Manhattan - Figurative Paintings

Qualified Candidates 2020 mixed media on plywood 45 inch diameter Al Diaz is an influential, first generation New York City graffiti artist, who later became a text oriented street ...

"Active Rainbows" is an original oil painting by Gary Ruddell. Gary Ruddell (b. 1951, San Mateo, CA) received his BFA from the California College of Arts and Crafts in 1975 and bega...

Original Oil Painting by Gary Ruddell Gary Ruddell (b. 1951, San Mateo, CA) received his BFA from the California College of Arts and Crafts in 1975 and began his art career by illu...

Original Painting by Gary Ruddell. Signed on verso. Gary Ruddell (b. 1951, San Mateo, CA) received his BFA from the California College of Arts and Crafts in 1975 and began his art c...

Frank Shifreen Three Friends 2021 18 x 24 inches Acrylic on Canvas Signed, titled and dated on verso These new works start from polar opposite impulses...

Frank Shifreen Busy Day 2021 Acrylic on Canvas These new works start from polar opposite impulses which juxtapose the purity and beauty of platonic forms opposed to impulsive muscul...

Frank Shifreen Community 2021 28 x 33 inches (6 panels 14 x 11 inches) Acrylic on Canvas Signed, titles and dated on verso These new works start from polar opposite impulses which j...

Original painting by Mavis Smith. Mavis Smith (b. 1956, Trenton, NJ) studied art and design at the Pratt Institute in New York and completed her studies in 2002 at the Seattle Acad...

38"x28" signed by the artist, David Kramer. (oil, acrylic, enamel, pencil on gessoed paper) In this conceptual work on paper, the title: "Paved with Gold" counters the text which ov...

Joe Waks There's No P in Our ool. . . 2010 Oil and mixed media 36 X 24 in.

Joe Waks Roller Games 2012 Oil and mixed media 24 X 24 in.

Chris Bors Cro-Mags 2013 Acrylic on canvas 43 1/2 x 34 in.

Chris Bors No Redeeming Social Value 2013 Acrylic on canvas 43 1/2 x 34 in.

Chris Bors Cro-Mags 2013 Acrylic on canvas 43 1/2 x 34 in.

Nihilistics 2010 Acrylic on canvas 16 x 14 in. Signed, titled and dated on verso

Original Painting by Mavis Smith. Mavis Smith (b. 1956, Trenton, NJ) studied art and design at the Pratt Institute in New York and completed her studies in 2002 at the Seattle Acade...

“As wild fires continue to spread across the world due to climate change. Mass consumerism and luxury spending careens unabated”. Stephen Hall's thought-provoking imagery draws atten...

Hurley Burly #3 2021 Cast acrylic on canvas 10 x 10 inches Signed, titled and dated on verso Matt Enger’s new body of work evokes a mystical experience co...

Erica #1, 2018 Hand embellished monoprint on canvas 25 3/5 × 21 7/10 in 65 × 55 cm Sophia’s Safehouse in an Uncanny Valley examines the recent celebrity culture of humanoid AI as a way to better understand humanity, authenticity, identity, and memory in the early 21st century. The installation, inspired in part by the dystopian literary works of George Orwell, Mary Shelley, Philip K. Dick, Isaac Asimov...

Brian Leo Hang in There 2020 Acrylic on stretched canvas 36 x 24 inches Brian Leo was born in New Jersey in 1976, and is currently living in New York Ci...

Brian Leo Grizzly School 2018 Acrylic on stretched canvas 10 x 10 inches Brian Leo was born in New Jersey in 1976, and is currently living in New York City. He is a graduate of Rut...

Brian Leo Cookie 2018 Acrylic on stretched canvas 10 x 10 inches Brian Leo was born in New Jersey in 1976, and is currently living in New York City. He is a graduate of Rutgers’ Ma...

Brian Leo Cookie 2018 Acrylic on stretched canvas 10 x 10 inches Brian Leo was born in New Jersey in 1976, and is currently living in New York City. He is a graduate of Rutgers’ Ma...

Brian Leo Cyber Truck 2020 Acrylic tin stretched canvas 20 x 20 inches Brian Leo was born in New Jersey in 1976, and is currently living in New York City. He is a graduate of Rutge...

Brian Leo Elephant In The Room 2018 Acrylic tin stretched canvas 20 x 20 inches Brian Leo was born in New Jersey in 1976, and is currently livin...

Brian Leo Bison Head 2017 Acrylic tin stretched canvas 20 x 20 inches Brian Leo was born in New Jersey in 1976, and is currently living in New York City. ...

