2010s Paintings

FI Gallery original one-of-one hand created & signed art piece by Tammy Price. Premium solid wood glass encased frame in matte black with gold accent. Multi shades predominantly of e...

Painting La Tresse by Frédérique Tristant. Mixed media on canvas. France 2024. Frédérique Tristant is a French artist born in Vannes in 1971, who lives and works in Brittany in Mo...

Rebirth is an abstract painting, acrylic on canvas. By Los Angeles based, Slovak artist Kristina Kralikova. 10/1/2017.

Mankind is busy destroying his planet, many species are simply disappearing, never to see again outside of a museum. Paul C. McKenna is gently asking us to have some perspective, th...

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...

Oil on canvas Painting, "La sandía suspendida" by Paola Vega, Argentina, 2020 The painting was exhibited in her solo show "The life of paintings" at Calvaresi in Buenos Aires, 2020. Paola Vega bio: Paola Vega is an artist, researcher and curator. She graduated with a degree in History from the Universidad Nacional del Sur in 2003. In parallel, she began to study painting in Bahía Blanca at Espacio Vox with Gustavo López, and carried out work clinics with Jorge Gumier Maier and Diana Aisenberg between 2001 and 2002, and later in Buenos Aires with Pablo Siquier (2004) and Tulio de Sagastizábal (2005-2007). In 2003 she obtained a scholarship granted by the Antorchas Foundation to continue her training. She was selected to participate in the Artists Program of the Torcuato Di Tella University (2011) with tutoring from Jorge Macchi. In 2015 she did a residency in Madrid at El Prado...

Detlef HAGENBÄUMER “Pop Queen”. Abstract depiction of a female body on a yellow and grey background. Oil/Acrylic on canvas framed in a high-quality, solid steel frame. Ready to hang.

Enki Bilal (born October 7, 1951, in Belgrade) is a French comic book author and filmmaker of Bosnian and Czech origin. Known for his science fiction works, he explores themes of tim...

A fantastic and striking original oil on board painting by the renowned artist John Mackay. This is signed and dated from 2011. It is a great size and b...

Oil on canvas. 16" x 20. Unframed. Sides of canvas painted so no frame necessary. North Idaho artist. On stretcher. Greg Parker has mastered the ability to capture the very essence o...

Huge acrylic painting signed, titled and dated "Leda Catunda, Emelec, 2011". Measures 71 7/8" x 75".

Abstract original signed painting by American contemporary artist Arlene Carr. Titled "Pink Lemonade" and done on canvas. Signed at lower right. Displayed...

This beautiful framed painting by Diego Torres, is so exquisitely detailed it almost appears to be of photographic quality. Wonderful colors and a vivid s...

This ceiling to floor large-scale painting is an intimate portrait of Lazard's workspace and creativity. "That is how I spend my time all the time," says Lazard. Part of the genius o...

A close-up oil on canvas painting of a blue tulip. It is one of four paintings of vividly colored and almost stylistic flowers. About the artist: Esther Hansen grew up in the...

Gorman framed pair of flowers painting This painting measures: 34 wide x 1.75 deep x 34 inches high This painting is in Great Vintage Condition w...

