Hudson - Art

"Jersey Shore", 2021 by Susan Hope Fogel Abstract Deconstructionist watercolor painting of a summer beach scene 7 x 24 inches, archival watercolor and gouache on 300 lb. Arches pape...

"Breezy Morning" by Susan Hope Fogel Painted in Louse Point, Hamptons, NY oil on canvas panel 9 x 12 inches, 17.5 x 21.5 x 1 inches in gold leaf frame wire on reverse for easy instal...

Horizontal minimalist abstract acrylic painting in color fields of aqua, deep blue and black. oil and alkyd on canvas in a Larson Juhl black wood recessed framed Inspired by stones, stains from nature, erosion and artists such as Rothko and Sam Francis, Snow produces meditative fields of brilliant aqua, blue and black color by layering oil paints with a fast drying alkyd medium. The network of layers are bound to a complex under-painting with broad bands of pigment while the rapid drying alkyd allows Snow to continue the succession quite quickly, revealing beautiful boundaries of color. With his painting Snow strives for purity, seeking depth without illusion, using horizons of colors as a harmonious language to create chords, scales and tones. The artist has exhibited extensively in the New England region and has shown with Carrie Haddad Gallery for more than ten years. Surface texture of this painting is incredibly smooth due to the combination of paint and chemicals used. Palette is a brilliant aqua and...

Abstract Deconstructionist watercolor painting of a rural landscape with a cool grey blue palette and earth tones "Mindscape 10", painted by Susan Hope Fogel in 2020 22 x 30 inches ...

Contemporary aerial landscape photograph of a light grey stone quarry with dark dramatic shadows shot by photographer, John Griebsch, while flying his plane over Louisburg, NC Archiv...

Contemporary aerial landscape photograph of sand dunes and deep green ocean water captured from the photographer's plane over Gulfport, Mississippi Archival digital print, edition 4 ...

Contemporary pigment print 36 x 45.5 inches unframed Japanese Kozo paper infused with encaustic on 4 panels, each panel is 36 inches x 11 inches edition of 12 Jeri Eisenberg's photographs, which capture nature's beautiful moments, are printed on panels of thin Japanese Kozo paper. The paper's translucent quality compliments the image with delicate sophistication. A thin layer of encaustic is applied on top of the photograph panels, creating a matte, smooth surface. Here, four black and white panels combine to depict a sky-scape that could easily be mistaken for an abstract water color due to the style of this negative photograph...

"Oopsie" by Joy Taylor in 2022 42 71 x 1 inches, currently unframed while the sides reveal the raw canvas so framing is optional Acrylic on Canvas, diptych (2 separate canvases that...

22 x 22 x 2 inches encaustic on square wood panel Stella is an abstracted painting in rich encaustic (pigmented wax) on wood panel. Using a neutral palette of dark brown, light blu...

Square Table, 1992 Still Life Photograph of Antique Table by David Halliday Sepia toned silver gelatin print, edition of 15 Custom brown wood shadow box frames, no mat with AR non g...

Contemporary color aerial landscape photograph above a beach near Martha's Vineyard, MA Archival digital print, Edition of 25 (#085) Image size 26 x 39 inches with 2 inch border, unf...

Lisa Pressman earned her BA in Art from Douglas College, Rutgers University and an MFA from Bard College. Her work has been exhibited extensively throughout the U.S. and abroad, incl...

This photograph is printed on Japanese Paper. The price is for an unframed photograph. The Robin Rice Gallery is pleased to announce, 25 Years of Polaroids, a new exhibit by Jose ...

Pause that Refreshes (Vintage Tin Type Triptych of Young Man Drinking Coca Cola) Wet plate collodion on aluminum, unique Triptych, each panel is 6 x 4 inches ...

Bright, Maximalist style still life photograph of purple and green flowers and yellow lights against a black background Archival digital print, made to order 24 x 24 inches, edition ...

