Figurative Art For Sale

Page 6 of 177
Browse 5110 Figurative artworks for sale. Contemporary artists: Lois Di Cosola, Lorrie Williamson, Robert H. Stockton, Marsha Bowers, Lucille Coleman, Terry Mollo, James Gwynne, Ron Ogle, Philip Hallawell, Wendy Lippincott, Ruth Zachary, Andrew Wielawski, Wayne Wilcox, Adam Adamou, Storm Hammond, Micha Nussinov, Ghassan Rached offering Figurative artworks. Links to more artworks by these contemporary artists and 177 pages for and further artists at the bottom of this page. To view a work by any of these contemporary artists simply click on the image or browse the artist's portfolio. To buy any Figurative art simply click on the image to go to a more detailed page about this work of art.


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Lois Di Cosola: 'women ink 5', 1992 Digital Art, Figurative. c print signed and dated...
Figurative - Digital Art
8 x 11 inches (20.3 x 27.9 cm)
Lorrie Williamson: 'Growing Up', 2001 Oil Painting, Figurative.  A little girl no longer - - now becoming a woman. ...
, 2001
Figurative - Painting
18 x 36 inches (45.7 x 91.4 cm)
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Robert H. Stockton: 'Saving Your Own Life', 2007 Mixed Media, Figurative.  This small mixed media piece incorporates a wide variety of found materials including old maps, hand colored engravings, matchbox labels and artwork from prayer cards, as well as acrylic paint.  The art work is 4 x 4 and it is matted with white museum board, and framed, under glass, in...
Figurative - Mixed Media
9 x 9 inches (22.9 x 22.9 cm)
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Marsha Bowers: 'Shadows', 2006 Oil Painting, Figurative.  ReproductionAfter the painting by John W. WaterhouseShadows,
, 2006
Figurative - Painting
30 x 40 inches (76.2 x 101.6 cm)
Lucille Coleman: 'Drop Flare', 2006 Oil Painting, Figurative.  Salsa Dancing from my small works series. . .I had no idea my dancermodels were going to do this.  I just told them to do what you feel like doing to the music. . . .  and this was the result.  They are so talented and STRONG.  ...
, 2006
Figurative - Painting
11 x 14 inches (27.9 x 35.6 cm)
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Lucille Coleman: 'Green Spinner', 2006 Oil Painting, Figurative. Salsa Dance Painting from mySMALL WORKS SERIES.Also See paintings Drop and Jumpstreet in the small works series. ...
Figurative - Painting
11 x 14 inches (27.9 x 35.6 cm)
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Lois Di Cosola: 'brush figure a', 1993 Calligraphy, Figurative.  brush drawings on paper ...
Figurative - Calligraphy
14 x 11 inches (35.6 x 27.9 cm)
Terry Mollo: 'VAse With Male Figure', 2006 Ceramic Sculpture, Figurative. Partial male figure in high relief on vase appears to be gazing inside. This is the original fired ceramic, milkcoated. Piece can be cast in one of many materials for interior or exterior display....
Figurative - Sculpture
8 x 11 inches (20.3 x 27.9 cm)
James Gwynne: 'Asleep', 2000 Oil Painting, Figurative. Back view of model with pony tail reclining simple blue background...
, 2000
Figurative - Painting
30 x 30 inches (76.2 x 76.2 cm)
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James Gwynne: 'Model Fragment', 2005 Oil Painting, Figurative.  Large cropped image showing a back view of models hair, back, and shoulder with dramatic lighting. ...
Figurative - Painting
70 x 70 inches (177.8 x 177.8 cm)
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James Gwynne: 'Grey Face Fragment', 1990 Oil Painting, Figurative. Unusual composition focusing on a female face in grey...
Figurative - Painting
65 x 68 inches (165.1 x 172.7 cm)
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Ron Ogle: 'Western Women', 2005 Color Photograph, Figurative. Oregon, August, 2005. ...
Figurative - Photograph
16 x 12 inches (40.6 x 30.5 cm)
Philip Hallawell: 'Function ever preceeds form', 2005 Watercolor, Figurative. An artistic interpretation of Louis Sullivan' s maxim, applied to visagism. ...
Figurative - Watercolor
38 x 56 cm (15.0 x 22.0 inches)
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Philip Hallawell: 'Beauty Within', 2005 Watercolor, Figurative.
Figurative - Watercolor
37 x 56 cm (14.6 x 22.0 inches)
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Terry Mollo: 'Female Torso', 2005 Other Ceramics, Figurative. A female figure emerges from a block of stone. This original piece is fired ceramic with a milk- coat....
