Oil Paintings

Page 12 of 605
Pilar Pérez-prado, Judith Smith Wilson, Jovica Vucinic, Noel Stavropoulos, Jose Luis Lazaro Ferre, Lorrie Williamson, Lucille Rella, Cornelia Macfadyen, Christian Culver, Tom Irizarry Studio, Lucille Coleman, Stephen Mead, Eve Co, Bessie Papazafiriou, Austen Pinkerton, Storm Hammond offering original Oil Paintings artworks.


Contemporary Art / Painting Categories / Oil Paintings / Previous / Next
Judith Smith Wilson: 'Mallards in the Marsh', 1971 Oil Painting, Wildlife.  Wild Mallard Ducks landing on marsh.This is an Original Oil owned by the Curriden family of Seattle Washington and is not for sale. However we do have Open Edition Prints available.  $45. 00...
Wildlife - Painting
12 x 13 inches (30.5 x 33.0 cm)
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Jovica Vucinic: 'Getting Better 3', 2007 Oil Painting, nature.
nature - Painting
41 x 48 inches (104.1 x 121.9 cm)
Jovica Vucinic: 'Getting better2', 2007 Oil Painting, Ecological.
Ecological - Painting
41 x 48 inches (104.1 x 121.9 cm)
Jovica Vucinic: 'La Salle Church', 2007 Oil Painting, Landscape.
Landscape - Painting
24 x 18 inches (61.0 x 45.7 cm)
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Jovica Vucinic: 'Church in Adriatic', 2007 Oil Painting, Landscape.
Landscape - Painting
24 x 24 inches (61.0 x 61.0 cm)
Noel Stavropoulos: 'Celestial Equator', 2007 Oil Painting, Surrealism.
Surrealism - Painting
20 x 28 inches (50.8 x 71.1 cm)
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Noel Stavropoulos: 'Depth of Soul', 2006 Oil Painting, Surrealism.  A journey within the colors of the soul. ...
Surrealism - Painting
24 x 28 inches (61.0 x 71.1 cm)
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Jose Luis Lazaro Ferre: 'Dietrich Smoking Lucky', 2007 Oil Painting, Figurative.
Figurative - Painting
48 x 122 cm (18.9 x 48.0 inches)
Lorrie Williamson: 'Growing Up', 2001 Oil Painting, Figurative.  A little girl no longer - - now becoming a woman. ...
, 2001
Figurative - Painting
18 x 36 inches (45.7 x 91.4 cm)
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Lorrie Williamson: 'Mystery of the Red Canoe', 2003 Oil Painting, Scenic.  A narrative that' s best unspoken.  A South Florida land and sea scape for the viewer' s pleasure. ...
Scenic - Painting
24 x 20 inches (61.0 x 50.8 cm)
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Lorrie Williamson: 'Fresh Air and Sunshine', 2000 Oil Painting, nature.  Relax with your favorite pasttime and enjoy the fresh air and the warmth on the sun.  A compliment to any home.   ...
nature - Painting
36 x 36 inches (91.4 x 91.4 cm)
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Lucille Rella: 'Back View', 2007 Oil Painting, Figurative.
, 2007
Figurative - Painting
18 x 24 inches (45.7 x 61.0 cm)
Cornelia Macfadyen: 'Infinity', 2006 Oil Painting, Abstract.
, 2006
Abstract - Painting
20 x 48 inches (50.8 x 121.9 cm)
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Cornelia Macfadyen: 'Burning Desire', 2005 Oil Painting, Abstract.
Abstract - Painting
42 x 24 inches (106.7 x 61.0 cm)
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Cornelia Macfadyen: 'Graceful Walk', 2005 Oil Painting, Abstract.
Abstract - Painting
44 x 22 inches (111.8 x 55.9 cm)
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Christian Culver: 'DoorsWindows 1', 2007 Oil Painting, Abstract.  Oil on wood panel with architectural images applied. ...
Abstract - Painting
33 x 60 inches (83.8 x 152.4 cm)
Tom Irizarry Studio: 'Cardinal Host', 2006 Oil Painting, Meditation.  oil on panel, cinnabar, malachite, azurite ...