Color still life photograph of silver fish on a pastel blue table against a white background, Inspired by imagery seen in Greece "Fish on Blue", photographed by David Halliday in 201...

image size: 10 x 8 inches Standing Nude Male Flexing in Socks and Shoes Smoking a Cigarette Polaroid Transfer on 22 x 15 inch Rives BFK paper, unframed signed SM Beard in pencil on...

Mixed media on Japanese paper 1/10 19 x 18.25 framed Artist Biography: Angela A’Court was born in London, UK and lives and works in New York and London. She studied at the University for the Creative Arts UK (UCA),UK, Parsons School of Art and Design, New York, Goldsmiths College, London and in 2022 received a Masters from City and Guilds Art School London in Art...

USA (The Sciences), 2019 : Abstract Colored Pencil & Postage Stamp by Andrea Moreau 11" X 11" paper size colored pencil and postage stamp on paper 15 x 15 x 1 inches framed This co...

Contemporary color still life photograph of yellow, purple, and white flower with red buttons in a silver compote cup on a wood tabletop "Flowers, Compote & Buttons", photographed by David Halliday in 2008 archival pigment print, ed. of 25 10 x 14 inch image on 16 x 12 inch paper, unframed Print is made to order "Flowers, Compote & Buttons" is an archival pigment print by photographer, David Halliday. Here, the artist beautifully situates colorful flowers and buttons in a silver compote cup on an old wooden table...

Baby Face (16 x 16), 2011 - Abstract Contemporary Painting on wood panel 16" X 16" , encaustic on board A pale blue encaustic painting with abstract white a...

Geometric and gestural abstract painting on canvas in earth tones of beige, tan, light brown, with details of white and pale yellow "Passing Through #2", by Jeanette Fintz in 2018 54...

16 x 16 x 2 inches encaustic on square wood panel HOSTESS is an abstracted painting in rich encaustic (pigmented wax) on wood panel. A dark, cross-hatched pattern is overlaid with ...

Archival digital print, Edition of 25 (#013) Image size 23.5 x 29 inches with 2 inch border $2000 Image size 31 x 39 inches with 2 inch border $3200 Image size 38.5 x 48 inches with ...

acrylic on panel Acrylic on 2 wood panels. 30 x 40 each. Horizontal or Vertical installation possible. Luminous green cross hatched painting on wood panel. This piece has a sculpt...

Formalist sepia toned still life photograph of white lily flowers and brown plantains on a tabletop Lilies and Plantains, by David Halliday, printed in 2003 Sepia toned silver gelati...

Abstract still life photograph of yellow flowers against a white sky background Photograph printed on Japanese Kozo paper infused with encaustic on four panels Edition 3/12, 36 x 45....

Contemporary still life sepia toned photograph of cushaw squash, black cherries, and banana vines on a tabletop by David Halliday Sepia toned silver gelatin print, edition 1 of 25 17...