Figurative - Ceramics
8 x 8 inches (20.3 x 20.3 cm)
Terry Mollo: 'Vase With Female Figure', 2006 Ceramic Sculpture, Figurative. Partial female figure in high relief on vase appears to emerge from inside. The original fired ceramic has been sold, but the piece can be cast in one of many materials for interior or exterior display. ...
Figurative - Sculpture
8 x 11 inches (20.3 x 27.9 cm)
Wendy Lippincott: 'Four Ages of Women', 2004 Oil Painting, Figurative. The four ages of Women: Infant, Youth, Maturity, Old Age...
Figurative - Painting
18 x 24 inches (45.7 x 61.0 cm)
Ruth Zachary: 'Looking Forward', 2000 Color Photograph, Figurative. The woman in the bonnet sits on the bench and looks out to an open sea.  We view her only from the back, but she is looking forward.  Sitting oh, so straight, and looking forward. . . to her next day, to her bright future. A striking image inspiring strong identification. Monhegan ...
Figurative - Photograph
20 x 16 inches (50.8 x 40.6 cm)
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Andrew Wielawski: 'untitled', 2002 Stone Sculpture, Figurative. I sometimes put a patina on sculptures, which wears away as they get older and leaves them looking better each year. ...
, 2002
Figurative - Sculpture
30 x 36 inches (76.2 x 91.4 cm)
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Wayne Wilcox: 'Hood', 1977 Etching, Figurative.
, 1977
Figurative - Etching
18 x 18 inches (45.7 x 45.7 cm)
Terry Mollo: 'Man', 2000 Ceramic Sculpture, Figurative. The figure of a man emerges from a tree. This original piece is stoneware with a bronze patina and has a marble base. It can be reproduced in various materials....
, 2000
Figurative - Sculpture
7 x 7 inches (17.8 x 17.8 cm)
Adam Adamou: 'Fragmentation', 2004 Acrylic Painting, Figurative.
Figurative - Painting
760 x 1015 mm ( x )
Adam Adamou: 'Libra Life Provider', 2000 Acrylic Painting, Figurative. At a glance this paintig seems abstract. Her name is Libra, a life provider, beetween the rocks she lies, from her right breast sprouts a mesh of of branches, dead, barren without life. From her left grows vitality and fertility expressed by abundant foilage....
Figurative - Painting
0 x 0 mm ( x )
Adam Adamou: 'Intrepid Inclination', 2002 Mixed Media, Figurative. Structured trees with diamond intersections. Torso' s male & female, fruit from vine, patterns segregate bodies, pure and free from needle, as fear of pain prevents me from being tatooed. The essence of the Fruits of the Junkshy Nudes collection....
Figurative - Mixed Media
360 x 1020 mm ( x )
Adam Adamou: 'Close up of Blue Melancholic', 2002 Mixed Media, Figurative. Close Up of Blue Melancholic....
Figurative - Mixed Media
410 x 1020 mm ( x )
Storm Hammond: 'Doria Monastery', 1998 Oil Painting, Figurative.
Figurative - Painting
12 x 16 inches (30.5 x 40.6 cm)
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Micha Nussinov: 'Untitled G1', 2003 Glass, Figurative. The sense of measure as how soft or hard to apply the etching tool on the glass is very critical as every mark is there to stay....
Figurative - Glass
90 x 200 cm (35.4 x 78.7 inches)
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Philip Hallawell: 'Equilibrium 1', 1977 Pen Drawing, Figurative. The
Figurative - Drawing
35 x 45 cm (13.8 x 17.7 inches)
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Ghassan Rached: 'Desolete Waman', 2002 Oil Painting, Figurative. Oil painting by Ghassan Rached...
Figurative - Painting
16 x 12 inches (40.6 x 30.5 cm)
Robert H. Stockton: 'All Around the World', 1999 Other Printmaking, Figurative. The artwork is a laser color copy of a mixed media piece housed in a white, 8
Figurative - Other Printmaking
5 x 3 inches (12.7 x 7.6 cm)
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(Page 6 of 177) - MORE ARTWORKS
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  • Artists Describing Their Art:

    Micha Nussinov - Lorrie Williamson - As time passes and history is made, it is exciting to try and capture a special moment of life in a painting. It might be inspired by an earth-shaking event or just an ordinary daily experience. More often it comes as a result of looking for something meaningful to say about life as it is today by painting a picture of it. I have a passion for painting, and a ongoing desire to master the never-ending possibilities that are inherent in making art. I hope to express a mood or tell a story that will grab and hold your attention and make you want to see more....

