Acrylic Paintings

Page 10 of 530
Ulrich Osterloh, Michael Pickett, Paul Freeman, Jose Luis Lazaro Ferre, Pilar Pérez-prado, Manuela Facchin Varalda, Asbjorn Lonvig, Hope Brooks, Jerry Di Falco, C. A. Hoffman, Micha Nussinov, Andree Lisette Herz, Jack Earley, Judith Fritchman offering original Acrylic Paintings artworks.


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Ulrich  Osterloh: 'Messenger ', 2014 Acrylic Painting, Abstract.  Messenger ( Shoryo Tombo) , 2008 ...
, 2014
Abstract - Painting
60 x 80 cm (23.6 x 31.5 inches)
Ulrich  Osterloh: 'Continuation', 2008 Acrylic Painting, Spiritual.  Continuation ( Imagined into Being) , 2008 ...
Spiritual - Painting
80 x 60 cm (31.5 x 23.6 inches)
Ulrich  Osterloh: 'Fields', 1997 Acrylic Painting, Inspirational.  . . . It does come. But it comes only to the patient ones, who are there as though eternity lay before them, so unconcernedly still and wide. . . - Rilke-  ...
, 1997
Inspirational - Painting
180 x 130 cm (70.9 x 51.2 inches)
Michael Pickett: 'Ugly Mutt ', 2008 Acrylic Painting, Dogs.  This Dog is so ugly he's cute ...
, 2008
Dogs - Painting
8 x 10 inches (20.3 x 25.4 cm)
Paul Freeman: 'Wild Cattle Creek', 2008 Acrylic Painting, Undecided.
Undecided - Painting
102 x 76 cm (40.2 x 29.9 inches)
Michael Pickett: 'Snowcap Mountain', 2008 Acrylic Painting, Landscape.
Landscape - Painting
11 x 14 inches (27.9 x 35.6 cm)
Jose Luis Lazaro Ferre: 'The joy of living', 2008 Acrylic Painting, Still Life.
Still Life - Painting
73 x 50 mm ( x )
Jose Luis Lazaro Ferre: 'Breakfast at Sea', 2008 Acrylic Painting, Still Life.
Still Life - Painting
50 x 73 cm (19.7 x 28.7 inches)
Pilar Pérez-prado: 'At the end everything matches', 2013 Acrylic Painting, Geometric.
Geometric - Painting
100 x 100 cm (39.4 x 39.4 inches)
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Michael Pickett: 'Lightning', 2008 Acrylic Painting, Abstract.
, 2008
Abstract - Painting
16 x 20 inches (40.6 x 50.8 cm)
Manuela Facchin Varalda: 'the waiting', 2001 Acrylic Painting, Figurative.  original artwork unique pieceacrylic on faesite ( pressed cardboard)relief work  ...
Figurative - Painting
24 x 32 inches (61.0 x 81.3 cm)
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Pilar Pérez-prado: 'Reality and Memory V Memory', 2005 Acrylic Painting, Geometric.   60. 0 ...
Geometric - Painting
60 x 80 cm (23.6 x 31.5 inches)
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Pilar Pérez-prado: 'Reality and Memory V Reality', 2005 Acrylic Painting, Geometric.   60. 0 ...
Geometric - Painting
60 x 80 cm (23.6 x 31.5 inches)
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Pilar Pérez-prado: 'Reality and Memory IV Reality', 2005 Acrylic Painting, Geometric.   60. 0 ...
Geometric - Painting
60 x 80 cm (23.6 x 31.5 inches)
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Michael Pickett: 'Unicorn', 1997 Acrylic Painting, Fantasy.  This painting is at the Applegate Arts Guild in Veneta Oregon, ( USA) I don't remember the size. 0. 0 ...
, 1997
Fantasy - Painting
0 x 0 inches (0.0 x 0.0 cm)
Asbjorn Lonvig: '4 Bernhards', 2008 Acrylic Painting, Abstract.  From kids'clothing brand LONVIG by MINYMO. ...
Abstract - Painting
201 x 201 cm (79.1 x 79.1 inches)
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Asbjorn Lonvig: '9 Bernhards green', 2008 Acrylic Painting, Abstract.  From kids'clothing brand LONVIG by MINYMO. ...
Abstract - Painting
201 x 201 cm (79.1 x 79.1 inches)
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Asbjorn Lonvig: '9 Bernhards lila', 2008 Acrylic Painting, Undecided.  From kids'clothing brand LONVIG by MINYMO. ...
Undecided - Painting
201 x 201 cm (79.1 x 79.1 inches)
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Hope Brooks: 'View of Kingston Harbour', 1970 Acrylic Painting, Abstract Landscape.  A view of Kingston Harbour from Irish Town a small district located in the Blue Mountains  above Kingston. ...
Abstract Landscape - Painting
36 x 20 inches (91.4 x 50.8 cm)
Paul Freeman: 'Jacaranda Tree', 2007 Acrylic Painting, Undecided.
Undecided - Painting
51 x 51 cm (20.1 x 20.1 inches)
Asbjorn Lonvig: 'The Tinderbox Logo', 2008 Acrylic Painting, Abstract.  Hans Christian Andersen Festival Plays 2008 - logo.The musical in the Funen Village, Odense in 2008 is based on the fairy tale
Abstract - Painting
139 x 201 cm (54.7 x 79.1 inches)
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Jerry  Di Falco: 'The Archangel Raphael with Magic Staff', 2007 Acrylic Painting, Mystical. This painting has been in my personal collection for twelve years, and I decided to put it on the market in the year 2018. I painted this icon of the Archangel Raphael as a personal prayer to the universe, and I would now like it to hang in a public ...
Mystical - Painting
30 x 48 inches (76.2 x 121.9 cm)
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C. A. Hoffman: 'Saturday Night Rondevouz', 2007 Acrylic Painting, Still Life. This was actually a lot of fun to do.  Working from a photo, I tried to capture the subtle shadows on the wall and brilliant refections in the floor. The wall behind the tub was tricky but the photo was true in showing the aging in the paint.    ...
Still Life - Painting
28 x 36 inches (71.1 x 91.4 cm)
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Micha Nussinov: 'Bubbling Sensation', 1997 Acrylic Painting, Surrealism.  A game with figures playing with a transparent ballons surrounded by a sea scape environment   ...
Surrealism - Painting
3300 x 2100 mm ( x )
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Andree Lisette Herz: 'storm at sea', 2007 Acrylic Painting, Beach.  late day storm at sea , on gallert wrapped canvas all edges painted so no frame needed ...
Beach - Painting
40 x 30 inches (101.6 x 76.2 cm)
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Jack Earley: 'Red Fox Leaps Back In', 2007 Acrylic Painting, Abstract Figurative.  A metaphysical view of at least two worlds through Native American eyes. ...
Abstract Figurative - Painting
31 x 32 inches (78.7 x 81.3 cm)
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Jack Earley: 'Birds of a Feather', 2007 Acrylic Painting, Ecological.  This is one angry bird. . . but there are other bird and human images- - all of a feather.  The painting is a poetic  environmental statement. ...
Ecological - Painting
24 x 42 inches (61.0 x 106.7 cm)
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Andree Lisette Herz: 'blue house with flowers', 2007 Acrylic Painting, Landscape.  acrylic painting of a house in our townthat is a vibrant color, and really caught my eye. ...
Landscape - Painting
40 x 30 inches (101.6 x 76.2 cm)
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Judith Fritchman: 'Winter at Lindsays Farm', 2007 Acrylic Painting, Landscape.  Snow blankets the farm at the end of the road. ...
Landscape - Painting
18 x 18 inches (45.7 x 45.7 cm)
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Micha Nussinov: 'Lightness of being', 2002 Acrylic Painting, Fantasy.
Fantasy - Painting
193 x 163 cm (76.0 x 64.2 inches)
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(Page 10 of 530) - MORE ARTWORKS
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  • Artists Describing Their Art:

    Ulrich Osterloh - Born in Germany in 1969, I am an artist with a BA hons degree in Fine Art from the University of London, Goldsmiths College. I lived in London for many years 1988-2005, and am nowadays based in the Cologne Dusseldorf region of Germany. Originally a painter, for the last four years I have been focusing mainly on photography and digital experimentation. Ulrich Osterloh ...

    Michael Pickett - We all have wonderful talents to bring to the World of art as artist. Your unique style and ambitions are greatly respected. We are empowered by the inspiration of our souls, inspired by the beauty of the world around us, and, in our way, changing the world. My goal as an artist is to make a difference in the world of art. I am color-blind and I have dyslexia. Having overcome many obstacles in my life then sharing my findings to those I run across. I am painfully shy when it comes to promoting myself to different galleries and organizations and that's why I've created my own portfolio web site. (www.pickettonline.com) Competition in the world of art is so high that good artist will eventually give up, not knowing that in there own way, they really are making a difference, Maybe not in the world, but in the local community or their family and friends. ...

    Paul Freeman - I am an artist working in ceramic and metal on a small scale of size. The works are lyrical and convey an interest in the benevolent character of human beings. The morality of the represented people conveys a feeling of pleasant engagement. I am inspired by people's everyday interactions, the good attitude that keeps society running. There is nothing that people of goodwill cannot resolve. I also paint and do computer art and have a degree in Master of Studio Art from Sydney College of the Arts (University of Sydney)....