Vertical photo-realist painting on canvas of pale pink ball with steel colored hook on a bright sky blue background 72 x 36 x 1.5 inches oil on canvas, thin wood stripping signed "Richards" on bottom right corner in yellow paint wire is installed on the back for easy hanging This precisely detailed photo-realist painting was made by Joseph E. Richards in 1981. The artist painted this piece when he was 60 years old during a successful career painting trains, cargo ships, and industrial machinery. Richards served in the US Navy during WWII and went on to study at the American Academy of Art in Chicago and the Pennsylvania Academy of Fine Arts in Philadelphia before showing with Ivan Karp of O.K. Harris Gallery in NYC. The artist moved upstate to Hillsdale, NY for the later years of his life. This painting captures one of Richards' most beloved subjects, close up views of industrial equipment against a vivid blue sky. With a photo-realist approach to the subject, Richard was able to capture detailed changes in light and shadow, shape and form. The pale pink colored ball and steel colored hook, down to each screw and bolt, is completed with extreme focus and precision. One could easily confuse this painting with a photograph since it was completed with a very smooth application of paint, with no texture built upon the surface. It is not until you examine the painting up close, do you realize the artist's calculated brushwork. The painting is framed with natural wood stripping. The work is lightweight and easy to hang with wire installed on the back.The artist's signature is located on the front and back of the canvas. About the artist: Joseph Richards’ precisely painted canvases of giant cranes, cargo booms, propellers and train engines are fueled with a fascination like that of a six-year old boy. Working directly from photographs, Richards unites light and color together as one element, evident in the reflective surfaces of steel. The otherwise mundane signs of corrosive wear are magnified; rust stains glow on the canvas and yellow painted pulleys radiate like beacons against a bright, blue sky. Richards finds beauty in their dramatic color, resilient texture, definitive form and functionality. Richards paints sections of these objects in grand scale, with canvases up to 6 feet long and eye-popping color, calling attention to their massive proportions and exceptional strength. Richards had solo exhibits in New York City, Scottsdale AZ, and Washington DC, and his work is found in private and corporate collections here and abroad, e.g., the Tucson Museum of Fine Arts, Mobil Oil, Lankenau Hospital in Philadelphia, and E. Jean Belloni in Geneva, Switzerland. Resume: Born in 1921 in Des Moines, Iowa, Joseph Richards left for Chicago after high school to pursue a career in art. After serving in the U.S. Navy from 1942 – 1945, he went on to study at the American Academy of Art in Chicago and the Pennsylvania Academy of Fine Arts in Philadelphia. He eventually settled with his wife, Betty, in New York City. In 1969, longtime dealer Ivan Karp opened The OK Harris Gallery on West Broadway in Manhattan’s SoHo. Karp was at the forefront of the Photorealism movement, showing artists such as Duane Hanson and Manny Farber...

Vintage style still life photograph of antique white bowl, framed Sepia toned silver gelatin print, vintage uneditioned print Custom black stained wood molding with visible grain 8-...

Large, photo-realist painting on canvas featuring a fire engine red and white industrial crane against a bright sky blue background 69 x 48 x 2 inches oil on canvas, thin wood stripping signed verso, "Joseph E. Richards" Hangs with wire installed on the back Excellent condition, ready to hang as is This precisely detailed photo-realist painting was made by Joseph E. Richards in 1992. The artist painted this piece when he was 71 years old during a long career of painting trains, cargo ships, and industrial machinery. Richards served in the US Navy during WWII and went on to study at the American Academy of Art in Chicago and the Pennsylvania Academy of Fine Arts in Philadelphia before showing with Ivan Karp of O.K. Harris Gallery in NYC. The artist moved upstate to Hillsdale, NY for the later years of his life. This painting captures one of Richards' most beloved subjects, industrial cranes. With a photo-realist approach to the subject, Richards was able to capture detailed changes in light and shadow, shape and form. The red and white crane, painted with extreme detail and focus, vividly contrasts against a bright blue sky. Areas of brown rust, attesting to the machine's power and longevity, are captured with immaculate precision. Since the painting has a very smooth surface, one could easily confuse this painting with a photograph. It is not until you examine the painting up close, do you realize the artist's calculated brushwork. The painting is framed with natural wood stripping. The work is lightweight and easy to hang with pre-installed wire. The artist's signature is located on the back of the canvas. About the artist: Joseph Richards...

Framed still life photograph of an indigo blue Morning Glory flower on a crisp white background “Untitled 58” by Chad Kleitsch, this image is part of the artist’s “Botanical Mind” se...

Hayfield and Catskills, NY , 2018 pigment print on watercolor paper, signed dated and numbered on face Available in 2 sizes: 13 X 16 1/4 edition of 25 $1,500.00 20 x 24, edition of ...

graphite on paper in vintage wood frame with gold detail 8 x 20.5 inches unframed 12 x 24.5 x 2 inches framed This contemporary, horizontal, black & white graphite work on paper w...

Color still life photograph of pomegranates and walnuts on a tabletop with figurative olive branches against a beige and white background 'Pomegranates and Walnuts', by David Hallida...

