Representational Art For Sale

Page 8 of 25
Browse 711 Representational artworks for sale. Contemporary artists: Sue Jacobsen, Salvatore Victor, Cheryl Hoople, Christine Lytwynczuk, Keith Driscoll, Todd Horne, Alan Bateman, Eric Salisbury, Patrick Sean Kelley, Berit Nelson, Fundi Hatari, Rafael Azofeifa, Glenda Santiago, Tamara Albaitis, Neils Neilson, Rosemarie Gleiser, Larry Kaiser, Melissa West offering Representational artworks. Links to more artworks by these contemporary artists and 25 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 Representational art simply click on the image to go to a more detailed page about this work of art.


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Salvatore Victor: 'black dress', 2005 Charcoal Drawing, Representational. charcoal on rives b. f. k. ...
Representational - Drawing
30 x 40 inches (76.2 x 101.6 cm)
Salvatore Victor: 'knit ball', 2005 Charcoal Drawing, Representational. charcoal on rives b. f. k. ...
, 2005
Representational - Drawing
30 x 40 inches (76.2 x 101.6 cm)
Salvatore Victor: 'sans hanger', 2005 Charcoal Drawing, Representational. charcoal on rives b. f. k. ...
Representational - Drawing
30 x 40 inches (76.2 x 101.6 cm)
Cheryl Hoople: 'First Frost', 2005 Watercolor, Representational. The first frost along the river and the first snowfall of the year lift my spirits....
Representational - Watercolor
17 x 10 inches (43.2 x 25.4 cm)
Cheryl Hoople: 'Canyons on the Columbia River', 2004 Watercolor, Representational. Swiftly flowing water, tall rocky cliffs of the Columbia River Gorge magically transform the barren canyon lands of eastern Washington State....
Representational - Watercolor
9 x 12 inches (22.9 x 30.5 cm)
Christine Lytwynczuk: '178 Days', 2005 Oil Painting, Representational. Giclees available from $60 to $1,500. The 178 cranes represent the amount of time my husband and I were separated for the first time, during our curtship.  This is a still life of the actual jar I gave to him as a Christmas present, the next time we saw ...
, 2005
Representational - Painting
48 x 60 inches (121.9 x 152.4 cm)
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Christine Lytwynczuk: 'Peruvian girl with agave', 2005 Acrylic Painting, Representational. Giclees available from $60 to $1500.  Please inquire with artist. ...
Representational - Painting
48 x 60 inches (121.9 x 152.4 cm)
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Keith Driscoll: 'Fallen', 2005 Oil Painting, Representational. This is one of the paintings in Keith Driscoll' s
, 2005
Representational - Painting
32 x 46 inches (81.3 x 116.8 cm)
Todd Horne: 'Bassicaly Blue', 2005 Acrylic Painting, Representational. Jazz Bass Musician playing the blues. ...
Representational - Painting
40 x 40 inches (101.6 x 101.6 cm)
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Todd Horne: 'Feeling Blue', 2004 Acrylic Painting, Representational. Jazz piano musician playing the blues. ...
Representational - Painting
40 x 40 inches (101.6 x 101.6 cm)
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Alan Bateman: 'Shells and Trilliums', 2004 Acrylic Painting, Representational.
Representational - Painting
24 x 48 inches (61.0 x 121.9 cm)
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Alan Bateman: 'Canoe on Forest Floor', 2004 Acrylic Painting, Representational.
Representational - Painting
48 x 32 inches (121.9 x 81.3 cm)
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Eric Salisbury: 'Pure Elegance', 1996 Acrylic Painting, Representational. NEW! ! ! The title says it all. The edition is a giclee, fresh of the press, deckled edges and enhanced by the artist to create a one of a kind signed original reproduction.Isn' t she exquisite?...
Representational - Painting
22 x 30 inches (55.9 x 76.2 cm)
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Patrick Sean Kelley: 'A Fools Seat', 2005 Oil Painting, Representational. Are we really in the
