Mythology Art For Sale

Page 1 of 14
Browse 393 Mythology artworks for sale. Contemporary artists: Jerry Di Falco, Austen Pinkerton, Harry Weisburd, John Sims, Tamara Sorkin, Martin Glick, Claudia Nierman, Stephen Mead, Andrew Wielawski, Paulo Medina offering Mythology artworks. Links to more artworks by these contemporary artists and 14 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 Mythology art simply click on the image to go to a more detailed page about this work of art.


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Jerry  Di Falco: 'artmis number one', 2020 Mixed Media, Mythology. This unusual artwork combines the genres of printmaking and painting.  I began with an etching that employed three individual plates placed on the printing press bed simultaneously to create one image.  This etching was developed in several baths of Nirtic acid and incorporated the three etching techniques of intaglio, aquatint, ...
Mythology - Mixed Media
12 x 16 inches (30.5 x 40.6 cm)
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Austen Pinkerton: 'aeolus of the four winds', 2020 Stone Sculpture, Mythology. Started this sculpture early this year, but have been working on and off on other pieces, so made slow progress. Think I ve finished it at last.  Aeolus, of the Four Winds , Limestone, 20 x 28 x 23cm high. Apart from a very rough test piece years ago, my first ...
Mythology - Sculpture
28 x 23 cm (11.0 x 9.1 inches)
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Jerry  Di Falco: 'spider in red', 2019 Etching, Mythology. The price for the artwork includesThe etching, matted in archival materials and a woodframe.All handling costs.Shipment Carton.Packing materials.A Certificate of Authenticity signed by the artist.  The framed and matted artwork arrives already wired and ready to hang.  The framing includes a brown craft paper backing.  Moreover, ...
Mythology - Etching
12 x 16 inches (30.5 x 40.6 cm)
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Jerry  Di Falco: 'assyrian lyre', 2018 Etching, Mythology. SOLD WITHOUT MAT OR FRAME.  This etching used two zinc plates placed on the Press table to form one image.  Each plate size is six inches high by four inches wide, 15. 240cm by 10. 160cm, and the overall printed image measures by twelve inches high by four inches wide, ...
Mythology - Etching
10 x 17 inches (25.4 x 43.2 cm)
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Jerry  Di Falco: 'the painted lyre', 2018 Etching, Mythology. SOLD WITHOUT MAT OR FRAME.  This etching used two zinc plates placed on the Press table to form one image.  Each plate size is six inches high by four inches wide15. 240cm by 10. 160cm , and the overall printed image measures by twelve inches high by four inches wide 30. ...
Mythology - Etching
10 x 17 inches (25.4 x 43.2 cm)
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Harry Weisburd: 'myth leda and swan 2', 2014 Watercolor, Mythology. Myths  Leda and Swan...
Mythology - Watercolor
20 x 26 inches (50.8 x 66.0 cm)
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Harry Weisburd: 'myths leda and the swan 1', 2014 Acrylic Painting, Mythology. Myths :  Leda and the Swann ...
Mythology - Painting
20 x 26 inches (50.8 x 66.0 cm)
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John Sims: 'pasiphae and daedalus', 2009 Oil Pastel, Mythology. Another dream after reading the novel Pasiphae before falling asleep in Cyprus. Oil pastel on paper. ...
Mythology - Oil Pastel
33 x 36 cm (13.0 x 14.2 inches)
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John Sims: 'metamorphosis of king theraus', 2012 Crayon Drawing, Mythology. As an illustrator I frequently used colour pencils and crayons, in 2012 13 I started to use them again to draw birds, dead and alive. These nature morte drawings were inspired by 17 century Spanish painters. Many of my drawings from this time are derived from Metamorphosis by Ovid. This ...
Mythology - Drawing
28 x 40 cm (11.0 x 15.7 inches)
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John Sims: 'Playing with Rubens ', 2015 Watercolor, Mythology.          Animalfantasyfigure  figurative, nude, girl, arthistory, mythology          ...
Mythology - Watercolor
56 x 45 cm (22.0 x 17.7 inches)
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Austen Pinkerton: 'GRIFFIN', 2015 Ceramic Sculpture, Mythology.      animals greeks ancient history beasts   ...
, 2015
Mythology - Sculpture
46 x 28 cm (18.1 x 11.0 inches)
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Harry Weisburd: '5 Earth Goddesses Hills ', 1998 Watercolor, Mythology.     Office friends,  bar, bar flies, pick- up, love, romance, drinks, social, gathering , people                      5 Earth Goddesses hills, Yin/ Yang Chinese philosophy  Yin feminine forms in Nature. ( Can  you find the Earth Goddessses hidden in the hills ? )                                                  ...
Mythology - Watercolor
24 x 19 inches (61.0 x 48.3 cm)
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Harry Weisburd: 'Orpheus  Eurydice', 2013 Watercolor, Mythology.    Myths  Orpheus , Eurydice                                                                     ...
Mythology - Watercolor
11 x 14 inches (27.9 x 35.6 cm)
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John Sims: 'Pasiphae and her Lover', 2011 Oil Pastel, Mythology.  Animalfantasyfigure ...
Mythology - Oil Pastel
43 x 28 cm (16.9 x 11.0 inches)
