Paintings For Sale - Price Range: $1000 - $1999

Page 10 of 202
Discover 5,834 original painting artworks for sale between $1000 - $1999. Contemporary emerging artists: Tom Irizarry Studio, Micha Nussinov, Jose Luis Lazaro Ferre, Margaret Stone, Philip Hallawell, Cornelia Macfadyen, Kevin Knuckles, Storm Hammond, William Dick, Cathy Dobson, Stephen Mead, Jack Earley, Emilio Merlina, Lorrie Williamson, Michal Ashkenasi, William B Hogan, Pavel Tyryshkin, Ana Castro Feijoo are exhibiting their affordable original art. You can buy artwork online and browse 202 pages for more originals at the end of this page. To view detailed information for any of these artworks click the image or browse the artist's portfolio website.


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Tom Irizarry Studio: 'Calm Soar', 2004 Oil Painting, Landscape. oil on panel, cinnabar, azurite, cremintz white...
, 2004
Landscape - Painting
9 x 12 inches (22.9 x 30.5 cm)
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Tom Irizarry Studio: 'I thought it was the sky I had here in my heart', 2004 Oil Painting, Landscape. oil on panel, cinnabar, azurite, cremintz white...
Landscape - Painting
9 x 12 inches (22.9 x 30.5 cm)
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Micha Nussinov: 'View from Begg Lane', 1989 Acrylic Painting, Landscape. The view from our veranda. ...
Landscape - Painting
100 x 160 cm (39.4 x 63.0 inches)
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Jose Luis Lazaro Ferre: 'Detective', 2004 Oil Painting, Figurative.
, 2004
Figurative - Painting
50 x 31 cm (19.7 x 12.2 inches)
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Margaret Stone: 'Blue Cave', 2010 Acrylic Painting, Fantasy. I listed this painting as a fantasy but it speaks of a part of life we have all experiened in one way or another. Ill be glad to send you the painting text on request or answer any questions. The painting is done on WC board mounted on wood, backbraced ...
, 2010
Fantasy - Painting
22 x 28 inches (55.9 x 71.1 cm)
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Philip Hallawell: 'Storm Brewing Iliad series', 1987 Oil Painting, Landscape. Also part of the iliad series, this work refers to the gathering of the clouds of violence which soon would burst over Troy. Painted in oils on canvas over wood....
Landscape - Painting
50 x 19 cm (19.7 x 7.5 inches)
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Cornelia Macfadyen: 'The Inferno', 1974 Oil Painting, Abstract.
Abstract - Painting
25 x 30 inches (63.5 x 76.2 cm)
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Margaret Stone: 'The Great Escape', 2012 Acrylic Painting, Abstract Figurative. Tiny figures lurk in the deep blue and the woman leaves into warmth. Painted on stretched canvas and offset- framed by dark- stained wood edged with 22K gold leaf....
Abstract Figurative - Painting
18 x 30 inches (45.7 x 76.2 cm)
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Kevin Knuckles: 'Statue of Liberation', 2004 Acrylic Painting, Ethnic.
Ethnic - Painting
24 x 48 inches (61.0 x 121.9 cm)
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Margaret Stone: 'Portal', 2012 Acrylic Painting, Abstract Landscape. Its a landscape? Its about people connecting with each other- - perhaps. Portal is painted on stretched canvas. It is surrounded by dark wood- strip framing edged with 22k gold leaf. I will be happy to answer any questions about this work....
, 2012
Abstract Landscape - Painting
26 x 38 inches (66.0 x 96.5 cm)
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Storm Hammond: 'da Vincis Angel', 2001 Oil Painting, Portrait. This was a study for a commision. I also copy old master paintings. ...
Portrait - Painting
12 x 16 inches (30.5 x 40.6 cm)
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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: '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: 'DEKKER', 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: '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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Cathy Dobson: 'Purity', 2001 Oil Painting, Sea Life. Original oil painting in a gold wooden frame. Mermaid Sea life artwork.Primed cotton canvas....
, 2001
Sea Life - Painting
12 x 16 inches (30.5 x 40.6 cm)
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Stephen Mead: 'WhoIsBigger', 1991 Oil Painting, Marine. A meditation on environmental conservation, part of film series
Marine - Painting
32 x 68 inches (81.3 x 172.7 cm)
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Philip Hallawell: 'Muse 6', 1999 Oil Painting, Inspirational. This painting was done in the chiaroscuro technique on canvas on wood, so as to be able to portray the type of inspiration that slowly emerges into light....
