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Poverty Art For Sale (24)

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Browse 24 Poverty artworks for sale. Contemporary artists: Carleen Clifton Bragg, Marino Chanlatte, Jerry Di Falco, Andrew Mcnamee, Steven Lynch, Patrick Sean Kelley, K Van Zwol, Chad A. Carino, Jennifer Anne Buckley, Maria Teresa Fernandes, John Powell, Michael Leyton, Tirzo Martha, Eddie Alvarez, Hacene Oumessad, Eduardo Diaz offering Poverty artworks. Links to more artworks by these contemporary artists and 1 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 Poverty art simply click on the image to go to a more detailed page about this work of art.


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Carleen Clifton Bragg: 'JUST HANGING OUT', 2015 Digital Photograph, Poverty. Artist Description: CHILDREN OUT PLAYING...
Poverty - Photograph
8 x 10 inches (20.3 x 25.4 cm)
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Marino Chanlatte: 'the boat people', 2017 Oil Painting, Poverty. Artist Description: This painting is inspired on the millions of people forced to flee their countries for economic or political reasons. This included countries from around the world. Refugees and immigrants from Asia, Middle East, Africa and the Caribbean countries, in their journey of hope for a better tomorrow. Many ...
Poverty - Painting
48 x 36 inches (121.9 x 91.4 cm)
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Jerry  Di Falco: 'italian ghetto 1929 camden nj', 2017 Etching, Poverty. Artist Description: This THIRD Edition Etching, of Four Editions, was executed in oil- based French inksmix of six colorson STONEHENGE cream colored paper. I used the techniques of intaglio, aquatint, and drypoint, moreover, I hand printed the works in 2017 at The Center for Works on Paper, which is on ...
Poverty - Etching
16 x 20 inches (40.6 x 50.8 cm)
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Jerry  Di Falco: 'Poor Venice with Golden Sky', 2016 Etching, Poverty. Artist Description:  POOR VENICEGOLD SKYThe working- class side of Venice in 1890 is examined in this documention- based etching. The juxtaposition and balance of lines, forms, geometric language and shadows are all part of my language in this limited edition etching in addition, my ink- application and rubbing techniques are ...
Poverty - Etching
12 x 16 inches (30.5 x 40.6 cm)
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Andrew Mcnamee: 'Two Doors Uganda', 2007 Color Photograph, Poverty. Artist Description:  From flower series, jamaican art, photography, caribbean art, flowers, Andrew McNamee, Gary McNamee, beach, Portraits, scenery, Sunset, Sunrise, Africa                                        ...
Poverty - Photograph
16 x 20 inches (40.6 x 50.8 cm)
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Andrew Mcnamee: 'The Entrance Uganda', 2006 Color Photograph, Poverty. Artist Description:   From flower series, jamaican art, photography, caribbean art, flowers, Andrew McNamee, Gary McNamee, beach, Portraits, scenery, Sunset, Sunrise, Africa                                   ...
Poverty - Photograph
16 x 20 inches (40.6 x 50.8 cm)
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Andrew Mcnamee: 'Home Sweet Home Uganda', 2008 Color Photograph, Poverty. Artist Description:  From flower series, jamaican art, photography, caribbean art, flowers, Andrew McNamee, Gary McNamee, beach, Portraits, scenery, Sunset, Sunrise, Africa                                    ...
Poverty - Photograph
16 x 20 inches (40.6 x 50.8 cm)
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Andrew Mcnamee: 'Toy Car Uganda', 2006 Color Photograph, Poverty. Artist Description:  From flower series, jamaican art, photography, caribbean art, flowers, Andrew McNamee, Gary McNamee, beach, Portraits, scenery, Sunset, Sunrise, Africa                                  ...
Poverty - Photograph
16 x 20 inches (40.6 x 50.8 cm)
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Andrew Mcnamee: 'Empty Kitchen Uganda', 2007 Color Photograph, Poverty. Artist Description:  From flower series, jamaican art, photography, caribbean art, flowers, Andrew McNamee, Gary McNamee, beach, Portraits, scenery, Sunset, Sunrise, Africa                                 ...
Poverty - Photograph
16 x 20 inches (40.6 x 50.8 cm)
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Steven Lynch: 'Burger All', 2010 Oil Painting, Poverty. Artist Description:  starving macdonald macdonalds ronald africa famine banksy lynch hunger want  ...
, 2010
Poverty - Painting
24 x 60 inches (61.0 x 152.4 cm)