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Tamara Sorkin: 'Golden heart flower', 2011 Other, Mythology.   Based on a well known story about a woman going to look for a flower to cure a child. This is a pulp painting. It was currenly exhibited at the botanical gardens in Jerusalem  ...
Mythology - Other
45 x 42 cm (17.7 x 16.5 inches)
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Martin Glick: 'Daphne and the River God', 2010 Ceramic Sculpture, Mythology.       Daphne in order tyo escape  being ravaged by Apollo calls upon the river god Peneus to help her.  He does so by changing her into a tree.  this sculpture is shown in patinated stoneware and will be sold in a limited bronze edition.  Size is approximate      ...
Mythology - Sculpture
30 x 42 inches (76.2 x 106.7 cm)
Martin Glick: 'Daphne and the River God', 2010 Ceramic Sculpture, Mythology.     Daphne in order tyo escape  being ravaged by Apollo calls upon the river god Peneus to help her.  He does so by changing her into a tree.  this sculpture is shown in patinated stoneware and will be sold in a limited bronze edition.  Size is approximate    ...
Mythology - Sculpture
30 x 42 inches (76.2 x 106.7 cm)
Martin Glick: 'Daphne and the River God', 2010 Ceramic Sculpture, Mythology.    Daphne in order tyo escape  being ravaged by Apollo calls upon the river god Peneus to help her.  He does so by changing her into a tree.  this sculpture is shown in patinated stoneware and will be sold in a limited bronze edition.  Size is approximate   ...
Mythology - Sculpture
30 x 42 inches (76.2 x 106.7 cm)
Martin Glick: 'Daphne and the River God', 2010 Ceramic Sculpture, Mythology.   Daphne in order tyo escape  being ravaged by Apollo calls upon the river god Peneus to help her.  He does so by changing her into a tree.  this sculpture is shown in patinated stoneware and will be sold in a limited bronze edition.  Size is approximate  ...
Mythology - Sculpture
30 x 42 inches (76.2 x 106.7 cm)
Claudia Nierman: 'David', 1997 Cibachrome Photograph, Mythology.   This image is also available printed on canvas 57 x 80; and in cibachrom 32x 45.  ...
, 1997
Mythology - Photograph
25 x 30 inches (63.5 x 76.2 cm)
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Claudia Nierman: 'The tragic myth of Niobe', 1997 Cibachrome Photograph, Mythology.  This image is also available printed on canvas 57 x 80; and in cibachrom 32x 45. ...
Mythology - Photograph
25 x 30 inches (63.5 x 76.2 cm)
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Claudia Nierman: 'Wooden Secret', 2000 Cibachrome Photograph, Mythology.  This image is also available printed on canvas 57 x 80. ...
Mythology - Photograph
32 x 45 inches (81.3 x 114.3 cm)
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Claudia Nierman: 'Eros', 1997 Other Photography, Mythology.  This image is from the series Enchanted Garden. It is printed on canvas and hand painted. This image is also abeilable as a Cibachrom print in the smaller format.  ...
, 1997
Mythology - Photograph
57 x 80 inches (144.8 x 203.2 cm)
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Stephen Mead: 'Epona', 2003 Mixed Media, Mythology.  Part of the mixed media series
, 2003
Mythology - Mixed Media
18 x 24 inches (45.7 x 61.0 cm)
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Stephen Mead: 'FebruaryRemembersFall', 1997 Mixed Media, Mythology.   Evocative merman exploration, incorporated into the series Blue Heart Diary, part of the DVD Captioned Closeness, Indieflix. com.  ...
Mythology - Mixed Media
24 x 28 inches (61.0 x 71.1 cm)
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Andrew Wielawski: 'Minotauress detail', 2008 Stone Sculpture, Mythology.  I can usually tell a sculptor who can't carve hair. All their figures are bald! For me, it' s like an abstract sculpture forming a part of the whole, because you certainly can' t make stone into strands that small, just create a sort of impressionistic feeling.  ...
Mythology - Sculpture
2 x 1.1 inches (5.1 x 2.8 cm)
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Andrew Wielawski: 'Minotauress detail', 2008 Stone Sculpture, Mythology.  The Minotauress holds the skull of one of her victims in one hand, and a string in the other with which to confuse the next one. ...
Mythology - Sculpture
2 x 1.1 m (6.56 x 3.61 feet)
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Andrew Wielawski: 'Minotauress', 2008 Stone Sculpture, Mythology.  In one of the stories I read about the labyrinth and the Minotaur, the idea was advanced that the tale was meant to be taken metaphorically. As such, the maze was the subconscious, and the Minotaur our deepest rooted fear. I believe men fear women more than anything else, no...
Mythology - Sculpture
2 x 1.1 m (6.56 x 3.61 feet)
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Paulo Medina: 'Fauno', 2008 Mixed Media, Mythology.
, 2008
Mythology - Mixed Media
80 x 100 cm (31.5 x 39.4 inches)
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Michael Pickett: 'Modern Toilet of  Venus', 1998 Acrylic Painting, Mythology.  This is Mr. Pickett' s version of The Toilet Of Venus.In this version, Michael creates a modern idea of the Goddess Venus.Venus as an old Goddess still reflecting her youth and beauty.This is a Museum quality piece. ...
Mythology - Painting
24 x 30 inches (61.0 x 76.2 cm)
(Page 1 of 14) - MORE ARTWORKS
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  • Artists Describing Their Art:

    Jerry Di Falco - Photography inspires my art and acts as a vital element in my etchings. The images I employ originate from my own photographs, as well as from the images I find from my research into the digital archives of universities, historical societies, libraries, and museums. Upon locating a documented scene I wish to etch, my first step involves the execution of two to five original drawings of the photograph. My collaboration between photography and printmaking allows me the independence to integrate my personal interpretations into the scene. Moreover, I create bridges between the physical and metaphysical visual realities in the same way that a camera intersects with human creativity . . . the nexus between the mechanical and the cerebral art tools. Art unveils everything that we mask behind our belief systems conversely, I strive in my creations to clarify those phenomena we overlook as a result of our egocentric assumptions. Ironically enough, I blame this failure to notice things, a process I label, the phenomenology of connectedness, on todayaEURtms very infatuation with and addiction to the new communicational technologies of social media. My artworks therefore become like windows through which to examine the mysteries of aEURoeeveryday consciousnessaEUR. In fact, my use of ...

    Austen Pinkerton - Artists Statement Austen Pinkerton If I turn my mind to it very quickly I can come up with several ideas for works aEUR|paintings, drawings, or sculptures. Sometimes ideas come to me when I least expect it, or when my mind is on other things. Ideas can be related to my current experiences, or to my feelings about things that are happening to me in my life at that particular time. Alternatively they can be related to a current interest, or something that occupies my attention at that moment, and my ideas and feelings about which Id like to share with others. A lot of my work is autobiographicalaEUR|either directly or indirectly, consciously or subconsciously. It is frequently very personal, and expresses events or circumstances or experiences in my life. I usually work in either Acrylic on Canvas, Crayon or Pastel, or both together, with Gouache, on card, Drawing in pencil, or Ink, or both, or with creating SculptureaEUR|for which I use fired artists clay. Sculpture follows a completely different set of rules and values from two-dimensional art, obviously, I think of it as Drawing in three dimensions and I take this into account when creating mine. In...

