Michael Mercado Paintings

Tropical Fantasy Floral - Still Life Flowers Painting by Marc Zimmerman Oil on board Marc Zimmerman creates playful paintings, whether deep mysterious jungle or delightfully whimsic...

Carl Robert Holty (American 1900-1973) Abstract Expressionism Oil on Masonite board. Abstract with greens blues and red, Dimensions 12 x 9-1/2 inches. Framed 17 X 14 inches Hand...

Edwin Kosarek (b.1929). Reclining Nude, 1952. Oil on wood panel, 17 x 48 inches. Signed and dated on verso. Edwin Kosarek Born: 1929 Studied: The Cit...

Large early oil painting by noted Mexican abstract artist Leonardo Nierman (1932 - ), signed lower right. Systema Solar Leonardo Nierman, Me...

Waterline Fine Art, Austin, TX is pleased to present the following work: Oil on board. Signed and dated lower right and verso, titled verso. 36.25 x 48 in. 40.5 x 52.25 in. (framed) Framed in contemporary silver, tiered floater frame. Dennis Eugene Norman Burton was a Canadian modernist who was born in Lethbridge, Ontario. He attended the Ontario College of Art from 1952 to 1956, and worked for the Canadian Broadcasting Corporation (CBC) as a graphic designer until 1960. Inspired by a 1955 exhibition of the “Painters Eleven” at Toronto’s Hart House, as well as American Abstract Expressionist artists such as Robert Motherwell, Jack Tworkov, and Willem de Kooning, Burton shifted his focus toward abstraction in the mid-1950s. Burton showed with the famed Isaacs Gallery in Toronto, becoming one of the youngest members on the gallery’s roster. A talented musician, he also played saxophone in the Artist’s Jazz Band in Toronto - a pioneering Canadian free-jazz group...

"She's Watching" Mixed media collage, assemblage, gestural painting on masonite. Hand Signed in ink and titled verso. It does not appear to be dated. I am estimating it is from the 1980's. It has some Postmodern elements and similarities to Transavanguardia is the Italian version of Neo-expressionism. Francie Bishop Good (American, 1949-) Francie Bishop Good was raised in Allentown, Pennsylvania. She currently lives and works in South Florida and New York City. Her work has been exhibited nationally and internationally. Bishop Good is twice recipient of the South Florida Cultural Consortium Fellowship, and the State of Florida Individual Artist Fellowship. She completed her Graduate Studies at Maine Media College, Rockport, Maine, International Center of Photography, New York, New York, Master of Arts, Florida Atlantic University, Boca Raton, Florida, B.F.A. University of Colorado, Boulder, Colorado, Philadelphia College of Art, Philadelphia, Pennsylvania, William Allen High School, studies under James Musselman Her museum solo shows include the Allentown Art Museum, Allentown, PA, Museum of Art, Fort Lauderdale, FL, the Museum of Contemporary Art, Jacksonville, FL, Art and Culture Center, Hollywood, FL, and the Hilliard Museum, Lafayette, LA. Bishop Good's work has been shown at David Castillo Gallery, Mindy Solomon Gallery, Miami, FL. Griffin Museum of Photography, Bernice Steinbaum Gallery, and AMbrosino Gallery. Recent museum acquisitions include Museum of Fine Arts, Boston, MA The Wadsworth Atheneum, Hartford, CT, The Patricia & Philip Frost Art Museum at Florida International University, Miami, FL, Bass Museum of Art, Miami Beach, FL and the NSU Art Museum, Fort Lauderdale, FL. Selected Group and Invitational Exhibitions NSU Art Museum, Remember to React: 60 Years of Collection, Fort Lauderdale, FL Frost Art Museum, Connectivity: Selections from the Collection of the Frost Art Museum, Miami, FL Dual Roles, curated by Laura Marsh, Art and Culture Center of Hollywood FL David Castillo Gallery, gallery artists, in terms of collage, Miami Beach, FL Multidisciplinary, curated by Dimensions Variable, Open Source Gallery, Brooklyn, NY Cornell Museum, Artistically Speaking, Boca Raton Museum of Art, FL. People and Places, Photographs from the Collection, summer 2015 Frost Museum, FIU Miami FL, 25 Inches, The Faces of the Permanent Collection Locust Projects, Smash and Grab, November Annie Wharton Fine Art, Los Angeles group show, summer Museum of Art Fort Lauderdale ,The Art of Caring summer Women to Women, collaboration with Samantha Salzinger, Bakehouse Fredric Snitzer Gallery Boy oh Boy, Summer Show Miami A.I.R. Gallery, The Man I Wish I Was, curator Kharis Kennedy Photo Miami with Nina Arias, Miami, FL December Alva Gallery, New London, Ct Being Good: Women's Moral Values Art Basel with Ambrosino Gallery, Miami, FL 51st Venice Biennale, Italy Poles Apart / Poles Together, International Artists' Museum, White Box Norton Museum of Art, West Palm Beach, FL, FOCUS ON: New Photography, National Museum of Women in the Arts, FL Transitory Patterns Museum of Contemporary Art, Miami, FL Optic Nerve Selected Collections Museum of Fine Arts, Boston, Ma. Wadsworth Atheneum Museum of Art, Hartford, Ct. Bass Museum of Art, Miami Beach, FL Frost Museum of Art, Miami Florida Norton Museum of Art, West Palm Beach, Florida Museum of Contemporary Art, Jacksonville, Florida Boca Raton Museum of Art, Boca Raton, Florida Sagamore Hotel Collection, Miami Beach, Florida Museum of Art, Fort Lauderdale, Florida Refco Collection, Chicago, Illinois Allentown Art Museum, Allentown, Pennsylvania New World Symphony Residence, Miami, Florida Art in Public Places, Broward County, Florida Art and Culture Center of Hollywood, Florida William Gates III (Bill Gates) Monica and Richard Segal Saks Fifth Avenue Asides from being an exceptional artist she is also a passionate collector. Photographs by Cindy Sherman and the late feminist artist Ana Mendieta, collages by Kara Walker, a watercolor by Louise Bourgeois, Cecily Brown, Tracey Emin, Teresita Fernandez, Carrie Mae Weems, Nan Goldin, Barbara Kruger, Catherine Opie, Lorna Simpson, Kiki Smith, Mickalene Thomas, and Kara Walker. are among 100 works by leading contemporary artists donated by philanthropists David Horvitz...

This 20" x 23" oil on masonite painting by Georgian artist Erekle Chinchilakashvili depicts two blue trees near a brown pathway leading to the...

Tropical Fantasy Floral - Still Life Flowers Painting by Marc Zimmerman Oil on board Marc Zimmerman creates playful paintings, whether deep mysterious jungle or delightfully whimsic...

Bruno Lucchesi (b.1926). Mother and Child, ca. 1960. Oil and charcoal on sized paper mounted to masonite, measuring 11 x 21 inches; 15.5 x 25.5 inches in original gold leaf frame. Si...

This painting is a perfect example of lyrical abstraction and a choice painting out of the best period of Vlerick's career. Signed and titled by the artist. Pierre Vlerick...

"In the world of still life and landscape, conceptual events meet one another – the structural meets the narrative, the small stands in the space of the large, and color has a chance...

Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.” To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.” Bibliography Art in America, April 1951, p.78 About this artists: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism. The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman. De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...