Steven Colucci is a perfectionist. As a painter, he describes himself as “a dictator, a controlling ballet master with a stick,” dispassionately choreographing his composition to achieve the exact result he desires. The paintings of the “Sea Series,” largely completed in 2010, are actually the culmination of 4-5 years of practice for the artist, during which he consistently developed and refined the language and formal elements that visually distinguish the series, sometimes repeating the same image for months until he was satisfied. Colucci’s methods and philosophy reflect his experience with movement as a performing art. While he studied with and admires Vito Acconci, Colucci is no proponent of conceptualism, finding his voice in the intense discipline of traditional forms, explaining, “If you don’t practice art like a classical pianist, every day, you can’t execute your concepts.” After completing his studies at New York’s School of Visual Arts, he moved to Paris, where he studied and performed mime and ballet, working closely with Marcel Marceau, who also painted, and Etienne Decroux, a sculptor as well as the originator of the form “classical mime,” which has roots in the sculpture of Rodin. If the word “sea” in the title of a painting conjures for you images of little easels and landscape canvases featuring sandy beaches, waves, and vast horizons, think again – Colucci’s oceanic visions are experiential, viewing them you are often looking down at the sea, within it, or even dreaming of the ocean. Water, deep or shallow, still or fast-moving, rules how we see light and subjects, as the artist works to reflect what he calls “the spirit, the soul of the water.” In “Deep Blue,” he conjures this anima via a window through levels of roiling currents of rich dark waves and dancing highlights, inviting the viewer to experience the sea as a vibrant and enveloping sensual entity. Colors, too, differ from the subdued palette of the seaside afternoon painter. Often his choices originate in what Colucci describes as the rhythm of color present in Afro-Carribean art and design. In the paintings, these hues express the water’s likeness to the seamless flow of the Dominican culture’s music and dance, which he so enjoys during frequent visits to Upper Manhattan’s El Barrio district, a movement with the melodic line that he so simply and perfectly employs in the delightfully sexy “Swimming with the Fish.” As our bodies, like the sea, are largely water, Colucci’s water visions...

Ugo La Pietra, " Giardino Delle Delizie' " Acrylic on Canvas, 2018 Signed and dated by Artist on front and rear. Coded and Archived by Ugo La Pietra Archives. Certificate of Aut...

Beautiful Painting of a woman in black charcoal and ink on canvas by Dutch artist. The dimensions are 215 cm Long x 97 cm W, attached to wood of 110 cm long. For transport on a roll...

Beatrix agius L’arbre foudroyé Acrylic on canvas / stretcher Signed and dated lower left Title and date on the back tle and date on back The Spirit of Place Series Between shad...

Beatrix agius Storm Acrylic on canvas / stretcher Signed and dated lower left Title and date on the back 112 x 92 cms Always a tree as a lookout against a sky of raging elements'....

Jean-Pierre Brissart, who currently lives in La Roche de Glun in the Drôme, began his self-taught artistic career with photography. Fascinated by the traces of time and the rare ligh...

Keep your eyes on the sky 90/90 cm Acrylic on canvas 2024 3600 €

We’re all in the Sam storm, but in a different boat. 100/100 cm Acrylic on canvas 2022 3960€

The black hole was fading into red before my eyes 120/120 cm Acrylic on canvas 2023 5400 €

“Nous” is an original, one of a kind contemporary, acrylic on linen Abstract Painting. Vibrant pops of color work in harmony to create this unique, contemporary work of art by Yohann...

“Spring’s Slowly Returning” is an original, one of a kind, orange, yellow, green, blue, red, cream, white, black, contemporary, mixed-media on canvas abstract painting. Vibrant pops of color work in harmony to create this unique, contemporary work of art by Andrew...

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...

Modern abstract, oil on canvas painting, titled “Summertime III” by Michelle Hénault, a conceptual fine artist. Signed on front bottom right, also, signed, dated and titled on back; measuring approximate 30" H x 36" W x 1.5” D. Gallery wrapped, finished sides, dated circa 2019. Michelle Hénault is a Conceptual Fine Artist, born in Lachute, Quebec, living and working in Montreal since 1991. She completed a Bachelor degree in Fine Arts at UQAM in 1998. After exploring sculpture and photography, she dedicated herself to oil painting. She has exhibited in numerous solo and group shows over the last fifteen years. In 2010, she moved to Scotland with her partner for two years. Since returning to Montreal, she has devoted her time to oil painting and her work has flourished. Inspired by her many travels, her work explores landscapes as a contemplative territory. The desire to revisit past voyages through painting and to recapture the sentiments she experienced in various places was her primary motivation for producing these landscapes. "For the last fifteen years I have explored the reconstruction of landscapes in my painting. My practice is concerned with our relation to land as the memory of place. A land can be occupied, shared, transformed and dreamed, idealized. The land, as homeland or an idyllic land to travel to, where the memory is presupposed. Through my art, I explore that memory of travel, the journeys I made and the ones I dreamed. When contemplating a landscape and experiencing the change of light or atmosphere we realize the passage of time. As explorers from bygone eras, seeking unknown lands, my work proposes a return to the essential…that the French call ‘le bapteme de la solitude’. It is a unique sensation, and it has nothing to do with loneliness, for loneliness presupposes memory. Here, in this wholly mineral landscape lighted by stars like flares, even memory disappears; nothing is left but your own breathing and the sound of your heat beating. A strange, and by no means pleasant, process of reintegration begins inside you, and you have the choice of fighting against it, and insisting on remaining the person you have always been, or letting it take its course. For no one...

