Oil Paintings

Page 7 of 661
Ronald Weisberg, Carlos Pardo, Kathryn Arnold, Plamen Yordanov, Isaac Brown, William Christopherson, Jose Luis Lazaro Ferre, Leo Evans, Luiz Henrique Azevedo, Alice Murdoch, Shelly Leitheiser, Larysa Uvarova, Youri Messen-jaschin, Becky Soria, Joyce Waddell Bailey, Bonie Bolen, Tiziana Fejzullaj, Manuela Facchin Varalda offering original Oil Paintings artworks.


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Ronald Weisberg: 'apple 1', 2017 Oil Painting, Still Life.
, 2017
Still Life - Painting
9 x 12 inches (22.9 x 30.5 cm)
Carlos Pardo: 'she on sundays', 2016 Oil Painting, Cityscape.  She on Sundays  Oil, ink, crete, watercolour, pastel on thick paper 140lbs 25. 6x19. 6 inches 2016 Carlos Pardo Ella los domingos  A
Cityscape - Painting
25.6 x 19.6 inches (65.0 x 49.8 cm)
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Kathryn Arnold: 'a past time', 2019 Oil Painting, Abstract.  kathryn arnold, color field, abstract, abstraction, oranges, blues, greens, reds, yellows, whites, California, Bay Area artist...
Abstract - Painting
40 x 30 inches (101.6 x 76.2 cm)
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Plamen Yordanov: 'Untitled', 2017 Oil Painting, Abstract.
, 2017
Abstract - Painting
80 x 80 inches (203.2 x 203.2 cm)
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Isaac Brown: 'cosmic interface', 2017 Oil Painting, Abstract.
Abstract - Painting
36 x 36 inches (91.4 x 91.4 cm)
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Carlos Pardo: 'she and her cat after siesta', 2017 Oil Painting, Cats. Long and hot afternoons on summer itA's good to us sleeping siesta. The memories of dreams are still there. You have to awake totally. . . for living the rest of the day, the rest of the  real  life. . . come on .  She and her cat after  sleeping  siesta  Oil on thick ...
Cats - Painting
20.5 x 29.5 inches (52.1 x 74.9 cm)
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William Christopherson: 'On A Mountain Trail', 2016 Oil Painting, Landscape. Broad brush approach in oil, of the Adirondack hiking experience in the central Adirondack Mountains.  Large sized stretched canvas 36x36, 2 depth.  Wall ready with hangers and wire.  Employing Grumbacher artists professional grade oils.  Award wining oil, 2017 Central Adirondack Art Show.  Enjoy...
Landscape - Painting
36 x 36 inches (91.4 x 91.4 cm)
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Jose Luis Lazaro Ferre: 'blue window', 2015 Oil Painting, Abstract Figurative. Oil on Canvas ...
Abstract Figurative - Painting
130 x 130 cm (51.2 x 51.2 inches)
Jose Luis Lazaro Ferre: 'the duke', 2014 Oil Painting, Abstract Figurative. Oil on wood and Colage...
, 2014
Abstract Figurative - Painting
97 x 122 cm (38.2 x 48.0 inches)
Leo Evans: 'Enchated landscape 2', 2005 Oil Painting, Abstract Landscape. Enchanted Landscape 2 leoevans. com...
Abstract Landscape - Painting
24 x 36 inches (61.0 x 91.4 cm)
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Luiz Henrique Azevedo: 'Curiosity', 2016 Oil Painting, Still Life. A pet finding the world that surround it. ...
, 2016
Still Life - Painting
27 x 35 cm (10.6 x 13.8 inches)
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Alice Murdoch: 'runway', 2017 Oil Painting, Figurative.
, 2017
Figurative - Painting
30 x 48 inches (76.2 x 121.9 cm)
Shelly Leitheiser: 'Human Bears at the Waterfall', 2010 Oil Painting, Impressionism.  This painting is surrealism, and yes those bears have human heads. Its my way of surprising the viewer and showing people that maybe people and animals have more in common than we think. This is 16 x 20 ...
Impressionism - Painting
16 x 20 inches (40.6 x 50.8 cm)
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Larysa Uvarova: 'Painting Marigold', 2015 Oil Painting, Floral.  Original oil painting, signed on the front will be great asset to your private collection. This painting was made with brushes and palette knifes, multi- layers. It is perfect for the stylish modern interiors. This painting is unframed, so you can choose the frame size and color by yourself to...
Floral - Painting
30 x 40 cm (11.8 x 15.7 inches)
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Larysa Uvarova: 'Painting Sweet summer taste', 2015 Oil Painting, Still Life.  Original oil painting, signed on the front will be great asset to your private collection. This painting was made with brushes and palette knifes, multi- layers. It is perfect for the stylish modern interiors. This painting is unframed, so you can choose the frame size and color by yourself to...