Brian Leo Baby Yoda Researching Covid-19 2020 Acrylic tin stretched canvas 20 x 20 inches Brian Leo was born in New Jersey in 1976, and is currently livin...

ink and watercolor on paper, 42"x 42" available framed This painting is from as series of ink and watercolor paintings that depict ad-hoc structures, similar to tree hous...

ink and watercolor on paper, 42"x 42" available framed This painting is from as series of ink and watercolor paintings that depict ad-hoc structures, similar to tree hous...

Original Painting by Mavis Smith. Mavis Smith (b. 1956, Trenton, NJ) studied art and design at the Pratt Institute in New York and completed her studies in 2002 at the Seattle Acad...

Available unframed ink on paper, 8"x10" Jesse Lambert was born in Hudson, NY and grew up in rural New Hampshire and New York City. Jesse received a BFA from Cooper Union and a MF...

MY work is based on memories, the things I grew up with or something I can relate to. Every object I used in my paintings reflects my past. The images are tilted or partially drawn, ...

Erica #1, 2018 Hand embellished monoprint on canvas 25 3/5 × 21 7/10 in 65 × 55 cm Sophia’s Safehouse in an Uncanny Valley examines the recent celebrity culture of humanoid AI as a way to better understand humanity, authenticity, identity, and memory in the early 21st century. The installation, inspired in part by the dystopian literary works of George Orwell, Mary Shelley, Philip K. Dick, Isaac Asimov...

Lee Wells Double Sophia, 2018 Hand embellished monoprint on canvas with projection mapped video 125 x 150 cm Contact for video link. Currently on view as part of Sentient Electroics...

Erica with Pearls, 2018 Hand embellished monoprint on canvas 47 1/5 × 39 2/5 in 120 × 100 cm Sophia’s Safehouse in an Uncanny Valley examines the recent celebrity culture of humanoid AI as a way to better understand humanity, authenticity, identity, and memory in the early 21st century. The installation, inspired in part by the dystopian literary works of George Orwell, Mary Shelley, Philip K. Dick, Isaac Asimov...

Shadow & Fog IV, 2018 Oil and charcoal on canvas 42 x 57 inches Signed and dated on verso The Decent Series The realization that wholeness comes from self reflection and a dive into...

Shadow & Fog II, 2018 Oil and charcoal on canvas 42 x 57 inches Signed and dated on verso The Decent Series The realization that wholeness comes from self reflection and a dive into...

Tumultuous Shadow, 2018 Oil and charcoal on canvas 42 x 57 inches Signed and dated on verso The Decent Series The realization that wholeness comes from self reflection and a dive in...

Shadow & Fog I, 2018 Oil and charcoal on canvas 42 x 57 inches Signed and dated on verso The Decent Series The realization that wholeness comes from self reflection and a dive into ...

Restless Thoughts, 2018 Oil and charcoal on canvas 42 x 57 inches Signed and dated on verso The Decent Series The realization that wholeness comes from self reflection and a dive in...

U and I in Little Toy Shop, 2017 Mixed media on canvas 51.18 x 35.48 inches Dafni Athanasopoulou (1993, Athens) is a painter and model on the rise. Devoted...

Erica #1, 2018 Hand embellished monoprint on canvas 25 3/5 × 21 7/10 in 65 × 55 cm Sophia’s Safehouse in an Uncanny Valley examines the recent celebrity culture of humanoid AI as a ...

Erica with Pearls, 2018 Hand embellished monoprint on canvas 47 1/5 × 39 2/5 in 120 × 100 cm Sophia’s Safehouse in an Uncanny Valley examines the recent c...

Blond Sophia #1, 2018 Hand embellished monoprint on canvas 47 1/5 × 35 2/5 in 120 × 90 cm Sophia’s Safehouse in an Uncanny Valley examines the recent celebrity culture of humanoid A...

Acrylic and Aerosol Original comes framed in a wood frame 13 x 17 x 1.5 inches Signed by DeGrupo

