Encaustic Paintings (286)

Page 9 of 10
Jan Harrison, Christian Faur, Perach Cohen, Helen Musser, Bridget Busutil, Gudrun Ploetz, William Dick offering original Encaustic Paintings artworks.


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Jan Harrison: 'Dog plus Shadow', 2005 Encaustic Painting, Animals. Artist Description: encaustic, charcoal and pastel on nine wood panels....
Animals - Painting
36 x 36 inches (91.4 x 91.4 cm)
Jan Harrison: 'Dogcat', 2005 Encaustic Painting, Animals. Artist Description: encaustic, charcoal and pastel on wood panel. ( From an ongoing series of Tiny animals. )...
, 2005
Animals - Painting
5 x 5 inches (12.7 x 12.7 cm)
Jan Harrison: 'Red Cats', 2006 Encaustic Painting, Cats. Artist Description: encaustic, pastel and charcoal on nine wood panels....
, 2006
Cats - Painting
36 x 36 inches (91.4 x 91.4 cm)
Jan Harrison: 'Dog plus Cat', 2005 Encaustic Painting, Animals. Artist Description: encaustic, pastel and charcoal on twenty wood panels. This large encaustic painting was exhibited in the 2005 exhibition
Animals - Painting
48 x 60 inches (121.9 x 152.4 cm)
Jan Harrison: 'Dark Cats', 2004 Encaustic Painting, Cats. Artist Description: encaustic, charcoal and pastel on nine wood panels....
, 2004
Cats - Painting
36 x 36 inches (91.4 x 91.4 cm)
Jan Harrison: 'Nativa', 2004 Encaustic Painting, Animals. Artist Description: encaustic, charcoal and pastel on twenty wood panels. This large encaustic painting was exhibited in
, 2004
Animals - Painting
48 x 60 inches (121.9 x 152.4 cm)
Christian Faur: '0s and 1s', 2005 Encaustic Painting, . Artist Description: Encaustic work with vinal text...
, 2005
- Painting
48 x 24 inches (121.9 x 61.0 cm)
Perach Cohen: 'fields', 2004 Encaustic Painting, Landscape.
, 2004
Landscape - Painting
100 x 90 cm (39.4 x 35.4 inches)
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Helen Musser: 'Basics Clouds', 2004 Encaustic Painting, Cosmic. Artist Description: Clouds have a heavenly home; so beautiful to see....
Cosmic - Painting
16 x 20 inches (40.6 x 50.8 cm)
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Helen Musser: 'Clouds II', 2004 Encaustic Painting, . Artist Description: I loved woking on  this cloud painting...
, 2004
- Painting
20 x 16 inches (50.8 x 40.6 cm)
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Bridget Busutil: 'Mermaid', 2003 Encaustic Painting, Abstract. Artist Description: symbolic female figure , complete in her essence. oganically part of her environment. 40 layers of encaustic transparent colours, layered for effect  and detailsThere is one iris print of this work30x40. at 6000$...
, 2003
Abstract - Painting
40 x 60 inches (101.6 x 152.4 cm)
Bridget Busutil: 'Oasis', 2003 Encaustic Painting, Abstract. Artist Description: feeling  water , rain, waves in storm.40 layers of thin encaustic transparent colours organized to produce the * D effect. The work is flat and feel like marbleEncaustic on wood...
, 2003
Abstract - Painting
52 x 30 inches (132.1 x 76.2 cm)
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Gudrun Ploetz: 'Day of the dead', 2003 Encaustic Painting, Death. Artist Description: Acrylics, encaustic wax and gold leaf on hardboardThis painting was created for the Day of the dead, clebrated in Mexico and parts of the States, which is a colorful day honoring our dead friends and relatives. . . as colorful as that painting is....
Death - Painting
20 x 24 inches (50.8 x 61.0 cm)
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William Dick: 'MELIE', 2003 Encaustic Painting, Abstract. Artist Description: 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 ...
, 2003
Abstract - Painting
250 x 250 cm (98.4 x 98.4 inches)
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William Dick: 'SVORADA', 1999 Encaustic Painting, Abstract.
