special granted requests the Million Dollar Bill. He also specializes in various rare and well known International currencies. Creating game changing revolutionary art has been his life’s passion and he illustrates it beautifully in his TRANSPARENT artwork depicting the front, back and middle security features of his bills. His TRANSPARENT Art is actually a metaphor for being TRANSPARENT with your loved ones, with your business associates, but most importantly with yourself. He fine tunes each image to ensure the highest possible vibrancy and each image is personally quality controlled by him and is also hand signed and individually numbered. APs to Limited Editions his pieces are completely breathtaking and pop when viewed under regular or proper lighting. His pieces are not easy to come by and are becoming highly sought after. One of his many accomplishments was successfully orchestrating 12 different beautiful installations of his work at Miami’s Famous Art Basel 2018. His installations included being the featured artist at the opening night with the Miami Heat...

MIXED MEDIA PAINTING signed by the artist. Ask us for custom framing options for this piece. This original mixed media painting by Craig Alan belongs to his acclaimed work that blur...

Edition 5 Richi Rich keeps toilet paper in his vault. JAY-C – the pseudonym of this innovative young artist known for his subversive use of familiar figures and symbols. Using a distinct and fine British sense of humour,
he addresses stereotypes of modern society and his work, both playful and profound, stimulates us to question conventional social conceptions. JAY-C is a barometer responding to the world around us. Having had his first solo exhibition in 2018, in the same year he did a collaboration with BoConcept on their iconic Imola chair...

SCOTT KILGOUR (b. 1960): ELECTRIC LIGHT BULB Etched slate, 1992, signed ''Scott Kilgour'', titled and dated on the reverse. Provenance: Camilla and Earl McGrath Collection. Scott Kilgour is a British Postwar & Contemporary painter who was born in 1960. Their work was featured in several exhibitions at key galleries and museums, including the Elga Wimmer PCC and the Howl! Happening. Encouraged by the first curator of 20th Century Art at the Metropolitan Museum, Henry Geldzahler, to move to New York City in the early 80's, Kilgour experienced first hand the frenetic contemporary American art scene. By the end of the decade, after absorbing the eclectic New York sensibility, Scott's lines and curves had evolved due to contact with Pop Art, Minimalism, New Wave, Graffiti and modern dance. His work was further influenced by Edmund Carpenter, a prestigious anthropologist, who galvanized his interest in continuous line drawing and knotwork designs. Gallery exhibits in the ‘80s included 56 Bleecker Street Gallery, DIA Foundation and Holly Solomon Gallery. In the 90's, Kilgour would further expand his body of knot-work designs, embarking on a decade-long study exploring the spatial relationship of continuous line drawing in Scottish Celtic Interlace. Kilgour's linear style is grounded in Charles Rennie Mackintosh's Art Nouveau aesthetic. This exploratory culminated in a 1999 exhibition at the Mackintosh Museum, Glasgow School of Art, as part of the Glasgow UK City for Architecture & Design celebration. Currently, Scott is working on a botanical body of work inspired while drinking a glass of rose in Provence, surrounded by a blossoming white French rose garden. Flowers are an ideal subject for Scott’s linear execution, as no two images are the same based on rosette whorl and luminous petals radiating from a single node. Kilgour attended the Glasgow School of Art and has been featured in media outlets including Interview Magazine, New York Magazine and Elle Décor. Select Group Exhibitions 2019 MM Gallery, New York, Regarding Tom & Henry - Tom Slaughter, Stephen Hannock, Robert Harms, Scott Kilgour, Ray Charles White. 2018 Elga Wimmer Gallery, New York, Bloom / Wilt / Bloom - Donald Baechler, Crash, Alex Katz, Donald Sultan, Scott Kilgour, Andy Warhol. 2017 Howl Arts, Arturo Vega...

Itzhaq Mevorah was born in 1971 in Tel Aviv, Israel to a family of artists, who started their way in the beginning of the century in Bulgaria. From a very young age Mevorah has decid...

Oil on canvas

Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...

Sir James Paul McCartney is a British musician, multi-instrumentalist, writer and producer. One of the founders of The Beatles, 16-time Grammy Award winner, Knight Bachelor and Comma...

Denied Warhol Flowers, (Red Violet Purple Pink) Silkscreen Painting by Charles Lutz Silkscreen and acrylic on canvas with the artist's Denied stamp of the Andy Warhol Art Authenticat...

“Outlaw” is a bright and powerful painting with a fashionista female figure wearing a cowboy hat, and a bright colorful blue background. It is sure to be a feature piece in any space. Known for her richly evocative color palette and striking portraits, Ramona Nordal...

