Encaustic Paintings

Page 4 of 6
William Dick, Roberto Trigas, Kathleen Flowers offering original Encaustic Paintings artworks.


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William Dick: 'FAGNINI', 2001 Encaustic Painting, Abstract. The painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing in ...
, 2001
Abstract - Painting
30 x 30 cm (11.8 x 11.8 inches)
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William Dick: 'JAKSCHE', 2001 Encaustic Painting, Abstract. The painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing in ...
, 2001
Abstract - Painting
30 x 30 cm (11.8 x 11.8 inches)
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William Dick: 'BOOGERD', 2002 Encaustic Painting, Abstract. The painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing in ...
, 2002
Abstract - Painting
170 x 170 cm (66.9 x 66.9 inches)
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William Dick: 'VANBON', 2001 Encaustic Painting, Abstract. The painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing in ...
, 2001
Abstract - Painting
30 x 30 cm (11.8 x 11.8 inches)
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William Dick: 'NAZON', 2001 Encaustic Painting, Abstract. The painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing in ...
, 2001
Abstract - Painting
30 x 30 cm (11.8 x 11.8 inches)
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William Dick: 'ELDRITCH', 2003 Encaustic Painting, Abstract. he painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing in ...
, 2003
Abstract - Painting
250 x 250 cm (98.4 x 98.4 inches)
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William Dick: 'STEFROCHE', 2002 Encaustic Painting, Abstract. The painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing in ...
, 2002
Abstract - Painting
250 x 250 cm (98.4 x 98.4 inches)
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William Dick: 'FIFLOOER', 2003 Encaustic Painting, Abstract. The painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing in ...
, 2003
Abstract - Painting
100 x 100 cm (39.4 x 39.4 inches)
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William Dick: 'HEETURI', 2003 Encaustic Painting, Abstract. The painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing in ...
, 2003
Abstract - Painting
100 x 100 cm (39.4 x 39.4 inches)
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William Dick: 'FEIFT', 2003 Encaustic Painting, Abstract. The painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing in ...
, 2003
Abstract - Painting
100 x 100 cm (39.4 x 39.4 inches)
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William Dick: 'CASSANI', 2001 Encaustic Painting, Abstract. The painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing in ...
, 2001
Abstract - Painting
30 x 30 cm (11.8 x 11.8 inches)
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William Dick: 'BALOYI', 1998 Encaustic Painting, Abstract. The painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing in ...
, 1998
Abstract - Painting
100 x 100 cm (39.4 x 39.4 inches)
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William Dick: 'TUIM', 2002 Encaustic Painting, Abstract. The painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing in ...
, 2002
Abstract - Painting
250 x 250 cm (98.4 x 98.4 inches)
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William Dick: 'SASKRE', 2002 Encaustic Painting, Abstract. The painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing in ...
, 2002
Abstract - Painting
170 x 170 cm (66.9 x 66.9 inches)
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William Dick: 'OXTOA', 2001 Encaustic Painting, Abstract. The painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing in ...
, 2001
Abstract - Painting
50 x 50 cm (19.7 x 19.7 inches)
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William Dick: 'PEUCHLE', 1996 Encaustic Painting, Abstract. The work draws from ancient symbols and patterns found in Celtic/ Pictish art to convey something of the magic and religious function that art once held in that culture. The unreal spiritual quality of an icon is achieved through the element of shifting images/ symbols....
, 1996
Abstract - Painting
250 x 250 cm (98.4 x 98.4 inches)
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Roberto Trigas: 'plant in front of a window', 2016 Encaustic Painting, Floral. A plant in front of the light coming from a window...
Floral - Painting
53 x 40 cm (20.9 x 15.7 inches)
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Roberto Trigas: 'tuning in yellow', 2016 Encaustic Painting, Music. Musician tuning the violin on a yellow background...
Music - Painting
2 x 46 cm (0.8 x 18.1 inches)
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Roberto Trigas: 'molto vivace', 2017 Encaustic Painting, Music. Violinist playing under a starry sky...
Music - Painting
2 x 58 cm (0.8 x 22.8 inches)
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Roberto Trigas: 'the river passes by', 2016 Encaustic Painting, Landscape. view of a river flowing between trees...
Landscape - Painting
29 x 39 cm (11.4 x 15.4 inches)
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Roberto Trigas: 'nocturnal duet', 2016 Encaustic Painting, Music. Two violinists playing in fron of a window on a starry night...
Music - Painting
55 x 70 cm (21.7 x 27.6 inches)
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Roberto Trigas: 'the bow', 2016 Encaustic Painting, Music. Violinist adjusting the bow...
, 2016
Music - Painting
39 x 46 cm (15.4 x 18.1 inches)
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Roberto Trigas: 'bad friends', 2016 Encaustic Painting, Birds. Albatros fighting...
Birds - Painting
32 x 46 cm (12.6 x 18.1 inches)
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Roberto Trigas: 'terraced vineyards', 2016 Encaustic Painting, Landscape.   In Galicia the terrain is very sloppy and vineyards are grown in terraces, surrounded by other crops and vegetation, giving the landscape a very colourful image ...
Landscape - Painting
35 x 27 cm (13.8 x 10.6 inches)
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Roberto Trigas: 'High Noon', 2016 Encaustic Painting, Cityscape.  view of my old town in blazing sun light ...
, 2016
Cityscape - Painting
42 x 32 cm (16.5 x 12.6 inches)
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Roberto Trigas: 'Midafternoon', 2016 Encaustic Painting, Cityscape.  The light of a sunny mid afternoon difusses the forms and colours. . . all is empty ...
Cityscape - Painting
42 x 32 cm (16.5 x 12.6 inches)
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Roberto Trigas: 'Fruit bowl', 2016 Encaustic Painting, Still Life.  beautiful colourful fruits in a bowl on top of a black table ...
, 2016
Still Life - Painting
40 x 30 cm (15.7 x 11.8 inches)
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Kathleen Flowers: 'springtime', 2015 Encaustic Painting, nature. Encaustic painting using oil paints to create vivid colors and image transfer. ...
, 2015
nature - Painting
12 x 12 inches (30.5 x 30.5 cm)
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Kathleen Flowers: 'Just Words', 2012 Encaustic Painting, Conceptual.   Encaustic, image transfer, fabric and oil paint on panel     ...
, 2012
Conceptual - Painting
12 x 12 inches (30.5 x 30.5 cm)
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Alan Soffer: 'criss cross', 2020 Encaustic Painting, Expressionism. Thinking about the interaction of everything in the universe...
Expressionism - Painting
40 x 36 inches (101.6 x 91.4 cm)
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(Page 4 of 6) - MORE ARTWORKS

