Mythology Art For Sale

Page 7 of 14
Browse 393 Mythology artworks for sale. Contemporary artists: Tim Holmes, Luis Guillermo Ramírez Ezquerra, Ahmed Al Safi, Venelin Ivanov, Lou Lalli, Leonor Villagra, David Works, Paul Squire, Kundo Kyon, Sonja Tellison, Nikki Bonner, Laura Luz Cuevas, Zane Ivy, Mohamed Abdeldayem, Carol Tipping, Stephanie Hayden, Greg Rice, Ned Meneses, Carl Gray Witkop, Kendall Davis, Berit Nelson, Jerry Di Falco 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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Luis Guillermo Ramírez Ezquerra: 'luis re circo borderline', 2005 Oil Painting, Mythology. instalation on nina menocal gallery for the indibidual exhibit. september- october 2004...
Mythology - Painting
4500 x 4500 mm ( x )
Ahmed Al Safi: 'The Dismissal ', 2004 Oil Painting, Mythology.
Mythology - Painting
80 x 60 cm (31.5 x 23.6 inches)
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Venelin Ivanov: 'muse', 2004 Bronze Sculpture, Mythology.
, 2004
Mythology - Sculpture
15 x 43 cm (5.9 x 16.9 inches)
Lou Lalli: 'Maenads', 2004 Stone Sculpture, Mythology. Carrara Statuario marble...
, 2004
Mythology - Sculpture
8 x 10 inches (20.3 x 25.4 cm)
Lou Lalli: 'Geryon', 1985 Stone Sculpture, Mythology. Carrara Statuario marble...
, 1985
Mythology - Sculpture
15 x 18 inches (38.1 x 45.7 cm)
Lou Lalli: 'Heracles and the Nemean Lion', 2004 Stone Sculpture, Mythology. Bardiglio marble...
Mythology - Sculpture
12 x 14 inches (30.5 x 35.6 cm)
Leonor Villagra: 'Eos and Pegaso', 2003 Oil Painting, Mythology. Eos & Pegaso ( mythology)...
Mythology - Painting
97 x 130 cm (38.2 x 51.2 inches)
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Ahmed Al Safi: 'Dragon', 2002 Oil Painting, Mythology.
, 2002
Mythology - Painting
60 x 80 cm (23.6 x 31.5 inches)
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David Works: 'Enactment', 2003 Computer Art, Mythology. Enactment of an ancient life affirming ritual.  Printed with archival pigment inks on 13x19 inch watercolor paper....
, 2003
Mythology - Computer Art
12 x 16 inches (30.5 x 40.6 cm)
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Paul Squire: 'Elements', 2003 Computer Art, Mythology. A pictorial representation of the natural elements. The Goat ( earth) ,the dragon ( fire) , the eagle ( air) , and the winged human ( water) . ...
, 2003
Mythology - Computer Art
660 x 985 mm ( x )
Kundo Kyon: 'willkommeninderwelt', 2001 Oil Painting, Mythology.
Mythology - Painting
70 x 120 cm (27.6 x 47.2 inches)
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Sonja Tellison: 'Not All Angels', 2003 Other Photography, Mythology.
Mythology - Photograph
16 x 20 inches (40.6 x 50.8 cm)
Nikki Bonner: 'water spirit', 2003 Etching, Mythology. A monoprint/ etching...
Mythology - Etching
210 x 297 mm ( x )
Laura Luz Cuevas: 'Keeper of The Secret', 2002 Mixed Media, Mythology.
Mythology - Mixed Media
16 x 20 inches (40.6 x 50.8 cm)
Sonja Tellison: 'Primitive A Red', 2003 Mixed Media, Mythology.
Mythology - Mixed Media
18 x 24 inches (45.7 x 61.0 cm)
Zane Ivy: 'Sacred Heart', 2002 Acrylic Painting, Mythology. Well. . . there' s a sacred heart in here somewhere. . . . ...
Mythology - Painting
21 x 26 inches (53.3 x 66.0 cm)
Zane Ivy: 'Medicine Wheel', 2001 Acrylic Painting, Mythology. The
Mythology - Painting
28 x 34 inches (71.1 x 86.4 cm)
Zane Ivy: 'Abduction IIi', 2002 Acrylic Painting, Mythology. What you don' t observe won' t hurt you? ...
Mythology - Painting
21 x 26 inches (53.3 x 66.0 cm)
Zane Ivy: 'Abduction II', 2002 Acrylic Painting, Mythology. What you don' t observe won' t hurt you? ...
Mythology - Painting
21 x 26 inches (53.3 x 66.0 cm)
Zane Ivy: 'Abduction I', 2002 Acrylic Painting, Mythology. What you don' t observe won' t hurt you? ...
Mythology - Painting
21 x 26 inches (53.3 x 66.0 cm)
Mohamed Abdeldayem: 'Mother Land', 2002 Oil Painting, Mythology.
Mythology - Painting
100 x 130 cm (39.4 x 51.2 inches)
Carol Tipping: 'nympho 1', 2002 Computer Art, Mythology.
, 2002
Mythology - Computer Art
0 x 12 inches (0.0 x 30.5 cm)
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Stephanie Hayden: 'Marriage of Persephone', 1994 Pen Drawing, Mythology.
Mythology - Drawing
8 x 11 inches (20.3 x 27.9 cm)
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Greg Rice: 'Goddess', 2001 Color Photograph, Mythology. A wonderful example of what I am trying to accomplish with my work. ...
, 2001
Mythology - Photograph
40 x 60 inches (101.6 x 152.4 cm)
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Ned Meneses: 'Spirit of the Inti', 2001 Mixed Media, Mythology.
Mythology - Mixed Media
21 x 15 inches (53.3 x 38.1 cm)
Carl Gray Witkop: 'Tonantzin Vessel', 2001 Handbuilt Ceramics, Mythology. Handbuilt burnished vase fired with corn silk, horse tail, human hair, coffee, and peat....
Mythology - Ceramics
12 x 15 inches (30.5 x 38.1 cm)
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Kendall Davis: 'Egypscript', 1991 Oil Painting, Mythology. Oil on canvas with enamal on wood frame...
, 1991
Mythology - Painting
74 x 48 inches (188.0 x 121.9 cm)
Berit Nelson: 'Tribal Moon', 2001 Computer Art, Mythology. My most popular drawing by far. . . . . . . also one of my favorites! ...
Mythology - Computer Art
0 x 0 inches (0.0 x 0.0 cm)
Jerry  Di Falco: 'miracle of the rose or', 2017 Mixed Media, Mythology. Mixed Media on primed heavy Dutch, cotton canvas attached to heavy duty wood stretchers.  The media include Liquitex acrylic paints, Liquitex painting gels, water- based gesso, graphite, methylcellulose, hand- dyed mulberry bark paper from Thailand, Windsor Newton watercolor paints, gold leaf, modeling paste for textured surface.  This painting has six ...
Mythology - Mixed Media
36 x 42 inches (91.4 x 106.7 cm)
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Jerry  Di Falco: 'Blue Pompeii Poets House of Mysteries', 2016 Intaglio, Mythology. Please note that this etching is shipped to the buyer without a frame or mat. This keeps the price reasonable and also allows the collector a wide range of choice in framing selection. For shipment, a sturdy cardboard box is employed. The etching is first wrapped in two layers of ...
Mythology - Intaglio
10 x 12 inches (25.4 x 30.5 cm)
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(Page 7 of 14) - MORE ARTWORKS
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  • Artists Describing Their Art:

    Tim Holmes - A good work of art should be startling every time one sees it. Such a work begins a dialogue between the viewer and the art, and the more meaning that is implanted in the art, the deeper that dialogue can be. The value of any work of art is not in its price or its history, but in the inherent energy, its ability to act as a catalyst of responses in the viewer. Likewise, the most successful viewer is not one with the best education or the finest taste, but one who can respond to the work with the greatest sensitivity. Hopefully, my art provides no answers and removes no doubts. My intent, rather, is to ask tough questions - to comfort the afflicted and afflict the comfortable - to plunge the viewer into that wondrous process of dialogue. The interaction is usually not a verbal or even a conscious one, but often one that continues, at various levels of awareness, as long as the viewer and the artwork are within range of each other. (Incidentally, a similar dialogue occurs between me and each of my works, sometimes over a long period of time.) I believe every artist has a responsibility to ...

    Luis Guillermo Ramírez Ezquerra - Luis RE. Artist statment. Versus: sobre Borderline borderline [boer-der-lain] s. Limite, orilla, frontera.- a. Incierto, dudoso. A borderline case, caso entre lo normal y lo subnormal. borderline (termino psicoanalitico): caso clinico de personalidad que oscila entre varias patologias, sin tendencia a alguna en particular. "El caracter de la imagen se determina por la relacion establecida entre el adorante y el adorado" Shukrasharia. La frontera entre una cosa y otra siempre ha sido creada, por lo tanto es siempre suceptible a la destruccion. Lo hermoso puede ser grotesco de un momento a otro. La vida tiene como companera mas cercana a la muerte. Nada es forma o pura, incluso lo que supone serlo. Entre los trazos basicos de las lineas se esconde una verdad. La imagen misma de las lineas del trabajo de luis RE Borderniline -horizontales pasivas o activas verticales- nos sugiere ya la idea misma de limite. ?limite de que? Borderline, actual peldano pictorico del aritsta, sugiere marcar y desvanecer limites, y confronta tres pares de ideas, fundamentales para su poetica pictorica: 1. La imagen vs. ...