Medium: Mix media, silk screening, hand finished with Oil, Acrylic, stencils, spray paint, Collage with old iconography images, newspapers, comic books, magazines and text on canvas...

A monumental work by the inimitable Billy Dee Williams. This large work consists of 48 conjoined canvas paintings in one frame. It will ship crated in two...

JAMES WOLANIN "Ciao Bella Acrylic & Gloss Varnish on Panel 48 x 48 inches ______________________ James Wolanin’s paintings transport the viewer to an effervescent, candy coated wor...

Free shipment worldwide. Acquired directly from the artist. Painted on the sides. No frame needed. The work of Antonio de Felipe is a constant source of fascination and surprises. ...

Mint Excess 2 by Chloe Hedden is a refreshing exploration of color and texture, evoking a sense of tranquility and renewal. The cool, vibrant mint hue is both soothing and invigorati...

Sap Green, Forget Me Not, and Prussian Blue Trio Combo by Chloe Hedden offers a contemplative journey through emotional tone, natural reference, and material excess. In this trio, He...

Mixed media with acrylic painting and color lithography on paper. Hand-signed in acrylic paint on front by Peter Max. A unique variation. Frame size 18 x 15.5 inches. Artwork siz...

Painted wood wall hanging sculpture "Red, White and Blue," (and gold) 2008 Stamped signed with initials, date and edition 2/5 Oded Halahmy, Abstract Modernist artist, was born in Iraq in the old city of Baghdad in 1938, the artist came from a family of Orthodox Jews with deep roots in ancient Babylonian culture. His father, Salech Haskel Chebbazah, was a prosperous goldsmith in Baghdad and a Jewish member of the Communist Party when Jews comprised more than a quarter of the population of Baghdad. He refers to his home as the “land of wheat, barley, grapes, figs, pomegranates, olives and dates.”, Oded moved with his family to Israel in the 1950s, was educated at St. Martin's School of Art in London which was then a leading center for sculpture, led by Anthony Caro and Philip King and having links to Henry Moore. He taught sculpture are in the collection of the Guggenheim Museum, the Hirshhorn Museum, and the Israel Museum in Jerusalem, as well as many other public and private collections worldwide. He currently lives in New York City and Old Jaffa, Israel. Like countless New Yorkers who arrived from distant lands, Oded Halahmy has a rich personal history of exile, migration and travels. Although New York has been his home for over 45 years, memories of Iraq left an indelible imprint on his life and work. Known for his dynamic yet often playful figurative pop art style sculptures in wood and bronze, he fills his work with images — albeit abstracted from reality — that evoke the landscape, architecture and rich colors of the Middle East. Palm trees, doves, pomegranates, temples and age-old symbols abound along with deep reds, amber, sky blue and the familiar greenish-blue hues of aged bronze. SELECTED SOLO EXHIBITIONS Dates-Pomegranates-Olive Oil: Chanukah Lamps, Yeshiva University Museum, New York, NY District of Columbia Jewish Community Center Ann Loeb Bronfman Gallery, Washington, D.C. Homeward: Baghdad - Jerusalem - New York, Sundaram Tagore Gallery, New York, NY Homelands: Baghdad-Jerusalem-New York, A Retrospective, The Ann Loeb Gallery, Washington, Homelands: Baghdad-Jerusalem-New York, A Retrospective, Yeshiva University Museum, NY The Common Ground; The Sculpture Of Oded Halahmy, Sundaram Tagore Gallery, New York, NY Herr-Chambliss Fine Arts, Hot Springs, AR Artists Studio, Old Jaffa, Israel Byer Museum of Art, Evanston, IL The Aldrich Museum of Contemporary Art, Ridgefield, CT Tomasulo Gallery, Union College, Cranford, NJ Martha White Gallery, Louisville, KY Louis K. Meisel Gallery, New York, NY New England Center for Contemporary Art, Brooklyn, CT Hebrew Union College, New York, NY Bicentennial Tribute, United States Federal Plaza, New York, NY Horace Richter Galleries, Jaffa, Israel, 1976 Parsons School of Design, New York, NY America-Israel Culture House, New York, NY Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY Louis K. Meisel Gallery, New York, NY Gallery Moos, Toronto, Canada Old Jaffa Gallery, Jaffa, Israel Pollack Gallery, Toronto, Canada SELECTED GROUP EXHIBITIONS 2006 Iraqi Art...

Michael Giliberti’s original artworks are characterized by vivid colors and powerful compositions. His work exemplifies Modernism and in particular modern wall art. The inspirations ...