    Lorrie Williamson - Marsha Bowers - Marsha Bowers was born and raised in the Central Valley of California. She is a classically trained fine artist, skilled in the old Masters techniques of Flemish/Bistre and Venetian method using a grisaille underpainting and glazing with many layers. Most of her fine art paintings are rendered in oil. She sometimes applies real gold leaf into the artworks. Marsha finds inspiration in the old masters of the past. She spends many hours visiting Museums studying their work. Gothic and Renaissance are her favorite periods along with the Pre-Raphaelites artists. The artist loves the blending of the classical painting techniques with a more contemporary approach to her paintings. Her recent fine art paintings are of women, both figurative and portraiture. The inspiration for her paintings comes from her observations of life itself and through her own experiences. Each painting shares a message, story or emotion. Its what the artist herself describes as a "flowing" of the spirit, a creative process through which the artist paints a story unto the canvas, realizing that each viewer of her work may have their own interpretation of what the art is conveying. Most recently Marsha was invited to be included into the International ...

    Lucille Coleman - Although I'm able to produce other imagery, the figure has been my main subject. I believe that if an artist can capture and express the figure well, he can master any subject. I have explored the following themes to name a few: chic erotica, forms of dance such as latin and hip-hop, the family, conceptual themes pertaining to people in business, men and women in positive leadership roles and societal issues. I enjoy painting subjects and themes by using a loose, bold, direct and painterly brushstroke or flat graphite strokes over a solid drawing. Spontaneity and making visual statements by the "less is more" method is very gratifying for me. In addition, the chiaroscuro lighting of subjects fascinates me and I never tire of its effects of light and shadow. I am influenced by the works of Joaquin Sorolla, John Singer Sargeant, Caravaggio and other painters of his era, Wassily Kandinsky, Phillip Corey, Impressionism, and many great illustrators. ...

    Terry Mollo - ARTISTS STATEMENT Stone is my most important medium. The attributes of stone motivate me to seek and appreciate the beauty that has evolved with time and natures forces. Whether marble, travertine, alabaster, agate, onyx, each piece has its own story to tell. Its hues, striations, translucence, brilliance- and faults- have history and mystery to unlock. While carving I listen to the stone and carve only enough to find, and unleash, its organic lines and its aEURoevoice.aEUR Im inspired by the point at which natures organic form meets the inorganic. I concentrate on the force and tension created between the two, and search for the line that is formed by their union. In my sculpture, organic and inorganic form often conjure human emotion, human condition. Natures sea forms, shells and waves, suggest human form, depth, fluidity, texture, tone. Botanicals are sensuous with leaves and flowers that appear muscled and fleshy. Stems of flowers, such as orchids or lilies, stand tall, appear happy or courageous and proud, while other stems are viney or gnarled and appear desperate or defeated. All are similar to the ways in which the anatomy and musculature of the human body reflect its deepest feelings and emotion. Terry ...

    James Gwynne - The sky and clouds afford the artist a tremendous number of shapes and colors. Movement can be captured in rhythmical patterns and forms. Together, these qualities can be inspirational and aesthetically stimulating when captured on canvas. The environmental paintings show the landscape affected by intrusions by man in the form of grafitti, trash, discarded objects, utility poles, etc. One can say that these are ugly reminders of landscape abuse, or that the beauty of nature dominates whatever intrudes. The figure paintings evolved from drawings done along with students during 30 years of teaching life drawing at the college level....

    James Gwynne - Philip Hallawell - I work in various media: oil, watercolor, dry pastels, pen and ink and mixed media. My work is a result of a fragmented view of the world, which gives it a surreal quality. However, my process is not surreal, because I start with a definite theme that I wish to investigate. My main area of interest is people and the human form and I am constantly investigating the physical, intellectual, emotional and spiritual aspects of Man. Over the years I have developed various series, which I revisit periodocally, investigating different aspects. In purely visual terms, what fascinates me is light and form and how I can use diverse visual elements in a complementary way, opposing, for instance, line and form, or rough and smooth textures. The use of diferent materials to achieve diverse expressions, either alone or as mixed media, along with alternating between a graphic representation and a painterly one, or mixing the two, is a very important aspect of the way I materialize my thinking into images. Equally important is the transition from very realistic images to a totally abstract means of expression and alternating between control and expressiveness....

    Wendy Lippincott - Complex allegories dominate the many themes that pervade Ms. Lippincott's paintings. She prefers incorporating science into her art, consistent with her background in electrical engineering, but often gets waylaid with mythological and historical visions. Her paintings are currently only available for licensing. She hopes to have prints available soon. ...