    Ahmed Al Safi - -Born in Diwanya / Iraq 1971 Bachelor sculpture College Of Fine Arts /Baghdad University One man show: - French Cultural Centre/ Baghdad 1999 Abbaye de La Pree /France 2006 Exhibition and movie-show about the daily life of the artist in the "espace culturel Acerma" 2006 Exhibition during live concert - Abbaye de La Pree July 2007 Exhibition in the Hospital of Issoudun from 17th of Nevember to 1st of December 2007 Co-exhibitions - exhibition of Fine Art College/ Baghdad 1994 - exhibition of Babylon Festival 1995 - exhibition of Mohr Al Dain for youth artists/ Athar Gallery 1998 - Most exhibitions held in Hewar gallery including:- 1- Miniatures exhibition 2002 2- The exhibition of the sculptors paint 2002 - Most exhibitions held in Al Mizzan gallery including: - The exhibition of the Iraqi graphic .2001 - The exhibition of the forgotten country Paris/ Paris Municipality 2000 - The 44th Annual international Awarded Exhibition.sanDiego.2000 - The exhibition of the wounded country Amman /Jordon 2000 - Biennial Al Sharja. U.A.E /2001 - Narrow Space Gallery, Clonmel Ireland ,June,18th ,2004 - The Annual Art Ireland International Art Fair, Dublin 19 to 21 November. 2004 Exhibition of "ancients residents of the Abbaye de La Pree" in the "L'association...

    Lou Lalli - The shaping and use of stone is a vital part of the human endeavor. The fashioning of tools and implements by stone age peoples, the votive Venus figures of the Neolithic period, cycladic sculpture of the eighth millennium BC, classical sculpture of Greece and Egypt and all the sculpture to the present indicates that stone sculpture is intrinsic to human expression. Sculpting in stone directly links me to the people of the past. The subject and ideas I choose are derived from the past thus strengthening that link. The resolutions of the technical problems are the same that sculptors in the past confronted and solved. Although modern tools and implements facilitate my work I am still doing what all sculptors and stone carvers have done in the past; chipping, abrading and polishing the stone to release the form contained therein. My ideas and subjects are borrowed from antiquity with each piece telling a story. Antiquity provides a wealth of resources for my work; warriors, the myths, Venus figures, beasts, demigods and shaman/priests are the subjects I appropriate. In executing an idea, the importance of light and shadow, through the use of negative space is a primary concern in the ...

    Lou Lalli - David Works - Our perception of the world is inherently creative. We are continuously assembling the world we experience by giving attention to events and appearances that have meaning. Out of the ever changing and infinite perceptual field, only a small subset of potential perceptions surfaces in our stream of consciousness. Doing art is my way of exploring this perceptual process, discovering new things, images and meaning. I am interested in the immensely complex and rich "perceptual field" from which we "abstract" meaningful shapes and events. The process is subtle, with order emerging out of chaos, with feedback loops involving the interaction between what is seen and what is "looked for", and a hierarchy of physical structures and culturally learned "realities". These works are more like discoveries where intention and chance interact in unexplainable ways (to me) -- a dialogue that teases order out of chaos. A number of my works involve the integration of traditional techniques with digital processes. For example, I paint over digital prints and then bring them back into the computer for additional work and final printing. Conceptually, I see much of my work in terms of traditional printmaking, but I'm working with a "digital plate" rather than traditional ...

    David Works - Sonja Tellison - More than simple faerie tales, myths can teach, heal, act as morality guides, or beacons of inspiration along a sometimes murky spiritual path. The myths of a culture are it's soul. They are what's left behind when the political border lines have changed and the people themselves are gone. Myth helps us to understand our own nature as well as that of the world around us. Joseph Campbell, noted scholar and one of the foremost authorities on mythology states, "Myth must be kept alive. The people who can (do this) are artists . . . . The function of the artist is the mythologization of the environment and the world." At a time when we, as a society, rely more on science and technology for answers to our various quandries, than a collective, traditional knowledge, refocusing on mythologization is more important then ever. Are you anxious? Here, take a new pill! Are kids more violent? Must be the video games! The adage "There's nothing new under the sun." is itself certainly not a new concept. If we delve deep enough, the answers are already existent, like diamonds in the dark. When we forget the stories of our ancestors, we forget our...