Still Life - Painting
50 x 60 cm (19.7 x 23.6 inches)
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Larysa Uvarova: 'Painting Spring Peonies', 2016 Oil Painting, Floral.  Original oil painting, signed on the front will be great asset to your private collection. This painting was made with brushes and palette knifes, multi- layers. It is perfect for the stylish modern interiors. This painting is unframed, so you can choose the frame size and color by yourself to...
Floral - Painting
70 x 50 cm (27.6 x 19.7 inches)
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Larysa Uvarova: 'Painting Peonies and Cherries', 2016 Oil Painting, Still Life.  Original oil painting, signed on the front will be great asset to your private collection. This painting was made with brushes and palette knifes, multi- layers. It is perfect for the stylish modern interiors. This painting is unframed, so you can choose the frame size and color by yourself to...
Still Life - Painting
70 x 50 cm (27.6 x 19.7 inches)
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Luiz Henrique Azevedo: 'Matrioska', 2015 Oil Painting, Still Life.  A Russian doll and chrysanthemums ...
, 2015
Still Life - Painting
33 x 41 cm (13.0 x 16.1 inches)
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Youri Messen-jaschin: 'Perpetuum Mobile VII', 2016 Oil Painting, Optical.  Youri Messen- Jaschin What you do not see in the video is the 3 dimension. The camera can not yet captured this dimension, certainly in the future, not today. enjoy the vidA(c)o
Optical - Painting
77.5 x 77 cm (30.5 x 30.3 inches)
Becky Soria: 'Brujo Milagro', 2016 Oil Painting, Abstract Figurative.                                        From the series  A Woman and her Symbols       From the series  Totems beyond Patriarchy                                                   ...
Abstract Figurative - Painting
20 x 20 inches (50.8 x 50.8 cm)
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Becky Soria: 'La Loba', 2015 Oil Painting, Abstract Figurative.                                        From the series  A Woman and her Symbols       From the series  Totems beyond Patriarchy                                                   ...
, 2015
Abstract Figurative - Painting
16 x 20 inches (40.6 x 50.8 cm)
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Joyce Waddell Bailey: 'Detail of Frame for Pitch Apple Tree', 2015 Oil Painting, Botanical. The Pitch Apple Tree Clusia rosea is a striking tropical specimen with aerial, body and ground roots. This is a detail of the frame. ...
Botanical - Painting
28 x 24 inches (71.1 x 61.0 cm)
Joyce Waddell Bailey: 'Frame for Pitch Apple Tree', 2015 Oil Painting, Botanical. The Pitch Apple Tree Clusia rosea is a striking tropical specimen with aerial, body and ground roots. This is a photo of the Pitch Apple oil painting framed....
Botanical - Painting
28 x 24 inches (71.1 x 61.0 cm)
Bonie Bolen: 'Christmas Eve', 2016 Oil Painting, nature.
nature - Painting
48 x 72 inches (121.9 x 182.9 cm)
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Tiziana Fejzullaj: 'Leaning by the Tree', 2016 Oil Painting, nudes.  Leaning by the Tree ...
nudes - Painting
36 x 48 inches (91.4 x 121.9 cm)
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Tiziana Fejzullaj: 'Dog in Bed', 2016 Oil Painting, nudes.  Dog in Bed...
, 2016
nudes - Painting
36 x 48 inches (91.4 x 121.9 cm)
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Tiziana Fejzullaj: 'Spring', 2016 Oil Painting, nudes.  Spring ...
, 2016
nudes - Painting
36 x 48 inches (91.4 x 121.9 cm)
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Tiziana Fejzullaj: 'Mountain River', 2016 Oil Painting, Mountains.  Mountain River ...
Mountains - Painting
30 x 24 inches (76.2 x 61.0 cm)
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Manuela Facchin Varalda: 'golden field', 2016 Oil Painting, Landscape.        original artworkunique pieceoil on canvas cm 60 x 80      ...
Landscape - Painting
24 x 32 inches (61.0 x 81.3 cm)
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Bonie Bolen: 'Greenland', 2016 Oil Painting, nature.  Oil on aluminum. Original image used from National Geographic 2010 article about Greenland's changing face due to global warming. ...
, 2016
nature - Painting
24 x 36 inches (61.0 x 91.4 cm)
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(Page 7 of 661) - MORE ARTWORKS
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  • Artists Describing Their Art:

    Carlos Pardo - IN SHORT: INSPIRATION: Concious and unconcious perceptions, my background, all circunstances of my life, experiences, past and present, books and newspapers that I read, films, Internet aEUR|feelings, emotions and a fertile imagination sometimes, all them aid to weave a story that will change alongside the execution of a piece. In my opinion our tradition, for thousands of years, the Arts reflect the vision of a trascendent life beyond our tangible life. THEME: Unreal cityscapes let us a special kind of plasticity. The imagination and feelings are active agents that are modeling the perceptible reality. Transcendent and oniric themes entered and remain in my artwork. In my imaginary urban landscapes there are overlaid elements of towns he has visited, some imagined, and maybe dreamed, but all with a unique feminine soul. The Town is a mother, lover, or daughter of the actions, dreams and passions of those who dwell in them or recall them in the distance. It is an idea in which wander those who have been caught up in its infinite labyrinth. PROCESS: I usually have not idea about what I will show on the surface. There is a lack of a script or previous sketch. Forms are born...

    Kathryn Arnold - Artist Statement Kathryn Arnold c2018 My work contains two intertwining veins. One is filled with large, colorful oils on canvas. The other are my drawings which are black and white mixed media works on paper. Both display the density and layered mark-making that points to my process and content. The work is a result of intuitive nonobjective processes and contains my search for visual magic. The sense of touch and chaotic energy of color and marks play an important role in building up layers that function to create an encompassing, enveloping field and bewildering space. Sometimes there is an introduction of a grid-like form with recognizable imagery playing upon it. These become reference points and their intrinsic relating form poetry, a type of interplay between subjective and objective reality. from Ginsberg Howl ...and who therefore ran through the icy streets obsessed witha sudden flash of the alchemy... PAINTINGS marks kinetic sensation chaotic energy a building a destruction emotional complex bewildering spaces autobiographical references major dreams minor non-dreams Materials oil canvas composition leaf gouache ink watercolor acrylic charcoal conte soft pastels oil pastels pencil polymer medium spray paint enamel varnishes rice papers newspapers collage Arches hot-pressed 100 ...

    Plamen Yordanov - I share the idea of an art that creates reality instead of offering its conventional model. I want to provoke the birth of view that go beyond the boundary of reality itself. These viewpoints stress an order that exist "a priory" in nature and can be developed again and again. This aspect makes the picture exist as a signal that gives the onlooker a chance to go deep into his/her life experience and mind. This is a universal signal to which the individual responds in un unique manner and creates his/her own reality. ...

    Isaac Brown - ISAAC S. BROWN As his day job Isaac is president and CEO of Baltic Street AEH Inc. A non-for profit agency that helps people coping with mental health issues deal with advocacy, employment and housing based in New York city. Mr. Brown has been painting for over 35 years. This self-taught artist has been previously employed in a variety of jobs including lumberjack, diamond cutter, welder and sergeant in the Israeli Defense Forces. It was during his time in the IDF as a young sergeant during periods of down time that he first picked up a brush and paints to begin to express his artistic creativity. Later in between maneuvers, during his time in the first Lebanese War, he began experimenting with whatever materials were available to a young soldier, creating sculptures and roadside art along the way from one camp to another as a release from the daily pressures and responsibly of caring for his fellow soldiers. After leaving the army he traveled the world extensively continuing painting and sculpting along the way. He spent a considerable time amount living in Europe and thus bringing to his art a unique worldwide perspective. His artwork reflects the passion...

    William Christopherson - The viewer sees a finished canvas. The artist relishes its journey of creation. A thought, a feeling, an experience, a place. These are the most essential of supplies as the artist tasks to expand, explore, and evolve along the path. All are welcome here, to view, appreciate contemplate, and possess the journeys I have made, and the journeys yet to come. Over the past several years I have explored the oil medium, borrowing technique from both historical and present day impressionism. Its a medium I love to work in, even though my wardrobe and studio surfaces have suffered immensely. Much of my work now reflects the pallet knife, and explores a prolific use of heavy colorful brush stroke. Everything continues to evolve, and thats a good thing Enjoy. William Christopherson, 2017 ...

    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 ...

    Jose Luis Lazaro Ferre - Luiz Henrique Azevedo - Luiz Henrique da Rocha Azevedo born in Rio de Janeiro, Brazil in 1955 living in Petropolis city their youth; soon developed their fondness for drawing, sustained mainly by comics illustrated by Alex Raymond, Harold (Hal) Foster and Ray Moore. During the year of 1975 this fondness goes to the oil painting where their first works occurred oriented by a lovely old madam, Dona Marina, how he called her in the afternoon of their youth, among occasional colleagues. There will born their figurative painting. But their painting lost its space to professional career for more than 23 years until return to its place. Emerge the necessity to take the old painting case and just work where he feels better. Attended the course of realistic painters (Jose Geraldo Fajardo and Renato Ferrari) where learn and mature their technical skill associated, initially, to Rembrandt and Ruisdaels Flemish school, to Spanish painter Melendez and impressionist esteem . He chase for technical expertise and also for thematic identification that gives to him at the same time a private and plural sense to their works. Isn't an easy task but, in this process, retracting to a state that feels better to him: worried with lines, shadows, ...