Patrick Sean Kelley: 'Faces of Chicago 3', 2009 Oil Painting, Poverty. Artist Description:    The faces of the streets tell their own story, every time.    ...
Poverty - Painting
12 x 18 inches (30.5 x 45.7 cm)
Patrick Sean Kelley: 'Faces of Chicago', 2009 Oil Painting, Poverty. Artist Description:  The faces of the streets tell their own story, every time.  ...
Poverty - Painting
12 x 18 inches (30.5 x 45.7 cm)
Patrick Sean Kelley: 'Faces of Chicago 2', 2009 Oil Painting, Poverty. Artist Description:   The faces of the streets tell their own story, every time.   ...
Poverty - Painting
12 x 18 inches (30.5 x 45.7 cm)
K Van Zwol: 'passions fruit', 2008 Mixed Media, Poverty. Artist Description:  photomontage and acrylic on canvas board ...
Poverty - Mixed Media
16 x 20 inches (40.6 x 50.8 cm)
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Chad A. Carino: 'Bargain', 2007 Watercolor, Poverty. Artist Description:  Lee asked me what it was like to be an artist. . . I took a check for thirty bucks and he got this. . . it was, indeed, a bargain. ...
, 2007
Poverty - Watercolor
42 x 36 inches (106.7 x 91.4 cm)
Jennifer Anne Buckley: 'Home', 2005 Other Photography, Poverty. Artist Description:  This is the window of a building I lived in for 3 years ...
, 2005
Poverty - Photograph
17 x 11 inches (43.2 x 27.9 cm)
Jennifer Anne Buckley: 'Destruction ', 2006 Other Photography, Poverty. Artist Description:  This is a picture of the demolition of the infamous Chicago Cabrini Green Projects. ...
Poverty - Photograph
13 x 19 inches (33.0 x 48.3 cm)
Jennifer Anne Buckley: 'Destruction II', 2006 Other Photography, Poverty. Artist Description:  This is the mound of what is left of one of the demolished Cabrini Green Projects buildings. ...
Poverty - Photograph
14 x 11 inches (35.6 x 27.9 cm)
Maria Teresa Fernandes: 'Pissarro stilt houses', 1973 Oil Painting, Poverty. Artist Description:  hues and reflections at this seaside slum vary quickly with sun movement ...
Poverty - Painting
24 x 20 inches (61.0 x 50.8 cm)
Maria Teresa Fernandes: 'Bahia Gerais Veredas', 1980 Watercolor, Poverty. Artist Description: getting stronger to green again? ...
Poverty - Watercolor
10 x 7 inches (25.4 x 17.8 cm)
John Powell: 'Time Passes 9', 2000 Mixed Media, Poverty. Artist Description: Time Passes 9, is an extension from the Time series. It is now on exhibition at Gallery EpicentruminChelmek Poland, from December 9th 2005 and will be on exhibition 10th March 2006, at Gallery Dwor Zieleniewskich in Trzebinia( Trzebinia, ul. J. Pisudskiego 47a) . CHELMEK( POLAND) . After, it will remain ...
Poverty - Mixed Media
6 x 10 inches (15.2 x 25.4 cm)
Michael Leyton: 'Early Work 01', 1991 Charcoal Drawing, Poverty.
Poverty - Drawing
48 x 60 inches (121.9 x 152.4 cm)
Patrick Sean Kelley: 'Ghosts of a Windy City', 2005 Oil Painting, Poverty. Artist Description: As I walk through the city streets I notice that we see very little. We see or witness what we deem appropriate or worthy of our gaze. There are so many things that are not as soothing to the eye. Not so nice to look at. The ghosts ...
Poverty - Painting
30 x 24 inches (76.2 x 61.0 cm)
Tirzo Martha: 'Still Life of an unemployed person from the 3rd World', 2005 Outdoor Installation, Poverty. Artist Description: Man has declared unemployment and poverty as holy...
Poverty - Installation
120 x 225 cm (47.2 x 88.6 inches)
Eddie Alvarez: 'A Nuestro Pobre Enterraremos Hoy 3', 2005 Mixed Media, Poverty. Artist Description: From the series,
Poverty - Mixed Media
16 x 14 inches (40.6 x 35.6 cm)
Hacene Oumessad: 'no title', 2002 Oil Painting, Poverty. Artist Description: the beggar and the door...
, 2002
Poverty - Painting
40 x 61 cm (15.7 x 24.0 inches)
Eduardo Diaz: 'Blind', 2004 Oil Painting, Poverty.
, 2004
Poverty - Painting
8 x 10 inches (20.3 x 25.4 cm)
Chad A. Carino: 'Neapolitan Crush', 2003 Other, Poverty. Artist Description: Saw a photo, took a photo. Redrew it. ...
Poverty - Other
17 x 11 inches (43.2 x 27.9 cm)
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Eduardo Diaz: 'Sin frijoles', 2003 Oil Painting, Poverty.
Poverty - Painting
36 x 24 inches (91.4 x 61.0 cm)
Shoshannah Brombacher: 'A blessing for a horse a chassidic story', 1995 Oil Painting, Poverty. Artist Description: A chassidic story describes a very poor rabbi who saved all his money to buy an ethrog ( a ritual fruit, very expensive) for the holyday of Sukkot. On his way to get it he met a poor wagondriver whose emaciated horse had just died. The rabbi gave him ...
Poverty - Painting
16 x 20 inches (40.6 x 50.8 cm)
(Page 1 of 1) - MORE ARTWORKS
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Artists Describing Their Art:

Carleen Clifton Bragg - PHOTOGRAPHY WAS A MEDIUM THAT WAS INTRODUCED TO ME AT THE AGE OF 5, WHEN MY PARENTS PURCHASED A TOY CAMERA FOR ME. I REALLY ENJOYED PEERING THROUGH THE VIEWFINDER WHILE TAKING PHOTOGRAPHS. ALTHOUGH, IT WAS JUST A TOY, I WAS SO MESMERIZED BY THE PROCESS THAT I BECAME INTERESTED IN PHOTOGRAPHY. THEN,EVENTUALLY, I WANTED TO TAKE REAL PHOTOGRAPHS THEREFORE, IT WAS TIME FOR A REAL CAMERA. I EXPRESSED THIS TO MY PARENTS, SO THEY OBLIGED MY WISHES AND PURCHASED A REAL CAMERA. THE SUBJECTS IN MY PHOTOGRAPHS ARE OF CANDID PEOPLE IN THEIR EVERYDAY LIVES, WHETHER THEYRE STREET MUSICIANS, STRUGGLING HOMELESS, OR FAMILIES SPENDING TIME TOGETHER. I ALSO ENJOY PHOTOGRAPHING PEOPLE LAUGHING, HUGGING, OR DANCING CAPTURING WHATEVER GOOD THAT I CAN PRESENT TO THE WORLD I PHOTOGRAPH FRIENDS, STRANGERS, YOUNG, OLD, BLACK, WHITE, OR WHATEVER CATCHES MY EYE AS AN INTERESTING IMAGE. I HOPE TO CAPTURE AN ESSENCE OF LIFE THAT IS SOMETIMES OVERLOOKED....

Marino Chanlatte - I started painting a long time before I realized it was my passion, and that I would be a painter. I felt the inner need to express through painting, in a freely and spontaneous way, my feelings, thoughts, ideas and fantasies that appeared as visions ... I use color, texture, shapes, light, and shadows to express myself. If my work communicates any emotion or feeling to the viewer, then I accomplished my purpose....

Jerry Di Falco - Photographs inspire my etchings and also serve as a key foundation for my art. The imagery I use originates from my own photographs and those of other artists. I also conduct research into the photographic archives of universities, historical societies, museums, and foundations. My etchings create a convergence between visual gravity and the floating narrations between space and time. I examine familiar scenes that mask the splendors of life that hide behind our personal assumptions . . . behind the things that we frequently overlook as a result of our neglected ways of perceiving what is very often directly in front of our eyes. Ironically enough, I blame our inability to see the phenomenology of connectedness on an infatuation with and addiction to the newer technologies of communication. My etchings scrutinize familiar situations in architecture, society, religion, history, art, and science. I hope that those who view my work will focus upon the infinite things that they fail to comprehend on their journeys through life. I manipulate geometric form, line, light, color, texture, and the relationships between positive and negative space in order to create both illusion and reality in both the real and imaginary worlds. MY PRINTMAKING PROCESS I first interpret a ...