Geometric and gestural abstract painting on canvas in earth tones of green, beige, tan, green, light brown, and blue. Plan for Spring #1, by Jeanette Fintz in 2018 24 x 24 x 2 inches...

Contemporary nautical seascape photograph of blue ocean waves in a simple white frame 36 x 44 inches unframed, 41 x 49.5 inches framed in white wo...

Nautical color still life photograph of colorful fishing bobbers on a white background archival pigment print, edition of 10 20 x 20 inch paper size with 16 inch diameter image size ...

Minimalist aerial landscape photograph of turquoise blue water and curved break wall Archival digital print, Edition of 25 (#094) Image size 23.5 x 29 inches with 2 inch border, made to order Also available in the following sizes: Image size 31 x 39 inches with 2 inch border $3200 Image size 38.5 x 48 inches with 2 inch border $4500 The aerial photographs of pilot and photographer John Griebsch capture natural and man-made landforms from a bird's-eye view and turn them into art. Employing his mature and professional sense of composition, gained from a photography career that began at the age of 12, Griebsch here photographs turquoise blue water above Lake Michigan near Chicago, IL. When seen from above, the break wall that spirals into the blue water resembles an abstract line on a minimalist abstract canvas. Artist statement: My aerial photographs present a sense of selective design applied to an extremely small and specific area of the vast landscape over which I fly. I find the need to make geographical sense of the earth, as well as the need to make visual sense of a photograph. I work with ambiguity of scale, the graphic quality of nature and with the hand of man upon the landscape. My images have an abstract and often painterly quality. They are at once factual and interpretive. Familiar landscapes take on a fresh context when airborne. The images require the confluence of several factors. There is the subject – a minuscule segment of the landscape that has captured my interest due to its sense of pattern, order or disarray. There is the essential contribution of light. There is the position and altitude of the airplane, and there is a need to capture the stillness and composition of the moment while moving over the subject at more than seventy miles per hour. My earliest aerial photographs were of ice and farmland, made close to home. The scope of the work opened up on solo flights across the continent in my vintage 1952 Cessna 170B. Those flights are made to find images of landscapes on a grander scale as well as unfamiliar opportunities to find images that take in a small detail. In my most recent work I’ve discovered what might be regarded as historical or documentary themes – some of the images of factories and quarries present relics of the country’s industrial past, while my newer images of the landscape and agriculture denote changes in the scale of farming and open space. The existing body of work, titled Aerias is comprised of more than two hundred images. Collections of my images have been placed in corporate and business settings and in private collections. I started photographing when I was twelve years old. My father taught me to fly when I was fourteen years old. Before taking off on my first solo flight, he admonished me not to go out of sight of the airport. I was soon out of his view and yet from where I was, the airport was always in sight. Such are the perceptions of a photographer who is airborne. More about the artist: Resume John Griebsch is an aerial photographer and pilot whose aerial landscapes depict natural and man-made landforms. His images of the American landscape have been made from his vintage Cessna 170, in which he has logged more than 100,000 miles. At present there are 300 images in his series of work, titled, AERIAS. Representation Iris Gallery, Boston & Great Barrington, Massachusetts, Aspen, Colorado Carrie Haddad Photographs, Hudson, New York The Art Registry, Washington, DC Chicago Art Source, Chicago, Illinois June Bateman Fine Art, New York, New York Estro Photographics, New York, New York Susan Spiritus...

Sepia Toned Silver Gelatin Photograph of Six Ceremonial Canes from Ancient Tonga 17 x 17 inches, edition of 8/25 signature on face Tonga was once at the center of a vast trading empire stretching...

Contemporary color still life photograph of purple and green vegetables 30 x 37.5 inch image size, 33 7/8 41 5/8 inch paper Edition of 10 This horizontal color still photograph of ...

Minimalist gestural abstract drawing on paper with black ink "Energy Clearing #1", by Jeanette Fintz, 2019 22 x 30 inches, 28 x 35.5 inches in natural wood frame Wire and d-rings for...

