Acrylic Paintings

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...

Untitled work by Michael Oates Acrylic on Canvas Painting measures 31" x 24" Framed 34" x 27" Signed and dated to verso

Erika Rothenberg (B. 1950) "7 Hours, 10 Minutes, a Day" Signed, titled and dated 'Erica Rothenberg 1987 7 hours, 10 minutes a day' (on the reverse) Acrylic on canvas: 50 x 66 i...

Fondimare, signed. Gouache, or mixed technique, Surrealist style, suggesting abstract faces and representing eyes, in red and blue tones and on a black background. Work realized in...

Step into a surreal, multidimensional world with this captivating painting. Featuring a female ethereal figure with a glowing aura, this artwork symbolizes the transcendence beyond m...

In this painting by John Brevard, the theme of the work is nonduality, illustrating the concept that all things are interconnected and inseparable. At the center of the painting, th...

In this John Brevard painting, we see a strange and surreal creature that seems to inhabit a multidimensional world. The overall theme of the painting...

This is a very vibrant & expressive work from Milan Klimes (1945 – 2013), Czech artist created in the 70s, it is a mixed technique on cardboard with a new cedar wooden frame. The ...

Alain Rothstein The blue man Oil on cardboard Circa 1991 Signed AR91 Beautiful framing Frame dimensions: 58 x 56 x 4 cm Dimensions of work: 39 x 42

This is a very vibrant & expressive work from Milan Klimes (1945 – 2013), Czech artist created in the 70s, it is a mixed technique on cardboard with a new cedar wooden frame. The ...

This fun painting explores art and its history throughout time. What we consider "art" ranges from truly creative, original works to simply clever designs...

Very interesting oil painting of Igor Stravinsky Russian composer, pianist and conductor, later of French (from 1934) and American (from 1945) citizens...

Imperial cCat - Alberto Blanchart Aerosol and acrylic paint With artist's certificate 100x70x3cm 2020 Avec certificat de l’artiste 980€

Super Graff Dali - Alberto Blanchart Aerosol and acrylic paint Measures: 50x50x3cm 2021 With artist's certificate 590€

Spring Vibes - Alain Carpentier Acrylique sur toile 25F - 81cm x 65cm 2022 1800 euros

Kharkiv... Devastation - Alain Carpentier 100cm x 100cm Acrylic on canvas 2022 3500 euros

Sunshine was a known local artist in Woodstock and upstate New York area during 1960s. This abstract painting is of Ashocan Reservoir, located in Ulster County, New York. The reservo...

This charming and sophisticated wall decoration has been entirely hand-painted on 100% natural cotton paper, using the sumi-e technique inspired by ancient Korean paintings. Particul...

The vintage framed abstract painting is a mesmerizing blend of blush, blue, and lilac hues, accentuated by subtle touches of green that...

"ATLAS 09" "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both ...

"ATLAS 14" "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both ...

"ATLAS 09" "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both ...

"ATLAS 07" "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both an...

ATLAS 06 "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both and t...

ATLAS 03 "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both and t...

ATLAS 04 "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both and t...

Collage and acrylic painting on wood frame set of 9 pieces.

ATLAS 01 "Atlas" proposes a disruptive vision of the space-time concept, as a reflection between the ancestral and the comic, making us wander about the connection between both and t...

Stef Duffy was born in New York, NY, and studied illustration, figurative painting, sculpture and ceramics at Parsons, FIT, Skidmore and NYAA. Drawing inspiration from both the ma...

Superb large-size aquarelle, created in the 20th century and signed by the artists. This work opens an animated scene in an Arab port, filled with a scene of names and characters of ...

Abstract painting black and blue on white background acrylic on canvas by Rohmann Signed: "Rohmann".

A large scale hard edge painting executed by listed artist Jason Crum. This example hung in Vladimir Kagan’s personal apartment in New York. Executed in 1971 the painting is aptly ti...

A fabulous vintage Boho original oil painting on canvas. Beautiful brush strokes and a strong use of color dominate this composition. Acquired from a Palm Beach estate.

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...

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.

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.

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

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...

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...

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 ...