Oil Paintings

Page 13 of 665
Stephen Mead, Lucille Rella, Eve Co, Bessie Papazafiriou, Tom Irizarry Studio, Austen Pinkerton, Cornelia Macfadyen, Yoli Salmona, Storm Hammond, Lucia Timis, Micha Nussinov, Richard Lazzara, George Oommen, Robert H. Stockton offering original Oil Paintings artworks.


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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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Yoli Salmona: 'Greenfieldtree', 2004 Oil Painting, Undecided.
Undecided - Painting
36 x 33 cm (14.2 x 13.0 inches)
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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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Storm Hammond: 'Evening Sky', 2005 Oil Painting, Inspirational.
Inspirational - Painting
16 x 12 inches (40.6 x 30.5 cm)
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Storm Hammond: 'Fragile Transitions', 2005 Oil Painting, Representational.
Representational - Painting
12 x 16 inches (30.5 x 40.6 cm)
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Lucia Timis: 'Composition 02', 1995 Oil Painting, Abstract.
Abstract - Painting
48 x 36 inches (121.9 x 91.4 cm)
Lucia Timis: 'Quinta Essentia', 2004 Oil Painting, Abstract.
Abstract - Painting
24 x 36 inches (61.0 x 91.4 cm)
Lucia Timis: 'Forest 02', 2004 Oil Painting, Landscape.
, 2004
Landscape - Painting
30 x 25 inches (76.2 x 63.5 cm)
Lucia Timis: 'Forest 01', 2004 Oil Painting, Landscape.
, 2004
Landscape - Painting
40 x 30 inches (101.6 x 76.2 cm)
Micha Nussinov: 'Movement 2', 2004 Oil Painting, Abstract. Color, light and movements are sponteniously expressed reflecting on the artist mood. ...
, 2004
Abstract - Painting
510 x 410 mm ( x )
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Richard Lazzara: 'today is art everlasting', 1972 Oil Painting, History. today is art everlasting 1972  from the folio DRAWING ON NY STUDIO SCHOOL TRAINING by Richard Lazzara is available at
History - Painting
36 x 24 inches (91.4 x 61.0 cm)
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Richard Lazzara: 'studio space still life in oil paint', 1972 Oil Painting, History. studio space still life in oil paint 1972  from the folio  DRAWING ON NY STUDIO SCHOOL TRAINING  by Richard Lazzara is available at
History - Painting
24 x 36 inches (61.0 x 91.4 cm)
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Richard Lazzara: 'space around the goal', 1972 Oil Painting, History. space around the goal 1972   from the folio  DRAWING ON NY STUDIO SCHOOL TRAINING   by Richard Lazzara is available at
History - Painting
36 x 24 inches (91.4 x 61.0 cm)
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Richard Lazzara: 'seeing is knowledge', 1972 Oil Painting, History. seeing is knowledge 1972  from the folio DRAWING ON NY STUDIO SCHOOL TRAINING   by Richard Lazzara is available at
History - Painting
36 x 24 inches (91.4 x 61.0 cm)
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Bessie Papazafiriou: 'Two Swimmers II', 2005 Oil Painting, Seascape.
Seascape - Painting
40 x 30 inches (101.6 x 76.2 cm)
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Bessie Papazafiriou: 'Two Swimmers I', 2004 Oil Painting, Seascape. This painting depicts two young swimmers undaunted by the power of the sea....
Seascape - Painting
36 x 30 inches (91.4 x 76.2 cm)
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Micha Nussinov: 'On the beach', 2004 Oil Painting, Fantasy. An ambigious interaction between male and female. All alone on  the beach as the waves washes over skin. Surrounded by textured rocks that creats a sense of encloser.  ...
Fantasy - Painting
70 x 80 cm (27.6 x 31.5 inches)
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Micha Nussinov: 'Movement 4', 2004 Oil Painting, Landscape. An imaginery landscape. The artist expresses his feelings through color light and movement....
, 2004
Landscape - Painting
410 x 510 mm ( x )
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Micha Nussinov: 'Departure 2', 2004 Oil Painting, Fantasy. The notion of departure as we leave a place, going through a transit to another world.  A journey from life to a spiritual world. ...
Fantasy - Painting
410 x 510 mm ( x )
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George Oommen: 'kanjeevaram 6', 2004 Oil Painting, Culture. kanjeevaram is inspired from the sarees that are woven from the town of Kanjeevaram ...
Culture - Painting
24 x 36 inches (61.0 x 91.4 cm)
George Oommen: 'sunset at mankotta', 2004 Oil Painting, Landscape.
Landscape - Painting
24 x 24 inches (61.0 x 61.0 cm)
Robert H. Stockton: 'The Sun At Three Penny Ridge', 2000 Oil Painting, Abstract. The idea for this small oil painting came from hiking in the Cascade Mountains of the Pacific Northwest on a beautiful summer day....
Abstract - Painting
8 x 10 inches (20.3 x 25.4 cm)
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Philip Hallawell: 'The Hand of Ares', 1986 Oil Painting, Mythology. Part of the Iliad series, this one of the drawings that focuses on the Gods of the ancient Greeks, namely Ares ( Mars) the God of war. The triangular composition represents the danger of war. Done in oil on canvas over wood....
Mythology - Painting
40 x 50 cm (15.7 x 19.7 inches)
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(Page 13 of 665) - MORE ARTWORKS
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  • Artists Describing Their Art:

    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 ...

    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. ...

    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....

    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....

    Austen Pinkerton - Artists Statement 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...

    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. ...

    Yoli Salmona - I paint to capture an experience, a feeling, and strive to share it through colour, form, and light. AERIAL LANDSCAPES It's a different beauty from the air, more poignant and more objective in its apparent immobility. Whether formal or natural, the landscapes seen from the air become become more abstract. I can playfully re-order and move around details and elements of reality- mostly trees and shadows- like tesserae in a mosaic. PORTRAITS To portray is for me to express an unequivocal presence, a feeling for an actual person. Sometimes, there can be an ambivalence, an invitation to a question, particularly fascinating when painting young people. For me, a successful portrait has an element of timelessness, while revealing something about the subject's present circumstance. BACKGROUND Born in France, I was a child who was drawing all the time. But for various reasons, I was unable to attend Art school growing up, and became a clothes/costume designer for ten years before studying (section Communication Visuelle) at the Paris Ecole Nationale Superieure des Arts Decoratifs. My aim then was to reach a wide audience trough Print, and Paris Art Publisher Flammarion gave me the first of a...

    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, ...

    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 ...

    George Oommen - George Oommen: The Image as the key Born in Munnar, Kerala, India, and educated in India, Mexico, and the United States, George Oommen continues to derive artistic inspiration from the lush green landscapes of his homeland. Every winter, Oommen visits Mankotta, a small island in the inland waters of Kerala in southwestern India, ten miles from Oommen's ancestral home. The weeks spent there fuel his painting year round. What follows is a series of questions and answers by Oommen about his work. The conversation took place over a series of days but reflects a lifetime of thinking about the meaning of his art. Q: What is the goal of your art? What inspires and motivates you as an artist? A: My painting is fundamentally about communicating what I see in my mind's eye. While verbal expression is the predominant form of communication, from early childhood, I have had a facility with visual expression. Painting is my vehicle for this. The specific goal of my art changes with each series I embark upon, but the general objective is always to transfer the image in my mind to the canvas There are many sources of inspiration for me--it could ...

    George Oommen -