Andrew Mcnamee - The ability to capture in an instant the wonder and beauty of creation, the diversity of culture, human interaction and to be able to share it with others, has made photography my favourite medium of artistic expression. *Any profits generated from the sales of my photographs taken in (Uganda) East Africa will be directed towards helping and assisting families there....

Patrick Sean Kelley - Behind the Art There is nothing more intimidating than standing in front of a blank canvas and wondering what it will become. There is also nothing more exhilarating. As I begin to apply paint to canvas I find my work seems to be in continuous motion. Always changing. Always progressing. Much like the oil paints that actually embody my visions. I am influenced by many places, things, people and of course, many artists. My latest work is changing yet again. The palette has become softer more jewel toned and the subjects more somber. They speak to me as I paint each stroke awaiting life on the canvas. I am clearly influenced by some of the more modern masters like, Klimpt, Kandinsky, Mirot, Caldwell and as always, Picasso. The art is Inspired by the subject. By a woman's beauty as it is seen and felt both internally and externally. The images in my vision actually seem to mask their true identities as they glance out at the viewer exuding an air of aloofness and mystique. Each stroke is painstakingly smoothed and controlled to create subtle dimensions and color that create the mysterious creatures that appear to come to life on ...

K Van Zwol - From the wreckage of the post-industrial wasteland NEW VISIONS! The intersection of art and anti art and anti anti art A META REALITY! The means of apprehension beyond: object/ subject ...(FALLACIES) A flurry of images, torrents of symbolism, The Clash of Modalities, won A thread running through the ALL the Amerikin nightmares, (transformed) THIS IS THE NEW LANGUAGE OF DREAMS....

Chad A. Carino - A quality which defines the life of any urban artist is the visible entropy surrounding us in the form of decay and despoilation of the desolation defining post-industrial urban America. Simply put, we live in darkness. This quality bends and controls me, defining my work, decaying into darkness and chaos. A solid idea will find itself dissolving into a series of dark scribbles, and a simple concept will belie its ultimate complexity. These images find themselves hovering between unconsiousness and depression; ultimately, cold, dark, and dead, like any planet or person....

Jennifer Anne Buckley - Jennifer Anne Buckley attended the School of the Art Institute of Chicago and received a B.F.A. in 2003. Though majoring in drawing and painting, a love grew for landscape photography. She uses dark colors in her paintings and photographs to depict a darker subject matter. Her art has been exhibited and in permanent collection throughout the United States since 1986. Her work has been shown at the Lancaster Museum of Art in Pennsylvania, University of Chicago, Woodruff Art Center in Atlanta Georgia, at galleries in the Chicagoland area and the East Coast....

Maria Teresa Fernandes - Admiring Teresa's paintings we are touched by her pictorial sensitivity. Difficult task in light colors (volume and transparencies on a clear basis). Few do it due to the required dedication with pallete knife(no brush).It's painting consacrated by the love to paint. Radha Abramo(Renowned art critique)comments at Solo Exhibition Catalog at SESC Paulista in June 84 -( sent at request and reproduced in one of the pages of this site). ...

John Powell - My art evoke a dialogue a message as a language I speak to create peace in a cosmic dialogue. If you are not honest,dont make artbecause ART is TRUTH time is Life time ceases to existdeath exist time is temporarytime movestime traps itself in timetime exist in time. My work speaks in a context of time,a painter and more recently exploring Photography.I choose not to privilege any one medium.The emotional and psychological content of my subject,the way the body expresses its dialogueemotion.It contextualizes the concepts of the duality of the meaning of the imagery. My style is an expression of my phillosophy which becomes a language,using,Post Modern,Expressionism,Latin American Tradition,Surrealism,soft Classism and Photography.It expresses my deep awareness of global issues and is counterbalanced with my cultural heritage. My inspiration originates from lifenature Its too spiritual to express.However,it is the same expressive energy as the work,transfused between energiesI use a certain iconograhy,which becomes a language. My art has helped me to see that nothing on earth is solitary,all things are interlinked. In order to see the impossible,you need to see the invisible My ...

