Jeannette Bedwell Art

Work on canvas oil on Canvas : 61 x 50 cm - With Frame : 80 x 69 cm This oil on canvas depicts a sumptuous bouquet of flowers in a vase on a stone table. The style is classical, evo...

From the Moby Dick Domes series. Aquatint, etching, engraving, relief, screen print and stencil with hand-coloring in acrylic on handmade, shaped TGL paper. Hand signed and dated l...

"Verbindunden-Verletzungen" ("Injuries-Connections") is an original screen print on hand-made Japanese paper from 1998 by internationally acclaimed German ZERO group artist Günther U...

Roman Dub "Flowers"

Limited Edution 2/6, signed by artist. Anna Ładecka is a Paris-based polish illustrator and painter. Graduated from Warsaw Academy of Fine Arts, Master ...

Professional realistic oil painting with red apples near the light window will give you a sense of harmony and lyrical mood. The picture will became a wonderful gift for You and Your...

This is a signature color-field composition with multiple thin colored stripes created by Gene Davis. Gene Davis (American, 1920-1985) Screenprint Black Watch I, II and III, 1974 ...

Victor Vasarely born in 1906 was a Hungarian-French artist, who is widely accepted as a "grandfather" and leader of the Op Art movement. Op Art is a form of abstract art that gives the illusion of movement by the precise use of pattern and color, or in which conflicting patterns emerge and overlap. Victor Vasarely and Brigit Riley are its most famous exponents. In its visual balancing act of color and movement from a flat plane to developed continuous flow “Untitled” is a complex arrangement of squares and colors that visually expand and contract. It is one of Vasarely’s most successful Op Art abstract works. The piece is signed on the lower right and number 20/150 on the lower left. The print is behind glass and matted. Vasarely was born in Pecs and grew up in Slovakia and Budapest, where in 1925, he took up medical studies. Abandoning medicine he turned to traditional academic painting at the private Podolini-Volkmann Academy. In 1928/1929, he enrolled at Sandor Bortnyik’s private art school widely recognized as Budapest's centre of Bauhaus studies. His studies concentrated on applied graphic art and typographical design. In 1929, he painted his Blue Study and Green Study. In 1930, he married his fellow student Claire Spinner (1908–1990). Together they had two sons, Andre and Jean-Pierre. Vasarely became a graphic designer and a poster artist during the 1930s combining patterns and organic images with each other. Vasarely utilized geometric shapes and colorful graphics, the artist created compelling illusions of spatial depth, as seen in his work Vega-Nor (1969). Vasarely’s method of painting borrowed from a range of influences, including Bauhaus design principles, Wassily Kandinsky, and Constructivism. In the late 1920s, Vasarely enrolled at the Muhely Academy in Budapest, where the syllabus was largely based on Walter Gropius’s Bauhaus school in Germany. After settling in Paris in 1930, Vasarely worked in advertising agencies to support himself as a graphic artist while creating many works including Zebra (1937), which is considered by some to be one of the earliest examples of Op Art. The artist experimented in a style based in Surrealism and Abstract Expressionism during the 1940s, before arriving at his hallmark checkerboard...

untitled (red) screenprint, embossment, and dye resist 1976 number 3 from an edition of 25

"Awakening of May" is done in the spirit of impressionism, where the main goal is not the exact reproduction of form, but the transfer of an impression, a fleeting feeling. The artis...

"Indianapolis Museum of Art Inaugural Exhibitions", 25 October 1970, is an eye popping large bold colorful geometric abstract silk screen. It is signed on the lower right. Robert Indiana, one of the preeminent figures in American art since the 1960s, played a central role in the development of assemblage art, hard-edge painting, Pop art, Neo-Dada, American Modernism and Modern Art. A self-proclaimed “American painter of signs,” Indiana created a highly original body of work that explores American identity, personal history, and the power of abstraction and language, establishing an important legacy that resonates in the work of many contemporary artists such as Andy Warhol, Keith Haring, Roy Lectenstein, David Hockney, Romero Britto, Richard Hamilton and Robert Rauschenberg who make the written word a central element of their oeuvre. Robert Indiana was born Robert Clark in New Castle, Indiana on September 13, 1928. Adopted as an infant, he spent his childhood moving frequently throughout his namesake state. At 14 he moved to Indianapolis in order to attend Arsenal Technical High School, known for its strong arts curriculum. After graduating he spent three years in the U.S. Air Force and then studied at the Art Institute of Chicago, the Skowhegan School of Sculpture and Painting in Maine, and the Edinburgh College of Art in Scotland. In 1956, two years after moving to New York, Indiana met Ellsworth Kelly, and upon his recommendation took up residence in Coenties Slip, where a community of artists that would come to include Kelly, Agnes Martin, James Rosenquist, and Jack Youngerman had studios. Indiana, like some of his fellow artists, scavenged the area’s abandoned warehouses for materials, creating sculptural assemblages from old wooden beams, rusted metal wheels, and other remnants of the shipping trade that had thrived in Coenties Slip. The discovery of 19th century brass stencils led to the incorporation of brightly colored numbers and short emotionally charged words onto these sculptures as well as canvases, and became the basis of his new painterly vocabulary. Although acknowledged as a leader of Pop, Indiana distinguished himself from his Pop peers by addressing important social and political issues and incorporating profound historical and literary references into his works. In 1964 Indiana accepted Philip Johnson’s invitation to design a new work for the New York State Pavilion at the New York World’s Fair, creating a 20-foot EAT sign...

The still life, painted in oil, depicts a group of objects arranged on a table. In the center of the composition stands a tall, turquoise vase with a bouquet of burgundy and pink ros...