Misha Milovanovich Cacodylic from the Inevitable Feeling Series, 2016 Acrylic & oil pastel, ink, enamel and celulose paint on canvas. 72 x 59 cm Hovering between painting, drawing and watercolour sketches, her new work represents a form of personal expression that is less concerned with the impact and novelty of popular culture and more about the quiet uncovering of emotion. Her trademark organic forms are still present though now they are empathetic rather than explosively joyful. The colours are softer, somewhat washed out and hazy, as if half-perceived or remembered. The colour palette and the energy of the mark making reference to the now buried source material -  abstracted Hentai illustrations, Japanese manga-infused depictions of male dominance, rape and power fantasies. The never-satisfied, always distracted state in which this dislocated field of sexual aggression persists stands in for our instantly redundant, surface only culture- transactional, bullying and ephemeral.   Her paintings are sensorially rich and and yet muted, the masses of fleshy intersections and writhing calligraphy feel like they are moving out of the immediate present and floating up out of time.   They are soaked in the in nuances of early modernism- Klee, Miro and Matta. She explores emotive, expressionistic tender spaces in these lyrically rendered conceptual paintings - densely layered works that operate in the enigmatic gaps between rational structure and spontaneity. Misha also echoes Kandinsky and his sensuality of musical movement, evoking his concerns with the spiritual, all emerging naturally from the rich soil she has carefully laid down in her previous work. The language and texture of her materials are important to Misha who prepares her own pigment- paying great attention to form, surface and the moment-to moment physicality of her practice. Misha Milovanovich is a Belgrade-born artist living and working in London. Misha works across several mediums, from sculpture to painting and live art. Characterised by vivid colour, optical movement and energetic visual cadences, Misha's visual work fuses a diverse repertoire of images and forms. She often features discarded shards of consumerism - unloved icons of disposability and careless consumption. Misha's work is often a symphonic abstraction. Her colourful, densely layered works are held in a state of tension between order and chaos, rational structure and spontaneity. She combines depth and surface relief, orchestrating bold contrasts of form, texture and space in her pictures. An intimate colour palette of bodily fluids - red, pink, white, black, yellow and brown - animate the writhing forms and the refracted memories of cartoonish cultural production. A cultural polymath, Misha is constantly engaged in observing society and it’s distortions of desire, lust and attitudes to the body. Traditional techniques have been studied and absorbed and although her work is partly conceptual, it's execution always reflects these hard won technical abilities. Misha's main subject matter is emotion, so naturally her work is highly personal and biographical in ways that create a direct, emotional response from the viewer. Empathy and the universals of human experience - passion, nostalgia, desire and disgust are inescapable in her work. Misha is herself a ‘displaced’ person, having left Serbia for London in her late teens she still carries within her a ‘stranger’s perspective’ and perceives the world as an outsider, someone ever alert to the non-verbal subtleties of communication. Misha's artistic progenitors include her mentor Martin Kippenberger, Wassily Kandinsky and Phillip Guston as well as contemporary artists Gilbert and George, Keith Tyson, Robert Pruitt...

Web of Desire #1 (Large Study for Pure Painting), 2013 Acrylic on canvas 76 x 84 inches Signed, dated and titled on verso. Lee Wells is a conceptual artist, curator, and writer...

Gray Scale Study for Pure Painting 6, 2016 Acrylic on museum board mounted to board Artwork size - 8 x 6.5 inches Framed Size - 16 x 20 inches signed and dated on recto Lee We...

Gray Scale Study for Pure Painting 1, 2016 Acrylic on museum board mounted to board Artwork size - 8 x 6.5 inches Framed Size - 16 x 20 inches signed and dated on recto Lee We...

Acrylic and Aerosol Original comes framed in a wood frame 17.5 x 21.5 x2.5 inches Signed by DeGrupo

Shell, 2015 Oil and Mixed media on panel 19 x 27 cm Nikos Kanarelis was born in Athens, Greece in 1975 where he now lives and works. Βetween 1999 and 2004 he studied at the pain...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Japan, Moore spent time in Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this sparkling portrayal of a young woman dressed in a traditional kimono and carrying a baby on her back, a paper parasol...

Meet the Whiteheads by Brad Fisher Mixed media on paper 13.5 x 16.5 in. Shipping is not included. See our shipping policies. Please contact us for shipping quotes and customizatio...

Original Painting by Mavis Smith. Mavis Smith (b. 1956, Trenton, NJ) studied art and design at the Pratt Institute in New York and completed her studies in 2002 at the Seattle Acad...

CDMX #1 Watercolor on paper 12 x 9 in Shipping is not included. See our shipping policies. Please contact us for shipping quotes and customization options. All sales are final.

CDMX #3 Watercolor on paper 12 x 9 in Shipping is not included. See our shipping policies. Please contact us for shipping quotes and customization options. All sales are final.

CDMX #4 Watercolor on paper 12 x 9 in Shipping is not included. See our shipping policies. Please contact us for shipping quotes and customization options. All sales are final.

CDMX #6 Watercolor on paper 12 x 9 in Shipping is not included. See our shipping policies. Please contact us for shipping quotes and customization options. All sales are final.

CDMX #8 Watercolor on paper 12 x 9 in Shipping is not included. See our shipping policies. Please contact us for shipping quotes and customization options. All sales are final.

Aereo (triptych) II, 2018 Acrylic on paper 29.53h x 21.65w in Valeria Vilar received her Bachelor’s Degree in Architecture from the University of Buenos Aires in 2009. In 2011, Vil...