Representational - Painting
24 x 30 inches (61.0 x 76.2 cm)
Patrick Sean Kelley: 'Passion A Freedom Paid for by Faith', 2004 Oil Painting, Representational. Passion. A Freedom Paid for by FaithThe lyric . . .
Representational - Painting
30 x 48 inches (76.2 x 121.9 cm)
Patrick Sean Kelley: 'Female Turns', 2005 Oil Painting, Representational. A woman turns gracefully towards you. . . Or does she turn away from you? The painting represents the motion in the way a
Representational - Painting
24 x 30 inches (61.0 x 76.2 cm)
Berit Nelson: 'Sunny', 2005 Computer Art, Representational.
, 2005
Representational - Computer Art
10 x 10 inches (25.4 x 25.4 cm)
Fundi Hatari: 'Litigation Graphics', 2018 Digital Drawing, Representational. Trial Illustrations.Technical Documentation. ...
Representational - Digital Drawing
11 x 17 inches (27.9 x 43.2 cm)
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Fundi Hatari: 'Litigation Graphics', 2018 Digital Drawing, Representational. Litigation Graphicsexample - Bike vs. Bus HitRun AccidentTrial ArtPresentations...
Representational - Digital Drawing
11 x 17 inches (27.9 x 43.2 cm)
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Rafael Azofeifa: 'No Title', 2005 Mixed Media, Representational. See www. azofeifa. com for more information. ...
, 2005
Representational - Mixed Media
200 x 200 cm (78.7 x 78.7 inches)
Glenda Santiago: 'Steppin Out', 2003 Oil Painting, Representational.
Representational - Painting
30 x 40 inches (76.2 x 101.6 cm)
Tamara Albaitis: 'Zest', 2004 Steel Sculpture, Representational. This sculpture has been doused with lemon essence.  Now you too, can stand under art and become cleased and zested!Both parts are to be installed together - the basin and the 3 foot lemon. ...
, 2004
Representational - Sculpture
3 x 10 feet (0.91 x 3.05 m)
Tamara Albaitis: 'Morning Glory detail', 2004 Indoor Installation, Representational. This is a detail of the wicking process created by the hot water and 20 lbs. of coffee used for this project.  Please refer to the previous photograph to see an overview of the installation. ...
Representational - Installation
9 x 10 feet (2.74 x 3.05 m)
Neils Neilson: 'Balloon Breast Rosenquist', 2004 Oil Painting, Representational.
Representational - Painting
60 x 90 inches (152.4 x 228.6 cm)
Rosemarie Gleiser: 'Shadow woman', 2003 Other Drawing, Representational. The woman itself is a shadow and the shadow she is casting has been cut out from the paper, so the paper is generating another shadow. It is important to show the different layers and depths. ...
Representational - Drawing
40 x 60 cm (15.7 x 23.6 inches)
Larry Kaiser: 'Angel Lights', 2002 Acrylic Painting, Representational. This painting is a romanticized depiction of my childhood farm home near Arcadia, Indiana.  Previous owners had moved the house from a beautiful spot on a hill in the woods at the rear of the farm to a spot close to Startzman Road.  I prefer to remember the old site ...
Representational - Painting
24 x 20 inches (61.0 x 50.8 cm)
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Melissa West: 'Tern', 2004 Mixed Media, Representational.
, 2004
Representational - Mixed Media
30 x 14 inches (76.2 x 35.6 cm)
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Melissa West: 'Untitled', 2004 Mixed Media, Representational.
, 2004
Representational - Mixed Media
20 x 14 inches (50.8 x 35.6 cm)
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Melissa West: 'Osprey', 2004 Mixed Media, Representational.
, 2004
Representational - Mixed Media
30 x 15 inches (76.2 x 38.1 cm)
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Melissa West: 'Challenger', 2004 Mixed Media, Representational.
, 2004
Representational - Mixed Media
19 x 30 inches (48.3 x 76.2 cm)
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(Page 8 of 25) - MORE ARTWORKS
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  • Artists Describing Their Art:

    Sue Jacobsen - My "artist's eye" seeks both the extraordinary and the ordinarily-overlooked moments in nature, and presents them in a way that allows the viewer to see what I've seen--and loved enough to want to share it. My regional landscapes, painted in oil, capture the rural flavor of the Wood River Valley in Idaho where I've lived and worked for over 30 years. Previously, California coastal areas were my genre. My love of the ocean and its awesome infinity is equaled in the grandeur and peace of the nearby mountains --again, infinite subjects for my paintings. Just as my professional training in graphic design at Art Center School in Los Angeles served me well when I turned my creative skills to easel painting, this then enabled me to move with ease and enthusiasm when sculpture'found me', and I learned to see with new eyes--in 3 dimensions now! My sculptures are figurative, of people or animals, and I seem to have special ability to capture the likeness and personality of my subjects. While I consider myself to be primarily self-taught, I continue to seek out other professional painters and sculptors whose work I admire, with...

    Cheryl Hoople - Of all the elements and principles in art, my relationship with color is the most spontaneous. I would say that the only constant in my paintings is my desire to use the most audacious, exciting, and evocative color combination I can....

    Christine Lytwynczuk - Christine's paintings are about the human experience: relationships, emotions and introspection. She strives to evoke the feelings of empathy, hope, serenity and comfort through her work. Her paintings have a commanding presence, yet are quiet and exude a sense of intimacy. To be in a room with one of her paintings is like being in the presence of a close friend. Christine often paints children from different cultures, for children experience the same thoughts, fears, hopes and aspirations as adults, but they do not have emotional masks to hide behind. She paints from different cultures to highlight our inner similarities and because she is enthralled with the diverse ornamentation and design found throughout all lands. She feels that cultural decoration adds richness and beauty to life, especially when harmonized with the native landscape. Christine Lytwynczuk was born in Tucson, AZ in 1974. She spent most of her formative years, and as much time as possible now, in the Sonoran Desert. Her love of the desert and nature is revealed in many of her paintings. For twelve years she attended an open-classroom school where she had unlimited access to art materials. During high school she spent a summer in ...

    Keith Driscoll - Keith Driscoll is a full-time professional artist. His work has been bought buy hundreds of collectors spanning not only the United States, but also Europe, Asia, and Australia. Keith holds degrees from The College of William and Mary and Columbia University. He studied art intermittently at the Art Students League in New York and has done workshops and classes with prominent artists such as David Leffel and Nelson Shanks. His primary artistic training, however, came under the tutelage of his father Martin Driscoll a noteworthy fine artist in his own right. View Martin's exceptional work at www.martindriscoll.com. Keith began his professional artistic career as a muralist. His mural work has been displayed at institutions such as the Smithsonian Museum and Texas Rangers Baseball Stadium. Over time Keith became less interested in large scale work and more interested in the finesse and brushwork that can only be applied in smaller works. His current focus is on classic portraits, still life, landscape paintings, and adding to his "Jeans" series. This work draws upon his finely honed skills as a draftsman as well as classical painting ideas and techniques. His subject matter and composition, however, are thoroughly modern, dynamic, ...

    Alan Bateman - I usually do not write long expiations regarding any one piece of my art. I am a not a writer. The paintings, at least in my genera, are the message. If you don=t relate to them any enlightenment on my part will only help you develop a more academic understanding of why I paint. As with many artists of all disciplines my inspiration comes from living. There is a cyclical nature to my life. I am not sure if my art inspires my life or if my life inspires my art. The parts of my life that translated in to paint always leave me with a better understanding of how I see. There are certain things that are missing from my work. This has only recently occurred to me. In a subtle way they lack any marks of modernity. I would not paint a traffic sign, or a cd player. I may even edit out hydro lines. I now know why I had an unconscious need to portray things this way. It has to do with a kind of visual literacy. It seems that you use a different part of your brain for reading symbols, and putting them in ...

    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 ...

    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!...

    Fundi Hatari - Allow me to introduce myself and services to you. My name is Fundi Hatari; simply put a "Dangerous Artist." Briefly, my artistic expressions ranged from pencils sketches which led to oil pastels as finger paintings, and watercolors to the black light experience with poster art and murals using fluorescent water colors and India ink. From there I ventured the path pen/inks, charcoals, photo silk-screening, and eventually graphic design and photography production. And lastly the digital experience with computers. As a web designer my past creative efforts has led to the creation of many websites. Below the following sites is a sampling from three categories: Artistic * Arturo * Dick Gregory * Carl Nelson, Front Page * Bettye Sarr * Milton Loupe * Clowns of Joy! * Marie Morris * George Combs * Aldonia Bailey (D'R.Tist) * Jazzy Jazz All-stars Galleries * Cyber Serengeti * Cafe Future, Inglewood * Calif. African American Museum (CAAM) * Culture that Sticks, Afrocentric Refrig. Magnets Business * Jet Propulsion Lab, Pasadena * AST Computers, Irvine * Pac-Bell, Pasadena * Tri-Digital Corp., Alhambra * Afrocentric News, Los Angeles * Create In Me, Culver City * Diva Designs, Sierra Madre * Word of Mouth Publications, Altadena/Pasadena area ...

    Rafael Azofeifa - In this new proposal, Azofeifa talks about the human condition in times of globalization and over-information, with recognizable but anonymous subjects. The use of painted playing cards (each one of the squares you see in the paintings is a playing card) to create the bigger artworks, the same way the pieces are ordered, show the inmediacy and precise situation of our times. And who better to give testimony that someone immersed in information: an e-marketing and e-commerce consultant for latin american and Fortune-500 companies, Azofeifa must receive, assimilate, and synthesize information about new technologies and trends, every day of his life. In his art technique, Azofeifa paints each playing card using spray painting and letter molds, he paints groups of several hudreds at a time, making them cover and blocking areas of the ones below. After that he orders them according to their chromatic weigth, like a puzzle. Cards are glued or stapled to the canvas. Each piece takes months to complete. The figures (both the final ones and the individual pieces) are product of globalization. Each piece (card) has a weight of it's own separately, there's no central point and there's no ...