Meditation - Painting
12 x 9 inches (30.5 x 22.9 cm)
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Lucille Coleman: 'Jumpstreet', 2006 Oil Painting, Figurative.  Hip Hop Jazz Dancing - from my small works series.  ...
, 2006
Figurative - Painting
11 x 14 inches (27.9 x 35.6 cm)
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Lucille Coleman: 'Drop Flare', 2006 Oil Painting, Figurative.  Salsa Dancing from my small works series. . .I had no idea my dancermodels were going to do this.  I just told them to do what you feel like doing to the music. . . .  and this was the result.  They are so talented and STRONG.  ...
, 2006
Figurative - Painting
11 x 14 inches (27.9 x 35.6 cm)
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Tom Irizarry Studio: 'Breathes Minion', 2006 Oil Painting, Sky.  mineral pigments and oil on canvas, lapis, azurite, carmine, vermillion, lead- tin yellow ...
Sky - Painting
14 x 18 inches (35.6 x 45.7 cm)
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Stephen Mead: 'Those Were The Shadows That Was The Wall I', 1990 Oil Painting, Surrealism. This large mural piece is a mediation on the actual shadows refracted from window where I was living at the time.  Later I combined it with its sequel and commited it to film in a piece called
Surrealism - Painting
36 x 24 inches (91.4 x 61.0 cm)
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Lucille Rella: 'Woman on Pink', 2006 Oil Painting, Undecided.
Undecided - Painting
18 x 24 inches (45.7 x 61.0 cm)
Eve Co: 'Impressionistic Tulips', 2006 Oil Painting, Floral. Impresstionistic TulipsCompleted on 04/ 24/ 2006Oil Pastels on Canvas16  x 12...
Floral - Painting
16 x 12 inches (40.6 x 30.5 cm)
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Bessie Papazafiriou: 'Flamingos', 2006 Oil Painting, Birds.
, 2006
Birds - Painting
40 x 30 inches (101.6 x 76.2 cm)
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Bessie Papazafiriou: 'Wood Nymphs', 2006 Oil Painting, Mythology. The Greeks believed that various divinities protected nature.  These divinities were known as nymphs.  This painting depicts young women of the forest known as wood nymphs who protected trees.  It was believed that anyone who caught a glimpse of a nymph was blessed with good fortune and those who abused ...
Mythology - Painting
28 x 24 inches (71.1 x 61.0 cm)
Tom Irizarry Studio: 'In Profound Solitude the Path was Clear', 2006 Oil Painting, Landscape. artist made mineral pigments and natural pigments and oil on canvas...
Landscape - Painting
20 x 18 inches (50.8 x 45.7 cm)
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Austen Pinkerton: 'LAND OF SMILES', 2005 Oil Painting, Landscape. A FIGURE STANDS RESTING DURING A WALK, BY A FENCE, AND LOOKS ACROSS A LANDSCAPE BELOW WITH DRAMATIC SUNSET. IN THE FOREGROUND ARE VARIOUS ANIMALS. . . GOATS AND A MYTHOLOGIOCAL BEAST OF SOME SORT. TWO TREES FRAME EITHER SIDE OF THE PICTURE....
Landscape - Painting
40 x 30 inches (101.6 x 76.2 cm)
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Cornelia Macfadyen: 'Fire N Ice', 2005 Oil Painting, Abstract.
, 2005
Abstract - Painting
20 x 26 inches (50.8 x 66.0 cm)
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Storm Hammond: 'Mona Lisa Study', 2005 Oil Painting, Culture.
Culture - Painting
12 x 16 inches (30.5 x 40.6 cm)
Storm Hammond: 'Italian Light', 2005 Oil Painting, Inspirational.
Inspirational - Painting
16 x 12 inches (40.6 x 30.5 cm)
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(Page 12 of 605) - MORE ARTWORKS
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  • Artists Describing Their Art:

    Judith Smith Wilson - Welcome to the world of exotic animals and culture as seen through the eyes of this extraordinary artist. Follow the mood as Ms. Wilson leads you to the darkest regions of Africa and beyond.....She has been specializing in Animal Wildlife Paintings and portraits of people for over 40 years. She is a will known animal ecologist, and belongs to many wildlife organizations, including the East African Wildlife Society. Ms. Wilson has traveled to Kenya East Africa, and Rwanda East Africa, three times. She also has had the privilege to observe the endangered Mountain Gorillas in the Virunga Mountains, and all of Africa's wonderful wildlife. Ms. Wilson has cared for many injured wild animals, eventually releasing them back to their native habitat. One of these animals, a bobcat named "Precious" was not able to be released, and remained a beloved friend to her family for over twenty years. She has shown her work in Nairobi and Rwanda East Africa, and many Galleries in the United States over her 40 year career. Her work is currently being shown in San Diego, Los Angeles California and The Fine Art museum in Owensboro Kentucky. Also in Owensboro at'Gallery 412' and'Grey ...

    Noel Stavropoulos - There is great power being an artist. They have influenced and recorded every culture's histories. Much of our knowledge of ancient and modern history today is taken from artifacts (art-i-facts). To have the ability to translate the growth of our civilization today is a gift. I want to give future generations tangible evidence from their history to contemplate and compare to the world we built for them, all the good times as well as the bad. They may learn from our mistakes and take the human race another step in the eternal journey of progression toward "Unity." I seek exhibitions in different countries and cities around the world. This allows me to see how wide, or limited my visual vocabulary really is. Not just from one cultural point of view, but from the masses of the Earth, the people. I then learn from the "Earth's Public" what ideas to expand or abandon. However, in the end, I am still the one who decides the direction of my works. When I create works I am conscious of the world around, so political and social undertone is imminent. I don't think about this while I'm working...

    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 ...

    Lorrie Williamson - As time passes and history is made, it is exciting to try and capture a special moment of life in a painting. It might be inspired by an earth-shaking event or just an ordinary daily experience. More often it comes as a result of looking for something meaningful to say about life as it is today by painting a picture of it. I have a passion for painting, and a ongoing desire to master the never-ending possibilities that are inherent in making art. I hope to express a mood or tell a story that will grab and hold your attention and make you want to see more....

    Lucille Rella - Color, I can't imagine life without it. We are surrounded by it. Our attention is drawn to it and it creates a variety of moods in our environment. It motivates me to paint. A spectrum of lights and darks, high colors and muted tones get me involved in a painting. The wonderful transparency and spontaneity of the watercolor medium, helps me to utilize these qualities in expressing my art work. ...

    Cornelia Macfadyen - CVMacFadyen, a native New York, studied art at the Art Student's League and Pratt Institute. Here she received a classical training with a heavy influence from the impressionists. CV's work is abstract expressionsist. Her paintings are rich in color and texture. Each painting evokes a different repsonse from it's viewer. The subtle changes in texture are color obscure images lurking in the background. Through her painting CV strives to touch each person. She reaches within to allow the viewer to have an experience of themselves. CV works in oil on canvas. All pictures are sized for the home. Oversized canvases maybe commissioned upon request. Her work is in private collections in the United States and Europe. CV has been exibiting her work exclusively in the New York area since 1976. She is mentioned in the World's Who Who of Women, Who's Who in the East and Who's Who of Professional & Executive Women. ...

    Christian Culver - Architectural Art Today we see art and architecture of the past as nobody saw it before, we perceive it in a different way. All of us see hundreds of images everyday in the cities in which we live. In no other form of society in history has there been such a concentration of images, such a density of visual messages. One may remember or forget these messages, but briefly one takes them in, and for a moment they stimulate the imagination by way of either memory or expectation. The image belongs to the moment. They never speak of the present, but often refer to the past and always speak of the future. We are so accustomed to being addressed by these images that we scarcely notice their total impact. A person may notice a particular image or piece of information because it corresponds to some particular interest they may have. The fact that these images belong to the moment, but speak of the future, produces a strange effect, which has become so familiar that we scarcely notice it. Usually we pass the image - walking, traveling, or on the TV screen, somewhat different but even then we are theoretically the active ...

    Tom Irizarry Studio - Oil painter with broad knowledge of historic methods and historic colors. My studio is my laboratory. I make all my paint. My work focuses on elements of the earth air and land. What I observe is beyond a pretty sky or nice landscape. It is the notion that our earth and the universe, are imbued with a specific energy. Historically, this energy was described by the Victorian poet Gerard Manley Hopkins as Instress and Inscape, derived from ideas of the medieval philosopher, Duns Scotus. Scotus argued that there is some matter entirely devoid of form. Paintings can vary from 9 x 12 inches to 6 x 8 feet. Viewers describe a profound feeling from the paintings, regardless of the size. Specialties Historic processes for paint making, mediums, grounds, oils, mineral pigments, oil mediums, tempera mediums, non-silver processes cyanotypes and archival digital pigment prints....

    Lucille Coleman - Although I'm able to produce other imagery, the figure has been my main subject. I believe that if an artist can capture and express the figure well, he can master any subject. I have explored the following themes to name a few: chic erotica, forms of dance such as latin and hip-hop, the family, conceptual themes pertaining to people in business, men and women in positive leadership roles and societal issues. I enjoy painting subjects and themes by using a loose, bold, direct and painterly brushstroke or flat graphite strokes over a solid drawing. Spontaneity and making visual statements by the "less is more" method is very gratifying for me. In addition, the chiaroscuro lighting of subjects fascinates me and I never tire of its effects of light and shadow. I am influenced by the works of Joaquin Sorolla, John Singer Sargeant, Caravaggio and other painters of his era, Wassily Kandinsky, Phillip Corey, Impressionism, and many great illustrators. ...