, 1999
Abstract - Painting
250 x 250 cm (98.4 x 98.4 inches)
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Gudrun Ploetz: 'Beauty on black', 2002 Encaustic Painting, Abstract. Artist Description: Encaustic and acrylics on harboard...
Abstract - Painting
20 x 24 inches (50.8 x 61.0 cm)
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Gudrun Ploetz: 'Flower in the night', 2002 Encaustic Painting, Abstract. Artist Description: Encaustic and acrylics on hatdboard...
Abstract - Painting
20 x 24 inches (50.8 x 61.0 cm)
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Gudrun Ploetz: 'Colours of erotic 3', 2003 Encaustic Painting, Abstract. Artist Description: Encaustic on thick aquarell paper...
Abstract - Painting
10 x 13 inches (25.4 x 33.0 cm)
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Gudrun Ploetz: 'Bed of roses', 2002 Encaustic Painting, Abstract. Artist Description: Encaustic on special cardboard...
Abstract - Painting
16 x 24 inches (40.6 x 61.0 cm)
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Gudrun Ploetz: 'colours of erotic 1', 2003 Encaustic Painting, Abstract. Artist Description: Encaustic on thick aquarell paper...
Abstract - Painting
13 x 0 inches (33.0 x 0.0 cm)
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Gudrun Ploetz: 'Wild roses', 2002 Encaustic Painting, Abstract. Artist Description: Encaustic on spezial cardboard...
, 2002
Abstract - Painting
16 x 24 inches (40.6 x 61.0 cm)
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Gudrun Ploetz: 'The darkness is far away 2', 2002 Encaustic Painting, Abstract. Artist Description: Encaustic and acrylic paint on canvas...
Abstract - Painting
16 x 40 inches (40.6 x 101.6 cm)
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Gudrun Ploetz: 'Someone is watching you', 2003 Encaustic Painting, Abstract. Artist Description: Encaustic on thick aquarell paper...
Abstract - Painting
14 x 10 inches (35.6 x 25.4 cm)
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Gudrun Ploetz: 'The darkness is far away 1', 2002 Encaustic Painting, Abstract. Artist Description: Encaustic and acrylic paint on canvas...
Abstract - Painting
20 x 40 inches (50.8 x 101.6 cm)
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Gudrun Ploetz: 'The green and the colours 2', 2002 Encaustic Painting, Abstract. Artist Description: Encaustic and acryl paints on canvas...
Abstract - Painting
16 x 40 inches (40.6 x 101.6 cm)
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William Dick: 'ELDRITCH', 2003 Encaustic Painting, Abstract. Artist Description: 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 ...
, 2003
Abstract - Painting
250 x 250 cm (98.4 x 98.4 inches)
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William Dick: 'STEFROCHE', 2002 Encaustic Painting, Abstract. Artist Description: 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 ...
, 2002
Abstract - Painting
250 x 250 cm (98.4 x 98.4 inches)
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William Dick: 'FIFLOOER', 2003 Encaustic Painting, Abstract. Artist Description: 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 ...
, 2003
Abstract - Painting
100 x 100 cm (39.4 x 39.4 inches)
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William Dick: 'HEETURI', 2003 Encaustic Painting, Abstract. Artist Description: 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 ...
, 2003
Abstract - Painting
100 x 100 cm (39.4 x 39.4 inches)
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William Dick: 'FEIFT', 2003 Encaustic Painting, Abstract. Artist Description: 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 ...
, 2003
Abstract - Painting
100 x 100 cm (39.4 x 39.4 inches)
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(Page 9 of 10) - MORE ARTWORKS

