Landscape Art For Sale

Page 10 of 190
Browse 5488 Landscape artworks for sale. Contemporary artists: Paula Durbin, Kichung Lizee, Shoshannah Brombacher, Philip Hallawell, George Oommen, Bessie Papazafiriou, Michal Ashkenasi, Storm Hammond, Robin Richard Emrich, David Larkins, Paulo Medina, Jennifer Bailey, Ghassan Rached, Rosalyn M. Gaier offering Landscape artworks. Links to more artworks by these contemporary artists and 190 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 Landscape art simply click on the image to go to a more detailed page about this work of art.


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Paula Durbin: 'Cliffs of Moher', 2000 Color Photograph, Landscape. County Clare, Ireland.  Printed as a Giclee....
Landscape - Photograph
11 x 14 inches (27.9 x 35.6 cm)
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Paula Durbin: 'Smoky Mountains', 2001 Color Photograph, Landscape. Fresson Print.  May be printed in other sizes and processes. ...
Landscape - Photograph
11 x 14 inches (27.9 x 35.6 cm)
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Paula Durbin: 'Stonehenge Vertical', 2003 Color Photograph, Landscape. Stonehenge Mysticism abounds.  Print is an Epson Digital.  May be printed in other sizes and processes....
Landscape - Photograph
11 x 14 inches (27.9 x 35.6 cm)
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Kichung Lizee: 'Totem', 2003 Other, Landscape. Spontaneous brush work using Eastern calligraphy brush, Chinese ink and water color on rice paper....
, 2003
Landscape - Other
18 x 23 inches (45.7 x 58.4 cm)
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Shoshannah Brombacher: 'Holland', 2000 Gouache Drawing, Landscape. This is an impression of my native Holland...
, 2000
Landscape - Drawing
28 x 24 inches (71.1 x 61.0 cm)
Philip Hallawell: 'Storm Brewing Iliad series', 1987 Oil Painting, Landscape. Also part of the iliad series, this work refers to the gathering of the clouds of violence which soon would burst over Troy. Painted in oils on canvas over wood....
Landscape - Painting
50 x 19 cm (19.7 x 7.5 inches)
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George Oommen: 'kerala minature series 1', 2002 Acrylic Painting, Landscape.
Landscape - Painting
4 x 4 inches (10.2 x 10.2 cm)
Bessie Papazafiriou: 'Church in Karditsa', 2000 Watercolor, Landscape.      In Greece churches are often found in the most unexpected places.  Here it sits, nestled between earth and sky.Comments:  Framed...
Landscape - Watercolor
18 x 16 inches (45.7 x 40.6 cm)
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Bessie Papazafiriou: 'First Snow', 1999 Watercolor, Landscape.  First Snow depicts a landscape located in the mounains near Pertouli, Greece.  The backlighting adds sparkle to the scenery and I love the way the vegetation adds contrast.  These elements combine to give this painting its fresh and luminous quality.CommentsFramed...
, 1999
Landscape - Watercolor
17 x 20 inches (43.2 x 50.8 cm)
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Bessie Papazafiriou: 'Two Trees In Metsovo', 2003 Lithograph, Landscape.       Metsovo is a wonderful mountain village in Greece.  While exploring the surrounding woods just before sunset, I discovered these amazing trees nestled together like an old couple.Comments:  Unframed...
Landscape - Lithograph
10 x 12 inches (25.4 x 30.5 cm)
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Bessie Papazafiriou: 'Winter in Metsovo', 2000 Oil Painting, Landscape.      Winter in Metsovo depicts a wonderful place I discovered in Metsovo, Greece.  I love the way the vegetation pokes its way through the snow to add contrast to the painting.Comments:  Framed...
Landscape - Painting
15 x 13 inches (38.1 x 33.0 cm)
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Michal Ashkenasi: 'Fruit in Red', 2002 Acrylic Painting, Landscape. A semi- abstract painting in vivid colors. ...
Landscape - Painting
80 x 80 cm (31.5 x 31.5 inches)
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Storm Hammond: 'Garden Entrance', 2002 Oil Painting, Landscape.
Landscape - Painting
16 x 12 inches (40.6 x 30.5 cm)
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Storm Hammond: 'Garden Wall', 1998 Oil Painting, Landscape.
