2010s Paintings

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

Spring Circle 3 - Elodie Huré Oil on wood Diameter: 34cm February 2021 Signed on the back Visual artist, videographer and collagist, also trained at the theater school, ...

Spring Circle 2 - Elodie Huré Oil on wood Diameter: 34cm February 2021 Signed on the back Visual artist, videographer and collagist, also trained at the theater school, ...

Spring Circle 1 - Elodie Huré Oil on wood Diameter: 55cm February 2021 Signed on the back 1100 euros Visual artist, videographer and collag...

Spring Circle 4 - Elodie Huré Oil on wood Diameter: 66cm February 2021 Signed on the back Visual artist, videographer and collagist, also trained at the theater school, El...

The Ocean - Elodie Huré Oil on canvas (without stretcher) 290 x 200cm 2020 Signed on the back Visual artist, videographer and collagist, also trained ...

Ophelism - Elodie Huré Oil on canvas mounted on wood Measures: 56 x 150cm August 2021 Signed on the back Visual artist, videographer and collagist, ...

The song of the Amazons - Elodie Huré Oil on canvas Measures: 200 x 140cm 2017 Signed on the back. Visual artist, videographer and collagist, also trained at the the...

Interior territory - Elodie Huré Oil on paper mounted on linen stretcher 200x250cm 2016 Visual artist, videographer and collagist, also trained at ...

Kyrielle - Elodie Huré Oil on canvas 100x200cm 2020 Signed on the back 2640 euros Visual artist, videographer and collagist, also trained at the th...

Hans-Henrik Husemann (*1943 Celle), "TERRA ARBORETUM", acrylic on canvas, signed and dated "HUS 19", framed 80 x 80 cm Born in 1943, grew up in Hamburg and Berlin, studied at the H...

Hans-Henrik Husemann (*1943 Celle), "Dante Zyklus II", acrylic on canvas, titled and signed on verso 150 cm x 160 cm Born in 1943, grew up in Hamburg and Berlin, studied at the ...

Oil on canvas; 30” x 48”. Unframed. Painting portrays a fly fisherman in the middle of the stream. Colors are bright and stunning, reminiscent of a warm summer's day out on the river...

Rio Casa II 2020 Huile sur toile 117 x 81 cm

Exotica 2024 Oil on Canvas 130 x 200 cm

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...

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...

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...

Esther Ritz, born New York City, has been working as an abstract painter and contemporary artist in Dallas for the last twenty years. She is represented at...

"Desert Rock Painting" by Valerj Pobega, USA, 2013 Valerj's recent body of work is inspired by nature and in particular a trip to the Grand Canyon in 20...

Painting based on rescue doggies. This is kicking off a series based on shelter pets. Completed with pen and ink. Commissions available.

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.

Decorative new Italian painting with fruit, and an 18th century scenery of a palace with a garden, and people. Great colors and very skillfully painted.

Decorative new Italian painting with fruit, and an 18th century scenery of a palace with a bridge, people and ducks on the river. Great colors and very skillfully painted.

Portrait of a boy, Ismael by Belgian painter Danny Cobbaut, oil on canvas, 2016.

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...

Tree I, 52” x 62”, 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 companies...

Eve, 34” X 56”, Oil on Canvas Painting MIRA PARK BIOGRAPHY Mira Park is a painter from Korea, currently based in Fort Lee, New Jersey. After a career in fashion design from compani...

Tree II, 52” X 62”, 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 companie...

Adam and Eves, 54” X 52”, 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 co...

Tree I, 54” x 52”, 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 companies...

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 ...

Michelle Nussbaumer custom watercolor painting "Corridor" with a gold frame finish. Featured in her collection with Wendover Art.

Using 1500 clothes pins to combine painting and sculpture to a dramatic affect is what artist Annie Morris is most famed for. Each peg is individually pai...

Through a layering of hand-dyed sand, the mirror consists of gradient tones and textures suggesting Patagonian glaciers breaking over water. The granules are stratified with nuance a...

Through a layering of hand-dyed sand, the mirror consists of gradient tones and textures suggesting Patagonian glaciers breaking over water. The granules are stratified with nuance a...