    Ruth Zachary - My goal is to create striking images that touch the viewer emotionally. I try to capture the essence of a subject or scene, so that the viewer reacts with an immediate recognition, and immediate click of Yes. I depend upon composition, simplicity, shape and contrast, as well as my own aesthetic sense and emotional responses. I love creating art through photography. For me it is an opportunity for self-expression, a means of capturing a moment in time and creating beauty, as well as am important means of communication. My education includes a Masters in Social Work and a BA in English Literature. I have done formal study in drawing and pastel, but my photographic study has been informal and self-taught. Since 1980, I have been a frequent visitor to Monhegan Island, 12 miles off the coast of Maine, a remote lobstering island with a summer artists colony. On Monhegan, I became friends with a group of painters and photographers. I applied what I learned from them to my own work. Those I am most grateful to include Frances Kornbluth, Leo Brooks, Robin Young, Judi Wagner, Josie Vargas and Nancy Stanich. I show my art summers on Monhegan Island ...

    Andrew Wielawski - Art must communicate ideas and have them received the way the artist intends, reaching as many viewers as possible to provoke an emotional response. If you go for those who are in the know about artistic periods, about current trends, and about a symbolic language that requires training to understand, then the artist will miss a huge audience. The artist then becomes a slave to styles created by others. If on the other hand, you work towards reaching multiple levels of viewers, then your task becomes more difficult, and at the same time, more fulfilling. An artist who creates a language will not fit into any already existing niche, and will alienate those looking for something they already know about, like gallerists, collectors and museums. Creativity, however, is like water...it will find its way around such obstructions, and bring the artist satisfaction and a clientele that appreciates what they create without regard for what's in fashion. Most of all, this way of producing reflects the rarity of truth in a world mostly dedicated to superficial values. ...

    Wayne Wilcox - ArtistaEURtms statements have always seemed redundant to me. The work generally speaks for itself. But here goes.. For me itaEURtms about shapes, color and lines interacting and relating to each other. Representational, abstract, non-objective theyaEURtmre all the same. Light against dark, color against color, line intersecting line. IaEUR~m as comfortable with super realism as I am with abstract expressionism. Then, of course, thereaEURtms the medium. I love the paint. I love the act of painting. I love how it flows and how it takes on a direction on itaEURtms own. ItaEURtms like magic. With one stroke something appears before your eyes that wasnaEURtmt there before. An image. An emotion. With each stroke or drip it changes. ItaEURtms an amazing experience. I highly recommend it. And then thereaEURtms image. I am a visual artist. IaEUR~m after strong images, images that evoke a feeling. Starkness, warmth, love, violence, emptiness, beauty, strength. I want the painting or drawing to stand on itaEURtms own. I am a painter. I cannot escape that fact. There have been times IaEUR~ve tried but I always return. ItaEURtms not what I do. ItaEURtm...

    Wayne Wilcox - Storm Hammond - In many of the paintings, my intention was to give the viewer a glimpse into a peaceful moment in the Italian sense of capriccio. In others, particularly those which make use of funerary statuary, one is left questioning aspects of human solitude. It has been said that a landscape does not come alive until there is a figure in it. By using sculptures of human forms, I offer the viewer an identity within the painting. As they are stone, subtly a coldness permeates and a peculiar isolation sets in emotionally. This shifts the pastoral mood to a quiet thoughtful meloncholia. This gives some observers a surrealistic impression of my work. In the architectural alleys, the viewer stands alone on the path. There is always the unseen, something more, a mystery around the corner or through the gate. I use an indirect Old Master's method of oil painting. The process begins with the application of an abstract acrylic ground. Next, an oil grisaille is painted defining the light and dark areas. Then, multiple layers of oil glazes and varnishes finish the piece. The first drawing, painted as the ground utilizes the divine geometry of the Golden Section. The divine ratio, ...

    Micha Nussinov - Nussinov's Statement Oct 2012 Drifting, being transient, in between various states of body/mind, like when we travel physically and with our imagination, as in a 'waking dream'. My work represents a world of ambiguity and illusion, of recognized and abstracted scenes embedded as a tapestry of matter, illustrating different relationships. Somewhere in the process of creating artworks these worlds are mixed in an harmonious and conflicting manner, representing the contradiction and collision between languages and landscapes. At all times the viewer is challenged to unfold the mystery, to explore and discover. The works of art are created not through a planned process but rather the starting point is an impulse, a visual or musical trigger. These signals lure the me into the unknown territories where my intuition and inner vision leads to spontaneous discoveries. As a teenager my box camera was an excuse to drift away from trouble, to capture in a photo something, that was at the same time ambiguous and exciting. As a cinematographer/ director of documentaries from1976 to1980 I was acknowledged as an acute observer of people and an highly experimental filmmaker. I have been working in various fields of the arts, consistently for the ...

    Ghassan Rached - I am a geoscientist. I paint, but painting is only a hobby. I paint, whenever I can spare the time, what is relaxing, touches my heart and pleasant to me for enjoyment. I love to use oil and watercolor as media to express beauty. Comments of visitors would be appreciated....