    Laura Luz Cuevas - There are mysteries, certain emotions and powers in my work, which even I don't fully understand, nor do I try to explain them. I accept them in the same manner one would accept the concept of God, completely, blindly and with faith. The more I search the deeper the forces take hold. It is always out of reach not entirely attainable always impenetrable. Mysteries have to be respected if they are to retain their strength. It is a language filled with allegories, which can be compared with intuitive speech, sub-conscious levels of memory, and one that reveals the contents of the collective rather than of personal unconscious. My work comes from three main sources: the first having to do with the diversity and Diaspora of the Caribbean woman; the Marianismo, which defines the Hispanic woman's traditional social role just as machismo ordains how Latino men should behave; the second source centers around the archetypal images and phases of women and finally the mystical traditions of Kabbalah and of spiritual growth. For me, art is a way of processing information and then sharing my perspective. I find that my best work comes about whenever I surrender to the ...

    Mohamed Abdeldayem - Mohamed Abdeldayem Ahmed. Born in Alexandria, Egypt in April 26.1980. Graduated from faculty of fine arts in Luxor, University of South Valley 2001. Now; works as an assistant prof. in the same faculty. WORKSHOPS; About 11 work shops with artists from Egypt, Lebanon, Sudia Arabia, England, USA, France,...etc,. PRIZES; Many prizes & certificates in group exhibitions & faculty. WORKS AT INDIVIDUALS; In Egypt, England & Germany....

    Carol Tipping - Carol Tipping - aka - Carol Ballard/ Carolyn Taylor. PT lecturer John Moore's University, Liverpool. Wirral Metropolitan College, U.K - at the same time as painting and showing work in mixed and one-man exhibitions in Liverpool. Changed direction and studied Astrology. 1989 Astrologer for Radio City Gold, Liverpool. Combining photography with painting has been what I was always looking for. I like the fact that I can create anything that I want and still look for innovative ways to work with this medium. Associateship of the Royal Photographic Society in March 2002 - work accepted in the London Salon of Photography 2000 (medal) 2001, 2002 (medal) 2003, 2008 and 2009, the Austrian Supercircuit and the Royal Photographic Society Print Exhibition 2002 /2003.. Exhibited in Deland, Florida, Oct.2002. Feb 2008 Awarded AFIAP by the The International Federation of Photographic Art. Awarded Fellowship of the Royal Photographic Society 2009 NOV 2009 Awarded FELLOWSHIP of the ROYAL PHOTOGRAPHIC SOCIETY Featured artist for Wacom Europe

    Stephanie Hayden - My work varies in style, i try to capture moments of my life on different canvases, from watercolours, acrylics, to montages, sculpture and my photography. Much of my work is dark & disturbing and i can attribute it to the fact that until recently i was registered blind, legally, having been born with dislocated lenses. The more vibrant & colourful works are from my later period after i had surgery to implant interocular lenses, thus i now see the world in a totally different way. This can be seen across my portfolio....

    Ned Meneses - Dear reader, The master and the student, being and nonbeing, art has been a way of life for me. At times finding myself on the wrong side of the brush. I have an affinity for nature - Physics & math, and like to be in a state of constant motion. I will explore everything that I can. Styles come and go but what remains is a clean idea that somehow remains on paper (or on light beams) In these exciting times it is not beyond our abilities to reach farther than we ever imagined and redefine ourselves. Coming back to that concept'mastery', as an artist that is all you can try, to see how far you can look into infinity. ...

    Carl Gray Witkop - Beauty created by natural forces is sublime, sometimes so intense, sometimes hidden. I allow fire to finish my pots to include natural beauty in my creations. I handbuild pots by the coil method then burnish them with a smooth stone. There is no glaze. Other than some color in the clay slips, all the color results from the firing. I remove the pots red hot from the kiln, then finish the firing in a pit. The hot pots contact various fuels such as sawdust, hair, flowers, or weeds, which leave smoke stains and areas which are reduced or oxidized. ...

    Berit Nelson - My art reflects me; my ideas, my thoughts and my innermost struggles. As I go forth in life, I find inspiration everywhere.....in people, in places, in objects, but mostly in myself. What begins as an idea eventually grows into art, however I have discovered over the years that it is the process of getting there that I enjoy the most! My photography on the other hand, is another story. I enjoy taking pictures immensely and I have a good eye for it, and my real inspiration comes from that and that alone. I like seeing the final prints and remembering the journey I got to go on to get them! Sometimes the journey takes me far from home and other times I barely get out of the door but no matter where I end up, I usually find something beautiful to take a picture of!...

    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 ...