Landscape - Painting
16 x 12 inches (40.6 x 30.5 cm)
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Storm Hammond: 'Transitions', 1998 Oil Painting, Landscape.
Landscape - Painting
16 x 12 inches (40.6 x 30.5 cm)
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Storm Hammond: 'Rubens Garden', 1998 Oil Painting, Landscape.
Landscape - Painting
12 x 16 inches (30.5 x 40.6 cm)
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Robin Richard Emrich: 'North Woods', 2002 Etching, Landscape. The North Woods, highly detailed done inthe field using a mirror....
Landscape - Etching
22 x 18 inches (55.9 x 45.7 cm)
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Robin Richard Emrich: 'Brooksby Farm', 2003 Etching, Landscape. Peabody' s Brooksby Farm.  Pictured with new barn.  Available unframed and also with as a hand Water Colored piece at $275. 00 US.  This piece shows the direction of the artist merging the tight intricate lines of manmade objects ( tha barn) juxtaposed against the random expressive lines of nature ( the ...
Landscape - Etching
20 x 16 inches (50.8 x 40.6 cm)
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Robin Richard Emrich: 'Footbridge', 2003 Etching, Landscape. Footbridge leading to Hatch Shell at Boston' s Esplance.  Aquatint....
, 2003
Landscape - Etching
8 x 7 inches (20.3 x 17.8 cm)
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David Larkins: 'Road to Spruce Head Island', 2003 Giclee, Landscape.
Landscape - Giclee
18 x 24 inches (45.7 x 61.0 cm)
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Paulo Medina: 'Seforis', 2003 Acrylic Painting, Landscape.
, 2003
Landscape - Painting
130 x 100 cm (51.2 x 39.4 inches)
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Jennifer Bailey: 'landscape', 2002 Acrylic Painting, Landscape. The lonely property adjacent to my childhood home has a mysterious beauty. ...
, 2002
Landscape - Painting
30 x 24 inches (76.2 x 61.0 cm)
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David Larkins: 'Leelanau Squall', 2001 Watercolor, Landscape. Northern Michigan, especially the Leelanau penninsula, is a favorite getaway for our family. With Lake Michigan surrounding the penninsula storms quickly come and go year round.This painting depicts one of the fleeting squalls that are so prevalent.The size noted is the size of the original which is for ...
Landscape - Watercolor
24 x 19 inches (61.0 x 48.3 cm)
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Ghassan Rached: 'Lebanese Village', 1998 Watercolor, Landscape. Watercolor paintimg by Ghassan Rached...
Landscape - Watercolor
40 x 28 cm (15.7 x 11.0 inches)
Ghassan Rached: 'House in Olive Grove', 1999 Watercolor, Landscape. Watercolor paintimg by Ghassan Rached...
Landscape - Watercolor
48 x 36 cm (18.9 x 14.2 inches)
Ghassan Rached: 'Ibel Al Saqi', 1999 Watercolor, Landscape. Watercolor paintimg by Ghassan Rached...
Landscape - Watercolor
40 x 28 cm (15.7 x 11.0 inches)
Ghassan Rached: 'To Ain-Ebel', 2002 Watercolor, Landscape. Watercolor painting by Ghassan Rached...
Landscape - Watercolor
48 x 36 cm (18.9 x 14.2 inches)
Rosalyn M. Gaier: 'Sophisticated Landscape', 2001 Other Printmaking, Landscape. Collagraph. I like the serene, Asian feel about this one. Most elements are collaged onto the plates but there are also carved out shapes, as in a Japanese woodcut.Rives BFK, 100 acid free paper. ...
Landscape - Other Printmaking
7 x 6 inches (17.8 x 15.2 cm)
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David Larkins: 'Monroe Lotus Beds', 1991 Lithograph, Landscape. Lotus Beds is a study of the lotus marshes which are plentiful in my lake side community. The painting depicts the life cycle of the American Lotus from birth to death and also the creatures that inhabit the marshes.The size noted is the size of the original which is ...
Landscape - Lithograph
28 x 20 inches (71.1 x 50.8 cm)
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Rachel Schneider: 'Big Bend 5', 2002 Silver Gelatin Photograph, Landscape. This image is titled
, 2002
Landscape - Photograph
10 x 8 inches (25.4 x 20.3 cm)
(Page 10 of 190) - MORE ARTWORKS
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  • Artists Describing Their Art:

    Paula Durbin - Photography has always captured my spirit. It was only natural that my creative "release" be expressed through the same medium. But, because I am a unique spirit, it had to have other levels of creativity - the photo itself just wasn't enough. My first creative approach to photography was the use of the Polaroid transfer technique. My work consisted of subjects that are still close to me: animals and nature. The technique suited me well; it expresses the selected image seen and it allows me to further express its beauty with the softness of the technique. The watercolor paper used brings yet another dimension to the image. A search for the true expression in my photography led me to explore the techniques of the Fresson family of photographers. The Fresson technique, which culminates in the special care given the developmental process and the paper used, presented me the opportunity to express the richness of my photography. My work now moves beyond that 'moment' and presents a depth and richness perhaps not otherwise felt. I am honored to be a part of the Fresson family. There are only a limited number of artists with whom I share this honor. Having gone ...

    Kichung Lizee - After coming to this country from Korea in the mid 60's to study art, among the many forms of Western art that I was introduced to, Abstract Expressionism interested me most. Currently I am in the process of synthesizing Eastern and Western approaches to art. Specifically, I'm adopting the techniques and materials of Eastern calligraphy to Western thematic material, my primary goal being to close the gap between East and West and reach for universal creativity. Eastern calligraphy I learned is a living and breathing spirit, rather than the dead and rigid tradition of thousands of years. It is uniquely a form that conveys the pulsation of life energy. Through it, one can experience all aspects of the living spectrum. Eastern calligraphic form reveals the kind of life the artist has led, as well as foreshadowing the person one will become. It is the art form that manifests the self as a way of life or philosophy of life. It is a powerful art form that operates through direct intuition. As an artist I rely heavily on creative intuition. Moving with changes in the stream of consciousness, my creative intuition somehow brings out the subconscious and superconscious through ...

    Shoshannah Brombacher - Art makes the world within the artist visible. Classical music, poetry, Jewish and Chassidic stories, traveling, the love for people and memories of eras gone but not forgotten, cities where I lived and worked, like Amsterdam, Berlin, Jerusalem, New York, or visitedm, lie Prague and Sicily, are the main ingredients of my art. My art is like the water of the canals of my native Amsterdam, Rembrandts city, the deeper you look into it, the more you see. A reflection of a reflection of a reflection...look, what you see is not what you see. My art contains texts and letters, lets writing come alive, and reflects my deep connection with the Dutch 17th century Masters, German expressionism, Russian art and medieval miniatures. My art is also a tribute to music and the world of the great Chassidic masters of Eastern Europe. The Kotzker Rebbe listened to a Chassidic storyteller in the street and stated He told what he wanted and I heard what I needed. That is Art. ...

    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....

    George Oommen - George Oommen: The Image as the key Born in Munnar, Kerala, India, and educated in India, Mexico, and the United States, George Oommen continues to derive artistic inspiration from the lush green landscapes of his homeland. Every winter, Oommen visits Mankotta, a small island in the inland waters of Kerala in southwestern India, ten miles from Oommen's ancestral home. The weeks spent there fuel his painting year round. What follows is a series of questions and answers by Oommen about his work. The conversation took place over a series of days but reflects a lifetime of thinking about the meaning of his art. Q: What is the goal of your art? What inspires and motivates you as an artist? A: My painting is fundamentally about communicating what I see in my mind's eye. While verbal expression is the predominant form of communication, from early childhood, I have had a facility with visual expression. Painting is my vehicle for this. The specific goal of my art changes with each series I embark upon, but the general objective is always to transfer the image in my mind to the canvas There are many sources of inspiration for me--it could ...