Artists Describing Their Art:

Jan Harrison - A close connection with the animal nature has helped me to have more empathy with all manifestations of the life force, and to express the complex experience of what it is to be here as a flesh and blood being. As long as I can remember, I have loved animals and felt a kinship with them. I live with five cats, all rescued strays, and one feral. They are an inspiration to me, and I learn from them. Emotion has always played a part in my work, as well as the kind of mythology that comes from the body's sensual and spiritual desires, something felt in the bones and cells. I am concerned about the need for love in a world that does not respect vulnerability. I am also concerned about the need for self respect in a world that seems to disrespect the power of the life force. I am working for my character, and my work is concerned with the paradox of the power of nature with regard to our own sense of order or justice. Through communion with the animal nature, I am interested in the integration of instinct and intellect, knowledge and innocence, power and ...

Christian Faur - My oil painting technique is unique in that I meticulously work the canvas, building layer upon layer of hand mixed oils and varnishes, achieving an astonishing degree of luminosity and intriguing brilliance. The novel use of stencils to impart detailed information, such as numeric patterns and text, lends a coldly mechanical feeling to my works while providing the vehicle for many of the metaphors that are present within each painting. The use of these stencils allows for an unusual control of the medium since the canvas can be impregnated with elaborate bits of information, an allegory to today's information overflow. Once the oil paint is pushed through the mesh of the silkscreen, it is then scraped, blended, blurred and further manipulated to achieve the desired effect. The line between printmaking and fine painting is blurred as each layer is built upon the next. The product is a richly luminous surreal painting that evokes both contemplative thoughts and strong emotional responses. I have been working with the encaustic material for a little over a year now. I have been drawn to the astonishingly organic texture and surface of the medium. I think that painting is very much like solving a ...

Perach Cohen - Welcome to my profile! a journey of paintings and feelings combined together! My paintings are generally abstract-figurative. I like to paint landscape and I'm enchanted by it's colours, atmosphere and light which I translate on the canvas. My works are generally painted in acrylic or oil colours but I include other mediums such as aquarelle, choosing the best way to express inner emotions on the canvas. It is not intended to duplicate landscapes or to copy them, but instead transmitting it to the canvas after combining them with my own feelings and emotions while observing the beauty of nature. Seldom, my landscape paintings are a dialogue between myself and the canavas by delicate brush touches that has the lyrical, nostalgic, romantic and expressive features, transforming it into personal landscapes, expressing memories and dreams, almost no realism but a true result of my imagination....

Helen Musser - Art is the very essence of our being. It is the visible evidence of our intrinsic nature The artist executes his work in accordance with inner values and beliefs he or she hold dear. Painting is a joy and an artform to be shared. I want to connect with the viewer and remind him of the many facets of his life. Our inner life has become very important to my art,the spirit of man,I hope to show. That part of man that will never die. ...

Bridget Busutil - Bridget Busutil,google22976108fdd647b3.html Powered by View my page on Peacemaker Institute ARTIST STATEMENT. Art is a way of Life My life is about Art and reflects the multicultural diversity in which I was raised. I favour projects that mix Arts and multiculturalism and are interdisciplinary. I think that as an artist my world is not limited to an aesthetical dimension. Hopefully it goes beyond, through engaging a dialogue with the viewer that proposes discovery, criticism and reflection. Through my work I am offering the discovery of several worlds packed up in layers as in my encaustic, a sort of journey of self-discovery, as well as discovery of i?1/2the otheri?1/2 with the respect for cultural differences. The necessity is to succeed in viewing these differences as contributions to our own cultures and understand the wealth they have to offer. When I paint or teach students to draw a linei?1/2, I am aware of reaching out for a world without frontiers. Technically I wish to bridge the past to the present and show that there is a continuity in life experience that only artists are capable of showing. Keyword Optimizer ...

Gudrun Ploetz - My paintings are all "wanted" paintings. That's a base thing I believe in. I think paintings and art in general is good if the artist wanted it and it came from his inside. Some artist "want" to do arts when they are down, some other paint when they feel well. I belong to the last ones. My paintings show the times my soul felt good. I can't paint when I'm down. Then I need music. But the more paintings I do in my good times, the longer I feel good. A good feeling, people I meet who touch my soul, warm words and good talks can inspire me a lot. And I want to transfer those, my good feelings to other people. Art is kind of healing, art can give you the power for the next step into the hard daily life process. That's why artists are necessary in this world, to make people happy, to give their eyes and their souls a gentle touch, to inspire them to try it themselves, to come in contact with paint and drawing pen. My paintings are all around colour, the first thing I notice myself at a painting ...

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...