Modern abstract, oil on canvas painting, titled “Summertime III” by Michelle Hénault, a conceptual Fine artist. Signed on front bottom right, also, signed, dated and titled on back; measuring approximate 30" H x 36" W x 1.5” D. Gallery wrapped, finished sides, dated circa 2019. Michelle Hénault is a Conceptual Fine Artist, born in Lachute, Quebec, living and working in Montreal since 1991. She completed a Bachelor degree in Fine Arts at UQAM in 1998. After exploring sculpture and photography, she dedicated herself to oil painting. She has exhibited in numerous solo and group shows over the last fifteen years. In 2010, she moved to Scotland with her partner for two years. Since returning to Montreal, she has devoted her time to oil painting and her work has flourished. Inspired by her many travels, her work explores landscapes as a contemplative territory. The desire to revisit past voyages through painting and to recapture the sentiments she experienced in various places was her primary motivation for producing these landscapes. "For the last fifteen years I have explored the reconstruction of landscapes in my painting. My practice is concerned with our relation to land as the memory of place. A land can be occupied, shared, transformed and dreamed, idealized. The land, as homeland or an idyllic land to travel to, where the memory is presupposed. Through my art, I explore that memory of travel, the journeys I made and the ones I dreamed. When contemplating a landscape and experiencing the change of light or atmosphere we realize the passage of time. As explorers from bygone eras, seeking unknown lands, my work proposes a return to the essential…that the French call ‘le bapteme de la solitude’. It is a unique sensation, and it has nothing to do with loneliness, for loneliness presupposes memory. Here, in this wholly mineral landscape lighted by stars like flares, even memory disappears; nothing is left but your own breathing and the sound of your heat beating. A strange, and by no means pleasant, process of reintegration begins inside you, and you have the choice of fighting against it, and insisting on remaining the person you have always been, or letting it take its course. For no one...

Modern abstract, oil on canvas painting; titled “Lac en Août/The Lake in August” by Michelle Hénault, a conceptual fine artist. Signed on front bottom right, also, signed, dated and titled on back; measuring approx. 36" H x 40" W x 1.5” D. Gallery wrapped, finished sides; circa dated 2018. Michelle Hénault is a Conceptual Fine Artist, born in Lachute, Quebec, living and working in Montreal since 1991. She completed a Bachelor degree in Fine Arts at UQAM in 1998. After exploring sculpture...

At first glance this 2012 work by Yale-trained painter Jenna Pirello (American, b. 1988) appears to be spontaneous and expressive. Upon further inspection this painting is controlled...

Modern abstract, oil on canvas painting; titled “Terre Inconnue 2/Unknown Land 2” by Michelle Hénault, a conceptual fine artist. Signed on front bottom right, also, signed, dated and...

Modern oil on canvas painting, titled “Don’t Forget About Me” by Benjamin Rankin, a conceptual fine artist, signed on front bottom right; measuring approximate 80" H x 64" W x 2” D. ...

Charcoal on paper mounted on wood panel; titled: Brothers; approx. size: 30" x 56" 1.5" artist signed Pierre Fortin and dated 2020 on the back. Pierre F...

Modern abstract, mixed-media paintings; titled “Saddened By the Distance” by Maria Astadjov, a conceptual fine artist; two panels of mixed-media on Alum...