    Harry Weisburd - Harry Weisburd is an Internationally Represented Artist, including, USA, Expressions Gallery, Berkeley, California,

    John Sims - Following some thirty years working as a graphic designer and illustrator I began stone carving in 2000 and in 2002 I returned to college at Christ Church Canterbury in England to study BA Fine Art. In 2007 I went to the Cyprus College of Art to study for a Post Grad Diploma in Fine Art under the great Cypriot artist, Stass Paraskos. At the end of the course I was asked to stay on and run the Summer Schools and to be tutor on the Post Grad course. An incredible experience and an enormous influence on my work. My work now involves less stone carving more often found timber or kebab sticks My drawing in some respects has turned a full circle in the sense that prior to sculpture my illustration work was colourful but painstakingly detailed and stylised. At college I concentrated on measured observational life drawing in pencil which fed into the simple lines of my mainly figuratively based stone carvings. Whilst in Cyprus I re-discovered colour in both my drawing and sculpture. Dreams and mythology filled my waking and sleeping hours. Oil pastel and oil sticks became my favourite mediums to quickly capture these glimpses of ...

    Tamara Sorkin - I have always worked from organic subjects- plants, animals, or the human body, but usually I arrive at an abstract, "zoomorphic" description, that enables me a wider perspective. ...

    Martin Glick - As a realistic sculptor I have often been accused of running against the tide of the more modern and abstract movements, but if you take a good look at the work the design is abstract. The look of the work may be, at first glance academic or classical, but the composition is very much in today's idiom. There is a strong sense of movement. Even in the symmetrical sculptures you feel as if they are about to move, like a stop motion camera. They all invite invite you to walk around and see the other side. There is often a strong emotional element and or a narrative. In some sense I am a story teller. Even when viewing one of my portraits you see the subject. Their history and personality is in their face for you to see and to react to. I have been told that my sculptures have something that is unique. There is a twist to the norm, a twist of the form, an emotional element that is mine. It is my heart and my particular view of the world. No price quoted on a sculpture means that it is at a gallery. All i inquiries...

    Claudia Nierman - Some words about my work: The images I produce are deliberately enigmatic and multi-layered. They invite the viewer to engage in the process of storytelling whereby dreaming and living are woven together as a tapestry. I find the sources for my work in the urban environment: window displays, torn posters, graffiti, broken architecture. In short, the remains of man. These objects and situations are eventually transformed by rain, sun, reflections, and shadows, as well as additions made by the passerby. Shaped by the forces of chance, these ephemeral visions are captured on film (and now also in bits and bites) and used as raw material that merge one into another forming a new identity. The result? On one hand, a strange amalgam of my preoccupation with time and memory, and on the other, the way in which the deliberate manipulaton through photographic images can give us insight into our personal and collective struggles. Technical information: I usually work in three different formats: 25 cm x 30 cm and 32 cm x 45 cm printed on cibachrome paper; and a large format of 57 cm x 80 cm, digitilizing the final image and printing it on canvas. (Since this latter ...

    Stephen Mead - In the early 1990's Stephen Mead's poems began appearing in such journals as Onionhead, Bellowing Ark, and Invert, but upon moving to Provincetown, Mass., Stephen decided to concentrate more on visual work. It was in the year 2000, after moving back to NY, that Stephen started seeking publication again for both his writing and his art combined. Since, then, thanks to the wonders of the World Wide Web, his work has appeared internationally both in cyberspace, hard copy, and physical Gallery Space. Often the writing has appeared along side his paintings, and at other times with the text superimposed. In 2004 Stephen began experimenting even more with these poetry/art hybrids creating a series of e books, including the award winning "We Are More Than Our Wounds". From there Stephen began experimenting with his art and poems as films, at first creating slideshows with captions, and then doing his own soundtracks and voice overdubs. These DVDs are available through Indieflix.com In 2006 Stephen put this technology to use releasing a CD of poems set to music "Safe & Other Love Poems" (CDBaby.com), as well as two print editions of his image/art hybrids, "Selected Works" and "Tree ...

    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. ...

    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 ...