    Jose Luis Lazaro Ferre - I think the easiest way to define my activity as an artist and my intellectual approach to art would be to quote Apollinaire's thesis in his Les Peintres cubistes: meditations esthetiques, especially the following sections: ... Therefore, as an offer to the spirit, in the plastic arts, the fourth dimension should be generated by the three known dimensions: represented by the immensity of space eternally present in all the dimensions of a given moment ... Cubism differs from the painting that came before it because it is not the art of imitation, but the art of thought raised to the level of creation ... Scientific cubism is one of the pure trends. It is the art of painting new compositions with elements taken not from visual reality, but from the reality of knowledge ... Physical cubism is the art of painting compositions with elements taken primarily from virtual reality In my painting, I work with geometric figures arranged on different planes that overlap one another and blend into real shapes (bottles, cats, birds, fruit), fabricated objects (small origami birds and paper boats) and everyday things (hats, shoes, etc.) to create a world of mystery and sensuality. The lines I draw are ...

    Manuela Facchin Varalda - Why painting? For the desire of a deep knowledge of things. Painting, for me, is not only communication, but almost an additional sense, a further perception of world, of the real and of the imaginary, of the material and of the dream, of the objective and of the individual. Painting is for me the place of the revelation, of the primary reflection. As a self taught artist, I have been painting and drawing since I can remember - this is a part of me. I have discovered that Art Wanted is the opportunity to share this part with somebody else, from all over the world, trying to understand, to give a sense to our imagination and needs. Manuela...

    Hope Brooks - I am often asked the question what is my work about which is a little like being asked what is life about because in art as in life each person must bring their own experience and provide their own answers. Quite simply my work is about life and the enigma that surrounds existence. I make reference to specific experiences or draw on visual reality to act as a frame to the broader content and people bring their own interpretations as well. When I began painting in the 60's I was focused on talking about natural phenomena that I found around me in Jamaica, such as the sea, the mountains, or the moon but I was also trying to find a language that expressed the essence of that place I called home. In 1980 I travelled to Baltimore USA and my visual surroundings changed completely. This city had none of the natural landscape but it had beautiful stained glass windows and during my year at the Maryland Institute I produced a large body of work called "Windows". This included prints as well as paintings of the secular as well as the ecclesiastical windows. Someone looking at the work once said ...

    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 ...

    C. A. Hoffman - For me, my artwork is very personal. It reflects a lot about how I am feeling at any given time and place. I feel that art has to be on this personal level to completely capture how the artist is feeling daily, or trying to convey a certain thought or emotion at that particular moment. We all, at one time or another try to express our thoughts or ideas, whether it is to others or just to ourselves, by words, actions, ideas or pictures. If we are sucessful in this attempt, I think it shows through in our everyday work or art. I believe that one is either born to create art naturally or by learning. For me, I feel that I was born with this wonderful gift, and I try to improve upon it every day. In my photos and art, I hope to show how everyday objects and nature can capture our imaginations and feelings. Sometimes I work with an image to improve it, inhance it, or just to fuel the imagination. I truly hope this shows in all of my art. ...

    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 ...

    Jack Earley - After writing for two decades, I was developing an idea that I knew could be better expressed as a painting. So in the mid-eighties I took up full-time a life-time passion: painting. My work is about inner energy; about, first of all, my own energy and internal balance, reinforced through the practice of yoga and tai chi. I sign the inner energy of the subject matter onto the canvas. I work with acrylics on canvas and sumi-e inks on rice paper. I also sculpt using wood, copper and leather. Along with focusing on the inner energy of my subject matter, I am constantly working with an awareness that humans have an ancient need to see form, be it in clouds or in chipped paint on a wall or in waving leaves. The ability to decipher forms is part of our oldest survival skills. Imagine the advantage of being able to quickly spot the approaching bear among the shifting shadows of trees. Imagine the advantage and the thrill. On many canvases, I create forms so the viewer "discovers" them in an uplifting act. Often, I give the paint its head in creating forms, like freeing a captured ...

    Judith Fritchman - I cannot remember a time when I did not want to draw or paint. From my earliest childhood days I have found great joy in depicting my surroundings. Compelling images call out to be examined and expressed: a lone oak tree starkly outlined against a curve of corn stubble, a Cezanne-like arrangement of objects on a table as I walk through a room. But of all God's infinitely varied creations, it is the human face and form which most fascinates and humbles me; the possibility of capturing a fleeting aspect of humanity unique to that individual is an endlessly exciting pursuit. After studying at Beaver College, Cedar Crest College, and Lehigh University, I have also studied classical drawing and design for many years with Myron Barnstone at his studios in Coplay, Pennsylvania. There I have learned to examine the work of great artists of the past as instruction and inspiration. Knowing they have pursued similar interests is a gratifying experience, offering the potential for learning something new, and using it to express my own personal images, values, and emotions. It is my hope that each of my works will reflect, in some small way, a facet of the ...