    Alice Murdoch - Originally from the South, Alice Murdoch lives in Charlotte and maintains her studio in Burlington, Vermont. She studied at the University of Vermont, the Vermont Studio Center and the Art Students League in New York. She has exhibited extensively throughout the East coast and the South, and is in many corporate and private collections throughout the United States. She paints in oil and has a penchant for portraying a certain social class, as well as general and canine portraiture. I have always wondered why statements are necessary from artists, unless their statements are not clear in their work. I think my paintings are strong enough to make their own, and that is my statement about my artist's statement....

    Shelly Leitheiser - Art comes from my head and my heart. I care deeply about the environment and often do artwork expressing my interest in environmental topics. I also use my art work to tell stories and uncover truths. Water and paint are sometimes used but often I will use photography and digital painting programs to get the images I envision. I am a formally trained artist in fine art, and have recently left the world of painting realism as my interest in photography grows. Why should art and photography look the same? Now I do more impressionist art and also abstracts, many of them inspired by other worlds. The realistic painting I do these days is very contemporary. Art is a lot of work but it's also very rewarding for me when someone inquires further into the meaning of my art....

    Youri Messen-Jaschin - From 1958 - 1962 his artistic studies lead him to the higher national school of fine arts student of Professor Arno Roberto Cami and to the Practical school of the Sorbonne, division of social sciences history of art, Professor Pierre Francastel in Paris. From 1962 until 1965, he went to the School of fine arts in Lausanne. He worked with the engraver and painter Ernest Pizzotti. A<> in 1964 with his kinetic glass and acrylic sculptures. He worked two years at the aEURoeCenter of contemporary engravingaEUR in Geneva. Then, he worked in Zurich, where he broadened his pictorial perspective with the painter Friederich Kuhn thru experience of the circle in the face. From 1968 until 1971, he acted at the University of HAPgskolan fAPr design Konsthantwerk in GAPteborg, where he created researches of textile kinetic objects. In 1967, he met at an exhibition in GAPteborgs Konsthall JesAos - Rafael Soto, Carlos Cruz-Diez and Julio Le Parc. Speaking with these artists, he discovered to be fascinated by optical art. He decided to devote all his research to kinetic art. An extended stay in GAPteborg gave him the opportunity to constantly evolve in movement and ...

    Becky Soria - "Subject matter in painting is merely the trigger that allows the expression of something more profound, unconscious and possibly hidden even from oneself, and therefore all inclusive, so viscerally immanent to humankind" ( R. Alonzo) Totems beyond Patriarchy" May 2014 Nature has been qualified as a female organic form by most ancient cultures, but for the last millennia or so, the world has been primarily perceived and shaped by the masculine side of the species. Our recent history however has seen a trend towards a natural reversion to a feminine bias, with women becoming increasingly more crucial to all aspects of society. These works serve to remind us about these issues and others that we continue to face the world while reinventing the female figure as an emblem for current conditions and a new Totem for the future. The juxtaposition between the representations of the animals and plants in compromised an ailing conditions and the female form that seems to swallow and revive the life- infused aspects of her creation, render a sense of hope for a future in which the maternal provides a healing force to an ailing planet. Signs. Symbols. Sentinels" February 2, 2013 The works of the present...

    Tiziana Fejzullaj - My paintings are mostly oil and acrylic on canvas. My work consists of bright, bold colors and is mostly concentrated on nude paintings, human body, and silent nature. The bright reds and yellows make my stand out from the darker background. I always mix my colors before I begin my painting to make sure that the colors on my palette are harmonious. Before I start painting I always make sure I have at least three colors on my palette that are in the red, blue, and yellow tones. Color is what makes a painting stand out to me. Sometimes IaEURtmm drawn to bold color that vibrantly describes the elements in the composition. Other times I am fascinated by the muted palette of a quieter scene. Color is a natural extension rather than the basis of my painting. My creations mainly have the human figure as subject, which is mysterious in its nature. It is not just a face to a body. It is about the body itself, conveying the beauty it has. Showing male figures dressed as females is a strategy to challenge the tradition of the objectification of women. I love the mystique that men have and which ...

    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...