Abstract ceramic tile painting of striped and polka dot teal birds against a black background with teal and green mosaic accents. 18 x 18 inches...

Untitled - Number 149 (White), by Chad Kleitsch, 2010 Contemporary still life photograph of white tulip flower on white background Archival pigment print on Hahnemuhle photo rag matt...

One World Trade Center #15 by James Bleecker Contemporary color photograph of New York City's Freedom Tower with sunlight as viewed from the Hu...

Contemporary still life photograph of white flower with light pink, orange center Untitled- Number 74 (White) by Chad Kleitsch Archival pigment print on Hahnemuhle photo rag matte pa...

Sepia Toned Landscape of Net in Water and Reflection from Tonga 17 x 17, edition 5 of 25 Silver Gelatin Print, unframed David Halliday's series consists of sepia-toned still lives ...

Detailed sky blue colored pencil landscape drawing of postage stamp with red plane 'Republique du Congo (Wind)' made by Andrea Moreau in 2012 ...

Clam Shells (Still Life Photograph of Blue/White Shells with Drift Wood) by David Halliday 10 X 15 inches, 17 x 22.5 inches framed Color Work Series archival pigment print edition #2 of 25 In this series, Halliday captures the beauty of everyday life in still lifes of various objects and vegetation arranged against simple backgrounds. This seaside still life of deep blue and white clam shells beside a piece of drift wood is set on a concrete surface in front of a cream colored plaster wall. The subtle color palette extenuates the various textures and gentle shadows cast on the objects. About the artist: American, b. 1958, Glen Cove, NY, United States, based in Schodack Landing, NY, United States Elegant still lifes bathed in natural light, so masterfully composed one could forget that it is, in fact, a photograph – this is how we’ve come to recognize David Halliday’s work. The artist first gained recognition for his sepia toned silver gelatin prints of common place objects and food staples, emphasized by sublime balances of form, texture, and shadow one could liken to classical painting. In more recent years the artist began embracing his subject matter with modern pops of color in surreal arrangements; vegetables and fruits eccentrically coupled with fish nets and cutlery balanced on undefined tabletops, seeming to float in midair. Now the photographer is retracting his lens to encompass the studio itself as his subject. In a self-portrait of sorts, Halliday skillfully combines elements of his craft in a modest interior...

Green Abstract figurative drawing on paper with found postage stamp 'Yemen (Coffee Plant)' by Andrea Moreau, 2012 colored pencil and postage stamp on pape...

Contemporary sepia toned photograph of New York City's High Line, the iconic raised walkway in Manhattan's west side neighborhood 'High Line: Column' by James Bleecker archival pigme...

Acrylic on wood panel 15 x 16.5 x 1.5 inches This minimalist, non-objective painting is the work of Ginny Fox, whose process is based on overlapping streaks of paint. Working with r...