    Glenda Santiago - Glenda Santiago is an accomplished artist living in Luquillo, Puerto Rico. She has a Bachelor's degree in Fine Art from Florida International University in Miami. With a minor in Art History, she studied the techniques developed by the Baroque and Expressionist painters expanding on these techniques she creates an interesting psychological tension in her own work. "For me to express my complex issues and ideas, I need to reduce them to a simplified concept, or metaphor. I then paint them in a way that is straightforward using bold and arbitrary color to convey states of mind. With the use of color, I pull the viewer into the painting through my expressions of the universals of life, as I discover them. These universals are filtered through my own unique life experiences and then interpreted through my artistic technique, creating a way for my life and my art to coexist". ...

    Tamara Albaitis - Artist Statement I create objects, sounds and installations that are derived from observations in daily life. I'm particularly interested in daily rituals, routines, and everyday objects, with emphasis on temporal progression. Naturally, these things lead to unpredictability, fluctuation, and the inevitability of change which drives my work intuitively. I'm sensitive to details and intrigued by the contradictions they embrace. All this makes it permissible for me to be nurturing, ironic, and hypocritical, bringing me closer to obscuring our perceived boundaries between art and life. In this current body of work, I'm investigating Acousmatics - this is when we rupture the representational characteristics of sound and delve deeper into the sensations and personal meanings of sounds. I'm particularly interested in our relationships with common natural sounds, and how they are re-produced through unnatural technology. Using raw speakers and audio wire as sculptural objects, I intend to provide a space where we can appreciate natural and implied systems that make up our world, posing questions as to how far technology can actually benefit and enrich our daily lives. The spaces where these experiments exist are taken into consideration; they play a key part in the sculptural and conditional ...

    Neils Neilson - I am interested in the juxtaposition of images. My paintings hold a fractured cohesion born from the disparity and blending of TV, life, and the Internet that affect my aesthetic understanding. Each element that binds my paintings acts as a visual marker, or mental quotation, that stirs the memory or instinct with an intended direction, but alters course when met with apposed imagery creating a fork in the road where content is concerned. These seemingly random juxtapositions are caused by the everyday bombardment of information and advertising that has affected my attention to content and formal relationships. Popular media, the driving force of my diversions, is prescribed with a linear rationale of visual dialogue to keep on point and be obedient to target logic. The beneficial effect is that there are so many channels, with so many different views, that the viewer inevitably pieces together a disparate array of ideas and values into one cohesive system that is continually reactive. Unlike traditional painting, which is understood by many to be readable in content, my work can be likened to the sampling of image and genre, objectifying the impressions and connections the images mutably hold. Using narrative elements as a placebo...

    Rosemarie Gleiser - The use of a nude human body in my artwork gives place to two concepts: in the first place it is to speak about the mind, the transparent and plastic essence of the being as well as its frailty and vulnerability. In second place, and paradoxically it corresponds to the image of the body as an object, the body as an action field for relationships to take place, and of the body as a doubly mutilated fragment (due to photography framing and for any kind of injure against the human being). The mind concept is elaborated in my work by means of plastics that represent for me a border between the material and the unsubstancial. While the warmth of the body or its surface, represent for me the hair, the photographic image as well as the printmaking papers. In this sense, plastics work as a metaphor for the mind and the clarity of thoughts. The fragility of that border allow us to see through our bodies. If formerly I used evanescent materials in order to manifest what was happening beneath that skin or within those thoughts, now with the hair drawings I am representing the tensions generated between human beings...

    Larry Kaiser - How My Paintings Become Sopwith Camels or the High-Flying Thrills of En Plein-Air. I pilot a painting. Rev it up. Get it off the ground, something--not Inspiration in the traditional mystic, religious, fantastic or legendary sense, but something real in our environment or our humanity that I find inherently splendid to my eye giving it lift. Then I set it on autopilot for a while in the direction I hope it will go. I do check the instruments--draftsmanship, painterliness, color (paying special attention to grays and values), communication and visual balance--rather diligently. If nothing bad happens, I relax and enjoy the flight. There are dangers in the process. Those cliches of habit and art school and patron taste often disguise themselves as that cheap inspiration I mentioned in the first paragraph and try to take over the flight. My job is to prevent that from happening. And I must recognize when the painting has run into a problem that it cannot pilot through by itself. Then, my job is to interfere. A little. Prevent the mutiny. Then hope that my ability, such as it is, has not been insulted, will not sulk, does not...

    Melissa West - My paintings begin with a movement: a circle, a spiral, a sweep of the arm. I believe that certain shapes resonate with us because we recognize at some deep and primitive level that they were made by a human hand. We recognize and even feel that span of arm, that circle of hand and wrist. The line created by hand speaks to us, and says "human". It reaffirms that we exist, and that we are not alone in the world. It is a powerful form of magic. It is the overlap between nature and magic that I find most interesting. Over time I'm finding that my landscapes and abstract paintings draw closer together in style and emotion. In either case, the act of painting is a journey and exploration, both of my inner and outer worlds. ...