    Stephen Mead - In the early 1990's Stephen Mead's poems began appearing in such journals as Onionhead, Bellowing Ark, and Invert, but upon moving to Provincetown, Mass., Stephen decided to concentrate more on visual work. It was in the year 2000, after moving back to NY, that Stephen started seeking publication again for both his writing and his art combined. Since, then, thanks to the wonders of the World Wide Web, his work has appeared internationally both in cyberspace, hard copy, and physical Gallery Space. Often the writing has appeared along side his paintings, and at other times with the text superimposed. In 2004 Stephen began experimenting even more with these poetry/art hybrids creating a series of e books, including the award winning "We Are More Than Our Wounds". From there Stephen began experimenting with his art and poems as films, at first creating slideshows with captions, and then doing his own soundtracks and voice overdubs. These DVDs are available through Indieflix.com In 2006 Stephen put this technology to use releasing a CD of poems set to music "Safe & Other Love Poems" (CDBaby.com), as well as two print editions of his image/art hybrids, "Selected Works" and "Tree ...

    Eve Co - I began painting and drawing in 1987 and have not stopped. I have a wide range from, landscapes, still-lifes, Hubble art galaxies nebulas, abstracts, florals, architectural art and so much more. I draw every day and paint as much as I can afford. I paint more watercolors than acrylic and oil canvas art. I would prefer more canvas art, but I make do with what I have. I try to express myself in artwork as well as with words. I paint landscapes, the glorious colors of nature, water, the ever expressive sky and more, primarily with watercolors on paper. These paintings are usually thought out and planned because they represent nature as I see nature. I paint still-lifes of everyday objects. To teach me about one particular color, shading and or painting glass. I think of still-lifes as a learning process that literally has me pulling my hair out in frustration, but I still paint through how they make me feel... I am fascinated with Hubble Space Technology so, I paint galaxies and nebulas on canvas with acrylic paints. I have sold many of these paintings and I must admit they are some of my favorite subjects...

    Bessie Papazafiriou - Through my work I'm able to express reality in my own way. With a brush in hand suddenly horses can fly, the sky is ablaze, myths become reality and the world is transformed. To me, this is freedom. There is an unequaled sense of joy and satisfaction that comes from being able to express my vision and share it with others. I love it when a stranger views my work and feels a connection...suddenly we're no longer strangers. A new line of communication is open, one that transcends language....

    Austen Pinkerton - Austen Pinkerton If I turn my mind to it very quickly I can come up with several ideas for works aEUR|paintings, drawings, or sculptures. Sometimes ideas come to me when I least expect it, or when my mind is on other things. Ideas can be related to my current experiences, or to my feelings about things that are happening to me in my life at that particular time. Alternatively they can be related to a current interest, or something that occupies my attention at that moment, and my ideas and feelings about which Id like to share with others. A lot of my work is autobiographicalaEUR|either directly or indirectly, consciously or subconsciously. It is frequently very personal, and expresses events or circumstances or experiences in my life. I usually work in either Acrylic on Canvas, Crayon or Pastel, or both together, with Gouache, on card, Drawing in pencil, or Ink, or both, or with creating SculptureaEUR|for which I use fired artists clay. Sculpture follows a completely different set of rules and values from two-dimensional art, obviously, I think of it as Drawing in three dimensions and I take this into account when creating mine. In all my...

    Storm Hammond - In many of the paintings, my intention was to give the viewer a glimpse into a peaceful moment in the Italian sense of capriccio. In others, particularly those which make use of funerary statuary, one is left questioning aspects of human solitude. It has been said that a landscape does not come alive until there is a figure in it. By using sculptures of human forms, I offer the viewer an identity within the painting. As they are stone, subtly a coldness permeates and a peculiar isolation sets in emotionally. This shifts the pastoral mood to a quiet thoughtful meloncholia. This gives some observers a surrealistic impression of my work. In the architectural alleys, the viewer stands alone on the path. There is always the unseen, something more, a mystery around the corner or through the gate. I use an indirect Old Master's method of oil painting. The process begins with the application of an abstract acrylic ground. Next, an oil grisaille is painted defining the light and dark areas. Then, multiple layers of oil glazes and varnishes finish the piece. The first drawing, painted as the ground utilizes the divine geometry of the Golden Section. The divine ratio, ...