Landscape Art For Sale

Page 10 of 215
Browse 6215 Landscape artworks for sale. Contemporary artists: Youri Messen-jaschin, Richard Lazzara, Tom Irizarry Studio, Micha Nussinov, George Oommen, Wayne Wilcox, Paula Durbin, Kichung Lizee, Shoshannah Brombacher, Philip Hallawell, Bessie Papazafiriou, Michal Ashkenasi, Storm Hammond offering Landscape artworks. Links to more artworks by these contemporary artists and 215 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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Youri Messen-jaschin: 'Sky I', 2004 Color Photograph, Landscape. (r) 2004 by ProLitteris, Po. Box CH- 8033 Zurich / (c) 2004 by Youri Messen- Jaschin Switzerland...
, 2004
Landscape - Photograph
29 x 21 cm (11.4 x 8.3 inches)
Youri Messen-jaschin: 'Lausanne lumiere d hiver', 2005 Color Photograph, Landscape. (r) 2005 by ProLitteris, Po. Box CH- 8033 Zurich / (c) 2005 by Youri Messen- Jaschin Switzerland...
Landscape - Photograph
14 x 19 cm (5.5 x 7.5 inches)
Richard Lazzara: 'the four gentlemen', 1974 Calligraphy, Landscape. the four gentlemen 1974 by Richard Lazzara is available from the folio - Sumie Door Meditations, along with more fine arts from
Landscape - Calligraphy
18 x 24 inches (45.7 x 61.0 cm)
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Richard Lazzara: 'loop of space', 1974 Calligraphy, Landscape. loop of space 1974 by Richard Lazzara is available from the folio - Sumie Door Meditations, along with more fine arts from
Landscape - Calligraphy
18 x 24 inches (45.7 x 61.0 cm)
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Richard Lazzara: 'knowing life this passing dream', 1974 Calligraphy, Landscape. knowing life this passing dream 1974 by Richard Lazzara is available from the folio - Sumie Door Meditations, along with more fine arts from
Landscape - Calligraphy
18 x 24 inches (45.7 x 61.0 cm)
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Richard Lazzara: 'heaven touches earth', 1974 Calligraphy, Landscape. heaven touches earth 1974 by Richard Lazzara is available from the folio - Sumie Door Meditations, along with more fine arts from
Landscape - Calligraphy
18 x 24 inches (45.7 x 61.0 cm)
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Tom Irizarry Studio: 'Tower of Babel', 2004 Oil Painting, Landscape. oil on panel, cinnabar, azurite, cremintz white...
Landscape - Painting
9 x 12 inches (22.9 x 30.5 cm)
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Tom Irizarry Studio: 'Calm Soar', 2004 Oil Painting, Landscape. oil on panel, cinnabar, azurite, cremintz white...
, 2004
Landscape - Painting
9 x 12 inches (22.9 x 30.5 cm)
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Tom Irizarry Studio: 'Amorous tempest', 2004 Oil Painting, Landscape. oil on panel, cinnabar, azurite, cremintz white...
Landscape - Painting
9 x 12 inches (22.9 x 30.5 cm)
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Micha Nussinov: 'View from Begg Lane', 1989 Acrylic Painting, Landscape. The view from our veranda. ...
Landscape - Painting
100 x 160 cm (39.4 x 63.0 inches)
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George Oommen: 'kerala palms at sunset', 2004 Acrylic Painting, Landscape.
Landscape - Painting
36 x 24 inches (91.4 x 61.0 cm)
George Oommen: 'mankotta relections dyptic', 2004 Acrylic Painting, Landscape.
Landscape - Painting
24 x 60 inches (61.0 x 152.4 cm)
George Oommen: 'sunset at mankotta', 2004 Oil Painting, Landscape.
Landscape - Painting
24 x 24 inches (61.0 x 61.0 cm)
Wayne Wilcox: 'Lake Watercolor Morning', 2004 Oil Painting, Landscape.
Landscape - Painting
14 x 18 inches (35.6 x 45.7 cm)
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Paula Durbin: 'Carolina Waterfall', 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: '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)
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.Comments:  Framed ...
, 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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(Page 10 of 215) - MORE ARTWORKS
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  • Artists Describing Their Art:

    Youri Messen-Jaschin - From 1958 - 1962 his artistic studies lead him to the higher national school of fine arts student of Professor Arno Roberto Cami and to the Practical school of the Sorbonne, division of social sciences history of art, Professor Pierre Francastel in Paris. From 1962 until 1965, he went to the School of fine arts in Lausanne. He worked with the engraver and painter Ernest Pizzotti. A<> in 1964 with his kinetic glass and acrylic sculptures. He worked two years at the aEURoeCenter of contemporary engravingaEUR in Geneva. Then, he worked in Zurich, where he broadened his pictorial perspective with the painter Friederich Kuhn thru experience of the circle in the face. From 1968 until 1971, he acted at the University of HAPgskolan fAPr design Konsthantwerk in GAPteborg, where he created researches of textile kinetic objects. In 1967, he met at an exhibition in GAPteborgs Konsthall JesAos - Rafael Soto, Carlos Cruz-Diez and Julio Le Parc. Speaking with these artists, he discovered to be fascinated by optical art. He decided to devote all his research to kinetic art. An extended stay in GAPteborg gave him the opportunity to constantly evolve in movement and ...

    Tom Irizarry Studio - Oil painter with broad knowledge of historic methods and historic colors. My studio is my laboratory. I make all my paint. My work focuses on elements of the earth air and land. What I observe is beyond a pretty sky or nice landscape. It is the notion that our earth and the universe, are imbued with a specific energy. Historically, this energy was described by the Victorian poet Gerard Manley Hopkins as Instress and Inscape, derived from ideas of the medieval philosopher, Duns Scotus. Scotus argued that there is some matter entirely devoid of form. Paintings can vary from 9 x 12 inches to 6 x 8 feet. Viewers describe a profound feeling from the paintings, regardless of the size. Specialties Historic processes for paint making, mediums, grounds, oils, mineral pigments, oil mediums, tempera mediums, non-silver processes cyanotypes and archival digital pigment prints....

    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 ...

    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 ...

    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...

    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....

    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, ...