Minimalist aerial landscape photograph of trees in a snowy white field Archival digital print, Edition of 25 (#121) Image size 23.5 x 29 inches with 2 inch border, made to order Also available in the following sizes: Image size 31 x 39 inches with 2 inch border $3200 Image size 38.5 x 48 inches with 2 inch border $4500 The aerial photographs of pilot and photographer John Griebsch capture natural and man-made landforms from a bird's-eye view and turn them into art. Employing his mature and professional sense of composition, gained from a photography career that began at the age of 12, Griebsch here photographs a barren orchard and popular trees in a snowy white field above Sodus, New York. The shadows from the trees cast a dramatic shadow against the white field while the brown colored paved road provides a striking contrast in composition. When seen from above, the aerial landscape photograph looks like a minimalist abstract canvas. Artist statement: My aerial photographs present a sense of selective design applied to an extremely small and specific area of the vast landscape over which I fly. I find the need to make geographical sense of the earth, as well as the need to make visual sense of a photograph. I work with ambiguity of scale, the graphic quality of nature and with the hand of man upon the landscape. My images have an abstract and often painterly quality. They are at once factual and interpretive. Familiar landscapes take on a fresh context when airborne. The images require the confluence of several factors. There is the subject – a minuscule segment of the landscape that has captured my interest due to its sense of pattern, order or disarray. There is the essential contribution of light. There is the position and altitude of the airplane, and there is a need to capture the stillness and composition of the moment while moving over the subject at more than seventy miles per hour. My earliest aerial photographs were of ice and farmland, made close to home. The scope of the work opened up on solo flights across the continent in my vintage 1952 Cessna 170B. Those flights are made to find images of landscapes on a grander scale as well as unfamiliar opportunities to find images that take in a small detail. In my most recent work I’ve discovered what might be regarded as historical or documentary themes – some of the images of factories and quarries present relics of the country’s industrial past, while my newer images of the landscape and agriculture denote changes in the scale of farming and open space. The existing body of work, titled Aerias is comprised of more than two hundred images. Collections of my images have been placed in corporate and business settings and in private collections. I started photographing when I was twelve years old. My father taught me to fly when I was fourteen years old. Before taking off on my first solo flight, he admonished me not to go out of sight of the airport. I was soon out of his view and yet from where I was, the airport was always in sight. Such are the perceptions of a photographer who is airborne. More about the artist: Resume John Griebsch is an aerial photographer and pilot whose aerial landscapes depict natural and man-made landforms. His images of the American landscape have been made from his vintage Cessna 170, in which he has logged more than 100,000 miles. At present there are 300 images in his series of work, titled, AERIAS. Representation Iris Gallery, Boston & Great Barrington, Massachusetts, Aspen, Colorado Carrie Haddad Photographs, Hudson, New York The Art Registry, Washington, DC Chicago Art Source, Chicago, Illinois June Bateman Fine Art, New York, New York Estro Photographics, New York, New York Susan Spiritus...

"Jinx" oil on panel 10 x 8 inches 2021

Grid No.6, 2009 (Contemporary Framed Abstract Grid in Neutral Shades Black & Coffee) by Birgit Blyth 40" X 25" paper vertical chromoskedesic monoprint 44 x 29 inches framed, custom frame with black wood molding and anti-reflective glass This contemporary, abstract style chromoskedasic monoprint was created by experimental photographer, Birgit Blyth. Without the use of a camera, the artist produced this chromoskedasic image by applying the photographic chemicals to black and white photo pager and exposing it to light. The variety of caramel, toffee, brown and black tones is determined by the different chemicals used and the amount of time they are exposed to light. Here, the artist paints with the photographic materials in a gestural, linear motion. Beautiful hues of coffee, caramel, brown, grey, and black intersect to create unique abstract, intersecting grid patterns that resembles a basket weave motif. The photograph is complimented with a black metal frame with non-glare glass. It is equipped with sturdy wire on the back for instant and professional quality hanging. About the artist and work: Birgit Blyth is one of our most innovative and prolific photographers who works in a darkroom yet uses no camera! Blyth has been experimenting with a technique known as Chromoskedasic painting since the early ‘90s and variations on this concept have been shown at the gallery for the last 20 years. The unusual process involves the use of silver particles in black and white photographic paper to scatter light at different wavelengths when exposed. A chemist of sorts, Blyth demonstrates a thorough knowledge of how the various photographic chemicals will react when applied to paper and exposed. Each work is unique with palettes that resonate brilliant tonalities of brown, green, black, and purple. Using this technique, Blyth creates abstract crosshatching grids and most recently has developed a more gestural series of 20 x 16 inch chromoskedasic paintings that explores the ethereal qualities made possible by the unconventional material. Birgit Blyth succeeds at keeping her work fresh and cutting-edge using analog methods that are being quickly replaced elsewhere with digital technology. Though Birgit Blyth began her photographic career using conventional photographic methods, she quickly became more interested in alternative processes. In the mid 1990’s a colleague showed her an article in Scientific American and it was here that she first discovered the technique called “chromoskedasic” painting, which would eventually lead her to fully finding her voice as a photographer. Blyth had always aligned herself with and been moved by abstract expressionist painting. The series of veil paintings by post-abstract expressionist, Morris Louis, was especially inspiring to her and caused her to ask herself how she could do similar interpretations photographically. In “chromoskedasic” painting, she found the answers and would begin on a new path in her artwork. The term “chromoskedasic” is derived from Greek roots meaning color by light scattering. Developed by a photographer named Dr. Dominic Man-Kit Lam, this process exploits the capability of silver particles in black and white photographic paper to “scatter” light at different wavelengths when exposed to light and chemicals. In her mastery of this photochemical drawing process, Blyth has painted lush washes of color into her own “Veil Series;” she has envisioned landscapes, both rural and urban, with melting swirls and marbled colors into rich palettes of toffee and lead. She has used this essentially experimental process to help her “see” the world around her. Blyth says she continues to be fascinated by the process because it requires “a combination of discipline, experimentation, and imagination, making possible a wonderful balance between control and surprise.” Because the chromoskedasic work is all analog, Blyth spends much of her studio time in the darkroom, which has become a rarity in the current world of digital photography. She does however, continue her preference for experimentation in numerous directions, even employing aspects of the digital age – this exhibit will also feature a new series of pieces created with the now defunct but much loved SX-70 polaroid camera, scanned and archivally printed on 24” x 24” fine cotton rag paper. Whatever the process, Blyth’s work is, as the painter and poet, Peter Sacks noted, a blend of “precision and mystery, of articulation and atmosphere.” Her images leave us with the feeling of ongoing action despite the apparent stillness; of qualities both dreamy and stark as light hits a stand of birch trees in a valley or a group of buildings in New York City. As Morris Louis evolved a style of painting that produced a complete integration of paint and canvas, so too has Blyth, with photo paper and chemicals, created a perfect integration of method and content. Artist CV: Born: Kousted, Denmark Resident in U.S.A. since 1963 Education: Denmark and U.S.A. Project, Inc., Cambridge MA (Photography) DeCordova Museum School, Lincoln MA (Printmaking) Maine Photography...