Modern abstract, mixed-media painting; titled “The Taste of Tears” by Maria Astadjov, a conceptual Fine artist; mixed-media on Aluminum; Signed on front...

Modern abstract, mixed-media painting, titled “Brighten up My Day” by Maria Astadjov, a conceptual fine artist; mixed-media on Aluminum; Signed on front bottom right; measuring appro...

Charcoal on paper mounted on wood panel, titled: Foreplay; approximate size: 48" x 48" x 1.5 inches deep; artist signed Pierre Fortin and dated 2020 on t...

Charcoal on paper mounted on wood panel, titled: Social engineers, approximate size: 48" x 56" x 1.5" deep. Signed Pierre Fortin and dated 2020 on the ba...

Charcoal on paper mounted on wood panel; titled: Entitlement; 30" x 56" x 1.5" deep; Artist Signed and Dated 2020 on the back. Pierre Fortin a Concept...

Charcoal on paper mounted on wood titled: Propaganda; Panel 48" x 48" x 1.5" deep. Signed Pierre Fortin and dated 2020 on the back of the canvas. Pierre Fortin a Conceptual Artist Fine Artist, born in Montreal, Quebec. Fortin's career spans over 30 years designing and creating for a wide range of nationally and internationally recognized corporations, magazines and publishers. His work has been featured in Catapult Magazine, American Illustration and Communication Arts. Fortin's worked in the video game and theme park industry. His work included mural creation for Universal Studios to being commissioned by Sports Illustrated, The Atlantic Monthly, Forbes, Business Week and Time magazine... He has also created designs of sculptures and props for the Beijing Cube Water Park. The water park won a WWA Industry Innovation Award. Pierre also collaborated in the design of the Dollywood Mystery Mine, in Pigeon Forge...

Very cool modern abstract painting made of acrylic and hood lead signed by artists titled “Frenchy”.

Ugo La Pietra, "Territorialita'" acrylic on canvas, 2013 Signed and dated by artist on front and rear. Coded and archived by Ugo La Pietra archives. "Certificate of Authenticity" av...

"Fantastical Realms: A Nondual Landscape" is a breathtaking painting that captures the wonder and magic of a world beyond the boundaries of reality. The scene is bathed in a soft, ethereal light, giving everything an otherworldly glow. At the center of the canvas, a group of fantastical creatures roam freely amongst towering, twisted trees...

A witty art-object piece by Mexican artist Cisco Jiménez. It's an Sayer Lack wood inks catalogue intervened by the artist with collage and acrylic. The piece resembles a cassette cat...

Untitled - acrylic on canvas by artist and designer Michael Oates This work is signed and dated to verso 'Michael Oates 2021'

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

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...

Vinc Steve McQueen blue aluminium Acrylic on aluminium bonnet of DS Unique piece Dated and signed Circa 2022 190 x 150 890 euros

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...

Ugo La Pietra, " Genius Loci' " Acrylic on Canvas, 2009 Signed and Dated by Artist on front and rear. Coded and Archived by Ugo La Pietra Archives. Certificate of Authenticity a...

"Red Passion" a very vivid painting of Greddy Assa. Europe, Bulgaria, 2010.

Adam and Eve II, 50” X 48”, Oil on Canvas MIRA PARK BIOGRAPHY Mira Park is a painter from Korea, currently based in Fort Lee, New Jersey. After a career in fashion design from ...

This piece is designed to help people transition to their best self. The spiky fractal on top of the head acts as an antenna to attract the change they want to see. The being emergin...

Tintin and snowy in Amilcar - Vinc Technique: acrylic, posca and automotive varnish Aluminium signpost Possibility to put it outside Dimensions: Ø47xP3cm 2022 Price : 390...

Port of Le Havre in the rising sun Year 2021 Jorna Title Portrait of a woman Year 2020 Technique oil brush and impasto Support linen 450 g on wooden frame Dimensions 70x50 wei...

Port of Le Havre in the rising sun Year 2021 Oil technique brush and impasto Support cotton on wooden frame: stretcher Dimensions 60x73 weight 983 g This painting represents the...