Acrylic Wall Decorations

Van Minnvejen, (?) probably, (American, 20th Century) Untitled, 1980, signed indistinctly, dated 80, l.l., acrylic on canvas 48 by 73 in. Condition Report Lacking frame piece to rig...

Bold, gestural paint strokes and scribed "graffiti" sketch lines are illustrative of the technique that Christopher Draghi has adopted throughout his years in fine art. This work in...

Bernardo Nieves is a Venezuelan artist born on October 18th, 1961, in the quaint, small-town (at the time), city of Barquisimeto. A plastic self-taught artist who has sought instruction and knowledge with great effort, that began as a craft simple craft "hobby" which takes a big part in his life that today is grateful for. From his first steps in painting, passion for landscaping washes are printed on cardboard chimo-sepia, where he expressed his vision through cobbled streets, adobe houses, and mills. In this quest for artistic development, reconciles with oil, and monochrome images become hearty in colorful expressions by the nobility of the art. This new knowledge drives him to plot their future goals. At the end of this decade and early next, develops their technical experience in new materials and strengthens brushwork. In the 80s, a new inspiration emerges from the vegetation decorating fields, valleys, and forests. And these reasons are the ones he will project to a higher level by giving importance to his image as an artist. Towards the end of the century decade, he fully converts in "artist" by trade, then, what began as a pleasure is now his passion in one hundred percent of his time. Individual and group exhibits were already part of their commitments and his time was most devoted to art; during the last five years of the '90s was when his career took a new impulse and his image reached more interesting levels. It is here, while changes in his artistic life are in full swing, the artist pierced the thin line that divides the creative artist and the creator-artist and in the effort to show his graphics concepts, he developed mural projects which found acceptance among his colleagues and Barquisimeto people. So many events together were not enough to Bernardo, who while all these facts, internally was engendering a new graphic idea that definitely will take him to what he is now: the artist that succeeded. From the year 2000 an overturn of his motivations are mixed with trends and those landscapes: the Avila, forests, and valleys, suddenly a "coup" of artistic movement when the first Equus figure came out. These floating horses, first in earthy ochre, of long and slender limbs, have occupied the whole life of the artist. From stained canvases...

Luc DELVAUX Abstract painting in strong colors with a playfully gradient. Ready to hang, framed with a passepartout in a handcrafted real wood picture frame in white behind anti-refl...

Detlef HAGENBÄUMER “Heartbeat”. Abstract etching on thick paper from 1998. Handsigned and numbered (2/2). Ready to hang. Framed with a passepartout in an ash wood picture frame behin...

Abstract painting in wild and powerful strokes. Ready to hang, framed with a passepartout in a handcrafted ash wood picture frame behind anti-reflective acrylic glass. Size withou...

Detlef HAGENBÄUMER “Was geht?”. Oil, acrylic and spray paint on canvas.

Detlef HAGENBÄUMER “Genesis”. Acrylic on canvas in a set of two.

KIEFERS Violet Quartz. Abstract painting in vibrant colors in a red spectrum. Ready to hang, framed with a passepartout in a handcrafted ash wood picture frame behind anti-reflective...

Detlef HAGENBÄUMER “Daisy D ist nicht zu retten”. Mixed media with Oil, Acrylic and Gouache on Canvas. Dynamic composition with explosive use of colors.

Abstract painting in different shades of blue with color sprinkles in black. Acrylic on paper. Ready to hang, framed with a black passepartout in a real wood picture frame in black. ...

Hans OSSWALD Abstracted presentation of different suns in a circled arrangement. Ready to hang, framed with a passepartout in a handcrafted real wood pict...

Costume design with handwritten notes. Gouache on paper from 1959. Ready to hang, framed with a passepartout in an ash wood picture frame behind anti-reflective acrylic glass. Siz...

Signed ink drawing of a woman in black and white. Ready to hang, framed with a passepartout in a real wood picture frame in black behind anti-reflective acrylic glass. Size withou...

Fritz Kronenberg Girl with a flower in her hair. White outline drawing on a black background. Signed B/W lithograph from the 1950s. Ready to hang, fra...

Junger sitzender Mann by Helga Müller from 1997. Acrylic on handmade paper. Framed in a beech wood frame. Size without frame: W 50 cm x H 70 cm.

Dees DE BRUYNE Portrait of an old man with a hat through a warped up perspective. B/W Offset on thick paper. Numbered (IX/ XXI) and signed. Ready to hang, framed with passepartout in...

Voyage and Voyage II are a set of abstract paintings in acrylic by Slovakian artist, Kristina Kralikova. 4/15/2018.

Jungle is an abstract painting by Kristina Kralikova, a Slovak artist. Acrylic on canvas.

Joy by Kristina Kralikova, a Slovak artist. Signature is on the back.

Contemporary painting, First Motherland, by Spanish artists Rubenimichi, Acrylic on canvas, with a thick lacquered wood frame. Measurements: Painting: 21 x 27 cm Frame: 36 x 3.5 x 4...

Contemporary painting, First Motherland, by Spanish artists Rubenimichi, Acrylic on canvas, with a thick lacquered wood frame. Measurements: Painting: 45x 45 cm Frame: 59.5x59.5 cm

Vittorio Amadio (Italy, 1934) African Masks Acrylic on canvas Signed on the back, 2004 30 x 40 cm Authenticity certificate Vittorio Amadio experiments with non-form as an essenti...

The copolymer selects components images of Taobao shop to generate motifs according to the mathematical logic of traditional decorative motifs, which are then alienated into purely d...

The copolymer selects components images of Taobao shop to generate motifs according to the mathematical logic of traditional decorative motifs, which are then alienated into purely d...