, 1999
Inspirational - Painting
20 x 50 cm (7.9 x 19.7 inches)
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Jack Earley: 'Red Cloud', 1990 Other Painting, Americana. Red Cloud, the famous Oglala Lakota Sioux Leader. I love how he shows the same dignity of George Washington. The work is done in sumi- e ink on acid- free paper and surrounded by acid- free material for longevity. It has ultraviolet light resistant glass and a rich gold and ...
, 1990
Americana - Painting
21 x 28 inches (53.3 x 71.1 cm)
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Emilio Merlina: 'dance', 1992 Oil Painting, Inspirational. oil on canvas...
, 1992
Inspirational - Painting
80 x 120 cm (31.5 x 47.2 inches)
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Lorrie Williamson: 'In Awe of Color and Motion', 2001 Acrylic Painting, Seascape. Acrylic on illustration board. 5 inch mat....
Seascape - Painting
20 x 30 inches (50.8 x 76.2 cm)
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Kevin Knuckles: 'Rhyme and Rhythm', 2001 Acrylic Painting, Figurative. Focusing on the relationship between the spoken word poet andhis musical partners. They blend together in unified movementto act as one. This is represented by poetic artists such asLasana Kazembe, and The Last Poets....
Figurative - Painting
36 x 48 inches (91.4 x 121.9 cm)
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Michal Ashkenasi: 'LavaLand', 2000 Acrylic Painting, Inspirational. On a trip to Mexico we came to a place where two little towns were buried under lavastones and only the top of the towers of the church were in sight. It happened allmost 50 years ago, but I could see in my imagination how it would look when it ...
, 2000
Inspirational - Painting
100 x 80 cm (39.4 x 31.5 inches)
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Michal Ashkenasi: 'GlimpsOfTheGlenn', 1999 Oil Painting, Landscape. As I was touring Scottland I was amazed to find a landscape still untouchted! ! It was one of the most beautiful trips I ever made and it gave me a lot of inspiration!...
Landscape - Painting
60 x 90 cm (23.6 x 35.4 inches)
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Michal Ashkenasi: 'FallingFromHeaven', 2000 Acrylic Painting, Inspirational. All kind of strange Mutations are growing! We are all to blame for  endangering our environment! Still, not all mutations are bad and some are even wonderful! !...
Inspirational - Painting
80 x 100 cm (31.5 x 39.4 inches)
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Michal Ashkenasi: 'Crater', 1998 Oil Painting, Inspirational. After you have seen the Red colour of the Lava spreading out along the mountain, you
, 1998
Inspirational - Painting
80 x 50 cm (31.5 x 19.7 inches)
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William B Hogan: 'clowning', 2020 Acrylic Painting, Abstract Figurative. Images of clowns balancing, jumping, tall man, weight lifters etc.acrylic and pen and blk ink...
, 2020
Abstract Figurative - Painting
36 x 24 inches (91.4 x 61.0 cm)
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Pavel Tyryshkin: 'blue tablecloth', 2006 Oil Painting, Still Life. still life on a table covered with a blue tablecloth...
Still Life - Painting
65 x 65 cm (25.6 x 25.6 inches)
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Ana Castro Feijoo: 'white brizees 2', 2020 Painting, Abstract. This work is part of the seriesThe color of the wind and a diptych with Brizees I, but it can also be individual and has its own imprint, it refers to flights, breezes, atmospherees, signs, it has something organic.  It is up to the viewer to interpreet and enjoy it...
Abstract - Painting
80 x 90 cm (31.5 x 35.4 inches)
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Ana Castro Feijoo: 'White brizees 1', 2020 Painting, Abstract. Belongs to the seriesThe color of the windits main caracteristic is its transparency in colors, gestual movements that take us back to the breezes from whish this work was inspired...
Abstract - Painting
80 x 90 cm (31.5 x 35.4 inches)
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(Page 10 of 202) - MORE ARTWORKS
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  • Artists Describing Their Art:

    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....

    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 ...

    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 ...

    Margaret Stone - Here we are, physically cemented to the earth by gravity. But - our imaginations stretch and soar, taking us beyond our planet and connecting us with far places in the universe. Being part of this, do we indeed live and bloom in a cosmic garden? Ah, perhaps so. I am exploring this connection in my new artwork....