    Bessie Papazafiriou - Through my work I'm able to express reality in my own way. With a brush in hand suddenly horses can fly, the sky is ablaze, myths become reality and the world is transformed. To me, this is freedom. There is an unequaled sense of joy and satisfaction that comes from being able to express my vision and share it with others. I love it when a stranger views my work and feels a connection...suddenly we're no longer strangers. A new line of communication is open, one that transcends language....

    Michal Ashkenasi - Welcome to my Portfolio! If you are wondering if this is just another floral/landscape artist,I am not! My work is abstract-figurative and ,as you see,I love color!!I work directly on the canvas and the images come out of my imagination or from my memory . I do Collages and Watercolor too , but for me , the most deep feelings come out with Oil or Acrylic.With those media I can fulfill the strong contrastes I work with , and which are part of my style....

    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, ...

    Storm Hammond - David Larkins - Ii?1/2ve always been intrigued by the luminosity and transparencies found in watercolor, Oil and acrylic mediums. I believe an artist must experience the painting i?1/2 to absorb the surroundings, the atmosphere, to have a oneness with the subject matter before the first brush stroke is applied. My style is described as i?1/2Abstract Realismi?1/2 and my strength is found in the composition. Ii?1/2m drawn to diverse subject matter that challenges the viewer to see abstraction in the ordinary i?1/2 to meld the i?1/2reali?1/2 world with the i?1/2abstracti?1/2. ...

    Paulo Medina - Para mA, el arte, ha sido como una pequeA+-a barca en donde he cruzado muchas veces el mar. Una barca frA!gil y pequeA+-a, sin embargo, capaz de cruzar hacia grandes horizontes. La barca ha sido un instrumento Aotil, pero nada mA!s... La pintura es poesAa silenciosa SimA3nides Artistic experience, as a spectator, and then, more directly, as an artist, has meant for me the possibility of transcending and reaching certain spaces that are intangible, but lived daily. As a creator, to be in front of a blank canvas or a digital image to be manipulated, is to be faced with a challenge that of translating to the language of forms, textures and colors something that has not yet been conceptualized, but that exists somewhere and that I desire to capture, expressing it through those materials and tools at my disposal. It thereby becomes a kind of game, in which time disappears and one enters into communion with the aesthetic experience with its infinity of moments, which go from pain to ecstasy. Self-taught experimentation in the field of art, has been for me one of the great pleasures of life. La experiencia artAstica ...

    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....

    Rosalyn M. Gaier - Beauty. Meditative thought. Nuance. These are subjects of my collagraphs. They take on important implications when examined in light of today's American instant gratification culture. While convenience, speed and availability have become hallmarks of our American way of life and our society's progress, there remains a need for something more meaningful. That something is beauty. From my frame of personal artistic reference, "beauty" involves the viewer by initiating the response of taking pause, suddenly, unawares. Arousing the response from deep within, beauty disarms and fulfills at one and the same time. This elusive beauty is vital nourishment for mind and soul. Does today's American art disarm and fulfill? How well are our minds and souls being nourished? Unfortunately, Americans' appreciation and awareness of beauty are partially numbed by their frenzy experience of instant gratification. Beauty falls prey to the mindset of fast food, "Shop till you drop" and instant access to just about everything. We sacrifice refined taste, uniqueness and rewarded perseverance for what often is ephemeral and not quite satisfying. What this means for artists is that their best pieces can be easily overlooked. Unless relevance and nuance of an artwork can be realized immediately, instant ...