About the Artist: Cometabolism Studio is a design studio based in Shanghai, founded by Zhang Ning and Yang Yafei. Zhang Ning graduated from the designer maker program at Camberwell...

Pigment print on Hahnemuhle photo rag, box framed but with non (low) reflective glass. Edition of 15 plus three Artist's Proofs (No. 3/15). Emerging British photographic artist, ...

Sacrifice Oil on Canvas Original Painting in Wooden Gold Leaf Frame, 2005 An incredible and mystical collection of paintings, after a unique artist Andrew Ryabov - “Travelers of C...

Interested in collapsing the contradictions between form and formlessness, Daniele Albright's work focuses on the immaterial as the indeterminate and shifting space between perceptio...

Interested in collapsing the contradictions between form and formlessness, Daniele Albright's work focuses on the immaterial as the indeterminate and shifting space between perceptio...

Painting by David Svensson, Sweden, 2002. Mixed-media on board.

Title: “Female Figure #2”. Size: 48 in X 48 in. Year: 2010. Artist Jason Stallings An interpretation of the artwork of Willem de Kooning. Multi-media on canvas. In good condition....

Pair of Large Knife & Fork Lithographs in Acrylic Frames Dimensions Height: 87" Width: 22" provenance: from the estate sale of Ozzy Osborne, Los Angel...

Charming French painting, oil on paper, unsigned, 19th century Measures: H. 22 W. 32 cm H. 8.6 W. 12.5 in.

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move --the plié --and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered --a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor --a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum --the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity --movement directed inward to the core of one’s self --a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions --an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself - the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to --or moreso an extension of --his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat- induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments --moments that denote a certain frailty --the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction --and also the reverse of this --a unique anthropomorphization of varying states of movement – that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person – one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s – one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

Steven Colucci’s iconoclastic approach to performance and the visual arts have not only long blurred the boundaries between these disciplines, but have challenged its most basic assumptions. The title of this show references a most rudimentary dance move -- the plié -- and our assumptions of what to expect in relation to this. Also the suggestion that we can simply press a button and a preconceived outcome will be courteously delivered -- a form of prefabricated belief in itself. Steven Colucci’s artwork turns such basic assumptions on their heads. Finding early inspiration in the New York school of abstract expressionists such as Jackson Pollock with his action painting, and then further by his professor -- a then young Vito Acconci while studying at the School of Visual Arts, Steven Colucci went from exploring the raw existentialist experimentation of New York’s early painting and performance scenes, to investigating the other end of the spectrum -- the rigorously measured and controlled disciplines of pantomime and ballet; studying in Paris under the tutelage of world-famous Marcelle Marceau, and engaging with the concepts of dramatic movement pioneer and intellectual Etienne Decroux. Colucci has explained the difference between the extremes of pantomime and dance as being that pantomime forces movement via an internal capacity -- movement directed inward to the core of one’s self -- a source requiring extreme mental and physical control. Dance by contrast is an external expression; likewise requiring great precision, although instead an extension of self or sentiment that projects outwardly. While such historical ‘movement’ disciplines serve as foundation blocks for Steven’s artistic explorations, it is the realm in between that he is best known for his contributions -- an experimental movement and performance art that simultaneously honors, yet defiantly refutes tradition; rejecting a compartmentalization regarding art and movement, yet incorporating its elements into his own brand of experimental pastiche. Colucci’s performance works manifest as eerily candy-coated and familiar, yet incorporate unexpected jags of the uncanny throughout, exploiting a sort of coulrophobia in the viewer; an exploration of a cumulative artifice that binds human nature against its darker tendencies; highlighting traditions of artifice itself -- the fabricated systemologies that necessitate compartmentalization in the first place. It is evident in Steven Colucci’s paintings that he has established a uniquely distinctive pictorial vocabulary; a strong allusion to -- or moreso an extension of -- his performance works. Colucci’s paintings depict a sort of kinetic spectrum, or as he refers to them “a technical expression of physicality and movement”. Whereas the French performance and visual artist Yves Klein used the human body as a “paint brush” to demarcate his paintings and thereby signify a residue of performance, Colucci’s utilization of nonsensical numbers and number sequences taken from dance scores, as well as heat-induced image abstraction depicting traces of movement likewise inform his vocabulary. In the strand of the choreographed, yet incorporating moments of chance, Colucci’s paintings represent an over arching structure; a rhythm of being and state, yet detail erratic moments -- moments that denote a certain frailty -- the edge of human stamina. Colucci’s paintings dually represent a form of gestural abstraction -- and also the reverse of this -- a unique anthropomorphization of varying states of movement -- that sometimes present as a temperature induced color field, at others are juxtapositions of movement and depictions of physical gestural images themselves. Colucci’s use of vernacular and found materials such as cardboard evoke his mastery of set design, and also reference a sort of collective experience of urbanity and the ephemeral. Such contradictions seem to permeate not only Steven Colucci’s artwork, but also are reflected in his person -- one who grew up in New York’s Bronx during a zeitgeist moment in visual and performing arts in the 1960s -- one who shifts with ease from happenings and experiments in New York City, to his meticulously choreographed megaproductions at Lincoln Center or starring in the Paris ballet...

In this painting, the viewer is presented with a figure that seems to embody the concept of nonduality and the interconnectedness of all things. The figure is depicted with a futuris...

"I Classici " - An innovative collection in which classical sculpture, contemporary design elements and augmented reality coexist. From extremely detailed 3D scans of the most import...

This one of a kind painting by John Brevard was one of the earliest in his collection. After a series of black and white drawings (now mostly sold) John created only 10 paintings of ...

Signed original acrylic by Urban Huchet (French, 1930-2014). This acrylic on canvas was painted in his Paris Studio. Au Cirque is a wonderful representat...