Michael Leyton - In his MIT Press book, Symmetry, Causality, Mind (630pages) and his book in Springer-Verlag, A Generative Theory of Shape (550pages), Michael Leyton has elaborated an extensive theory of why art has such a powerful impact on the human mind. This results in an ability to intensify the content of artworks through an increased understanding of compositional organization, that Leyton has provided in his scientific work, which includes his mathematical foundations for geometry. For example, theorems of his, such as the Symmetry-Curvature Duality Theorem, which are now used in over 40 disciplines including many branches of medicine and engineering, also explain the human perceptual response to art-works. Not only has he demonstrated this in his lengthy published analyses of classical and modern artists, but he has also demonstrated that it is possible to surpass the intensity of these artists. This he has done by using the theory developed in his books in the creation of his own artworks - his paintings, his published architectural designs, and the published scores of his musical compositions. The portfolio at the present site is currently under construction. While this is in progress, the reader can gain an extensive introduction to Leyton's artistic ...

Tirzo Martha - The material doesn't need to be filled with words. It speaks for itself. It is our consciousness that has to translate it for us. My work is a loyal mirror of our societies, a reflection of a fragment from the thin line between fiction and reality. Tirzo Martha 2004...

Eddie Alvarez - Artist's statement on the night paintings: The night paintings are a somber, meloncholic expression of aimless nights. The initial concept is one of mood and atmosphere. That is to say, the mood of the nocturnal, the dark, the nostalgic, the vulnerability that washes over with the setting of the vibrant sun. In this sense, the subject is symbolic. The dark void of the night a metaphor for an empty loneliness, the bright glare of parading lights a mocking reminder of a seemingly indifferent society. Some may find a feeling of urban/suburban alienation that is often shared (less often admitted) in our modernized, frigid society. Viewers who themselves have felt this detatchment, would in turn, feel a personal connection with a subject otherwise alienating. The depiction is simple yet substantial. The scenes are essentially landscapes painted mostly from my own photographs. However they are obscured rather than a detailed and accurate representation of the visual or "real" world. Much like the blurred recounts of the estranged, to whom the new day brings only the promise of a less harrowing weight than the night. These are places not completely discernable but familiar to anyone. Under an immensly glossy and thick ...

Hacene Oumessad - It is with a great joy in heart to know myself with this elite groupe of worldwide art. Before it my artworks were seen by different taste and knowledge in art but not by such a specialized commission of world arts. It is happiness that there decision brought in my family and friends that knew of after severalmonths of long waiting days in Algiers, Algeria. For me it is to consider their decision as a new title in art painting for the architect that I am now As a professional of architecture in Algiers. I am more motivation to get into art gallery exhibition and art sales processing of copies or originals of my artworks oil paiting on different materials, wood, canevas , fabric, glace and industrial animal canevas. I will be glad to respond to you if interest you are in buying or sharing copies of these works and more to show....

Eduardo Diaz - Statement My name is Eduardo DIaz and Iim a Mexican artist residing in the Bay Area since 2001. In my work I express different elements of Mexican culture, while emphasizing its Native American heritage. I incorporate native themes and images, both extant and prehispanic, into my works and combine them with personal feelings, experiences or fears. Although cultural elements are the essence of my art, through them I also like to express political and social opinions. As a Mexican, I feel in touch with the problems at the Mexican-American border, as well as with the issues facing Mexican immigrants. I also like to express the tension between the indigenous and the industrialized worlds, and to analyze the different elements that make up Mexican identity, especially when confronted with life in a different country. My favorite medium is oil painting. I use vivid and deep colors, with which I reflect the light of the Mexican sun. Some of my compositions are figurative, and oscillate between realistic scenes and more elaborated images, with affinity to surrealism. My most recent productions are less figurative and combine the same vivid colors into expressive abstract constructions. Biography My name is Eduardo D...