Artists Describing Their Art:

William Dick - STATEMENT My paintings record my interest in reconciling different and often estranged qualities and ideas in painting. I work through an experimental evaluation of the co-influence or confluence of organic and geometric, texture and structure, density and transparency, the sensuous history of paint and the austere tradition of minimalism. Within the context of abstraction, namely geometric and organic, I begin with the fundamental balance in painting between line and colour. I have drawn on ancient symbolic shapes from my Scottish background and I am influenced by the symbolic power of simplest forms of drawn lines such as the circles, concentric circles and spirals of Pictish and Celtic Art. Linear elements in my work derive from this source as well as from African and Aboriginal Art, Abyssinian Warrior Shields and Russian icons, and other lines and shapes that retain, in the broadest sense, some significance within culture. For colour I begin from observation of geological form and the substance of land of dust, sand, mud and rock as well as the outcrop of local street furniture architecture weather and the effects of weathering, and then of the often extreme and exotic colour of lichen, peat and mosses. My work exploits ...

Roberto Trigas - Art has been practiced by humans since thousands of years ago; we have remaining samples of paintings in caves and walls, stone carvings and many objects. The main characteristic of Art as opposed to the manufacture of everyday objects is that, were those have a definite USEFUL purpose, Art doesn`t seem to. I`ll explain.Making a tool to obtain food is an obvious useful activity. Spending a great deal of time and effort in "decorating" that tool doesn`t seem to have an obvious purpose. And yet, humans have been doing so for thousands of years.Why? Probably we shall never know. But there is something inherent in human beings that make us do so.There is magic in creating, in transforming a piece of clay into a "thing" that resembles something else, in spreading paint over a stone wall and making images appear,images that other members of the tribe recognise and relate to. That is why I paint. Because painting appeals to the magic unknown of human nature. In European Art, mainly since the Renaissance (XV c. onwards), Artists strived to attain a representation of the visual reality as close to an optical view as possible; ...

Kathleen Flowers - As a multidisciplinary artist, Flowers' work is currently based on the idea of Design in Nature. Through the art of abstract, her content and inspiration often comes from the beauty found in nature that surrounds her on a day to day basis. The work focus on many themes that are symbolic and personal to her. The paintings are abstract,figurative and non-objective. Her paintings and drawing are filled with serene colors, painted with acrylic and other mediums giving them an aesthetic visual affect while appealing to the senses and are created to evoke a visceral effect from within. ...