    Philip Hallawell - I work in various media: oil, watercolor, dry pastels, pen and ink and mixed media. My work is a result of a fragmented view of the world, which gives it a surreal quality. However, my process is not surreal, because I start with a definite theme that I wish to investigate. My main area of interest is people and the human form and I am constantly investigating the physical, intellectual, emotional and spiritual aspects of Man. Over the years I have developed various series, which I revisit periodocally, investigating different aspects. In purely visual terms, what fascinates me is light and form and how I can use diverse visual elements in a complementary way, opposing, for instance, line and form, or rough and smooth textures. The use of diferent materials to achieve diverse expressions, either alone or as mixed media, along with alternating between a graphic representation and a painterly one, or mixing the two, is a very important aspect of the way I materialize my thinking into images. Equally important is the transition from very realistic images to a totally abstract means of expression and alternating between control and expressiveness....

    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. ...

    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, ...

    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...

    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 ...

    Jack Earley - After writing for two decades, I was developing an idea that I knew could be better expressed as a painting. So in the mid-eighties I took up full-time a life-time passion: painting. My work is about inner energy; about, first of all, my own energy and internal balance, reinforced through the practice of yoga and tai chi. I sign the inner energy of the subject matter onto the canvas. I work with acrylics on canvas and sumi-e inks on rice paper. I also sculpt using wood, copper and leather. Along with focusing on the inner energy of my subject matter, I am constantly working with an awareness that humans have an ancient need to see form, be it in clouds or in chipped paint on a wall or in waving leaves. The ability to decipher forms is part of our oldest survival skills. Imagine the advantage of being able to quickly spot the approaching bear among the shifting shadows of trees. Imagine the advantage and the thrill. On many canvases, I create forms so the viewer "discovers" them in an uplifting act. Often, I give the paint its head in creating forms, like freeing a captured ...

    Emilio Merlina - I was born in 1950 in the North East of Italy from a polish mother and a sicilian father. I toured the world until I was 35, then I returned to Italy and picked up again my old passion painting and sculpture. As for myself, I can only say thoughts and paintings, paintings and thoughts. Everything maybe useless, however everything is life. i?1/2The human being leaves its signs, graffiti, indian dreams and imagination. Now I only have left a few more possibilities to express the colors which are not. Only the sign, scratched, angry or brushed is the witness. The sign has passed from there and there it has lived.i?1/2 Emilio Merlina Some hear if a door opens Others hear a latch which opens or closes Others more they hear the Angel when he turns over a page of the Great Book From the novel Missa Sine Nomine By Ernst Wiechert I have words which relegate my hunger And the hunger which owns my body but which do not confine them I have words which are both my confined hunger and body By the Italian poetess Paola Lovisolo ...

    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....

    Michal Ashkenasi - Welcome to my Portfolio! If you are wondering if this is just another floral/landscape artist,I am not! My work is abstract-figurative and ,as you see,I love color!!I work directly on the canvas and the images come out of my imagination or from my memory . I do Collages and Watercolor too , but for me , the most deep feelings come out with Oil or Acrylic.With those media I can fulfill the strong contrastes I work with , and which are part of my style....

    William B Hogan - Statement My paintings are inventions form my imagination and start where my mind, eyes, conscious and unconscious meet. I start by sketching ideas that inspire my imagination and design them into a composition of my unusual visual reality. With pen and ink on 8x11 paper I sketch my ideas until I reach a satisfactory visual compositional solution. Transforming a blank canvas has always been a magic, challenging and exciting journey. My images in composition always seems to be in some state of magic and discovery. The magic begins by taking a visual idea and creating a composition that embraces my ideas on a blank surface and the creative discovery is building the painting with color one brush stroke after another until my idea meets my visual reality. The last brush stroke of my finished painting is the stimulus to begin the journey of another. Biography When I was in 6th grade I won a competition to do the cover for the Christmas pageant. The size was 5 12 x 8- 12, vertical. I drew the driver sitting in a sleigh wearing a cap with ear flaps, not ear muffs. It was snowing of course. I thought the flaps looked neat. ...

    Ana Castro Feijoo - My work is essentially a visual development of the relationnships between shapes, colors, line and emotion, with in speecific field, sometimes the symbols reveal themselves spontaneously, my chalenge in their balancein space. It is halfway between abstraction and figuration. I donA't analyze, I donA't coneptualize, rather I build and destroy until I unravel a portrait of the moment. It is my language to express mmy interior, difficult with words. In the paintings I paint layer upon layer, letting it happen and flo, in the engraving especially llately in the monocopie, once the inks have been disseminated I am intereested in exploring the accident that occurs when literally exploding them under the pressure of the press, moment by moment, until the appropriate ones are captured on papeer or canvas. I am a multifaceted artist. I am attracted to the challenges of differrent disciplines. It is an evolution in time, while the work is being created, to the point that I see an abstract representation of something that I had not seen before and I allow the work to have its own presence....