Abstract ceramic wall sculpture on panel of black birds and mosaic blue and teal tile 13 x 13 inches Earthenware, ceramic glazes on panel This contemporary ...

Betsy Weis (Photography) Summer Lilies, 2006 20" X 30" $1,700.00 archival inkjet print on watercolor paper (Also available with 27 x 37 inches in white frame with white mat & AR non-glare glass, $2,000) Image: 20 x 30 inches Paper: 24 x 36 inches Photographed in Wellfleet in Cape Cod, this black and white archival pigment print by Betsy Weis captures a cluster of water lilies afloat on a glassy, onyx-like body of water. Crisp, moody, and rich in texture, the photograph can stand on its own as a quiet glimpse at nature, or can be juxtaposed with others in the series to form a more complete vision. This photograph is available unframed. The image measures 20 x 30 inches, and the paper measures 24 x 26 inches. Artist statement: Nature provides the perfect model of beauty, according to Plato and Socrates. In the classical period, something was considered beautiful because it existed in nature; art was secondary. In the 18th Century, the German philosopher Johann Joachim Winckelmann argued against the idea that art imitates life, believing that qualities superior to nature are found in art, specifically, ideal beauty, and “brain-born images”. Neoclassical thought represented that art need not serve any end other than its own existence. For me, beauty is an ideal, nature is real, and art comes from the brain. I take pictures in nature, finding shifting, disparate, and beautiful landscapes. I develop my pictures of trees...

Sepia Toned Still Life of Wooden Antique Headrest from Tonga 17 x 17, edition of 25 Silver Gelatin Print, unframed David Halliday's series consists ...

archival digital print 94 x 36 inches, edition of 15 unframed This contemporary, archival digital print was made by fine art photographer, Lisa Frank, in 2010. The botanical still l...

Modern still life photograph of earth toned brown and green moss Archival digital scanograph 18 x 13 inches, edition of 75 Additional sizes available This contemporary, archival di...