Paintings For Sale - Price Range: $700 - $799

Artists Describing Their Art:

Vladimir Volosov - I was born in 1937 in Leningrad, USSR (now St. Petersburg, Russia). My way to art was a lengthy one. Before becoming an artist, I studied for thirty years at the forefront of modern physics as a PhD scientist and professor, author more than 150 scientific articles in contemporary laser physics. Thirty years of strenuous scientific work on the front edge of modern physics gives me a deep feeling for the anxiety and unprotectedness of the world's beauty. The formula, "beauty saves the world" fits my own attitude. My creed is also embodied in the statement: "to have time to realize everything given to you by Nature." At the threshold of my fifties, I decided to live one more life, a new, alluring life of the free artist. I walked away from my established scientific career and completely devoted myself to painting. In 1991 I founded and headed the association "Light, Color and Art" to connect with scientists engaged in the arts. The main directions of my paintings are lyrical realism and abstract compositions. My paintings are about light, color, atmosphere and space. For me, the most important elements are light and color and their juxtaposition/nexus/meeting of...

Terri Higgins - The deep ache that replaced the pleasure you used to have, the words someone said that you keep turning over and over in your head, the void inside that nothing seems to fill; these are some of the subjects I paint about. Location: Washington, DC Check out my website and blog:

Heather Hyatt - In my work as a fine artist, I use the mediums of graphite, coloured pencil and oil, in the styles realism, photo-realism, trompe l'oeil and portraiture, Ideas come from literature, metaphors, and the real world. Rather than the imitation of appearance, my concern is with the essence of the subject. In trompe l'oeil, it is the hardness and softness of guns and lingerie, which, when mounted in shadow boxes, become real. In the series,'Dante's Divine Comedy', executed in graphite, the object was to depict the universality of his ideas as they appear today. In all of my work, realism is my focus and goal. ...

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 ...

Philip Taylor - Statement By applying abstraction, Taylor creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles. His paintings do not reference recognizable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. Through experimentation, he finds that movement reveals an inherent awkwardness and echoes our own vulnerabilities. His works feature coincidental, accidental and unexpected connections. By questioning the concept of movement, he formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective, and unfiltered, are frequently revealing. aEURoeThe process of making art for me is emotionally charging and spiritual.aEUR Bio Taylor grew up in the Mississippi river valley along the legendary highway 61 corridor in southern Minnesota as well as summering along the east cost. In the mid 1990s Taylor first became interested in abstract painting after being confronted with a Jackson Pollock work during a pivotal visit to the National Gallery of Art in Washington D.C. He has a B.A. in Studio Art and attended classes at the Arts Students League of ...

Marsha Bowers - Marsha Bowers was born and raised in the Central Valley of California. She is a classically trained fine artist, skilled in the old Masters techniques of Flemish/Bistre and Venetian method using a grisaille underpainting and glazing with many layers. Most of her fine art paintings are rendered in oil. She sometimes applies real gold leaf into the artworks. Marsha finds inspiration in the old masters of the past. She spends many hours visiting Museums studying their work. Gothic and Renaissance are her favorite periods along with the Pre-Raphaelites artists. The artist loves the blending of the classical painting techniques with a more contemporary approach to her paintings. Her recent fine art paintings are of women, both figurative and portraiture. The inspiration for her paintings comes from her observations of life itself and through her own experiences. Each painting shares a message, story or emotion. Its what the artist herself describes as a "flowing" of the spirit, a creative process through which the artist paints a story unto the canvas, realizing that each viewer of her work may have their own interpretation of what the art is conveying. Most recently Marsha was invited to be included into the International ...

Joyce Waddell Bailey - WELCOME if you love art, you will love my website. I work in all media and create works of art in a distinct series of related by style and iconography. Underpinning all of my work is drawing--it all starts with the pencil. Even ideas for photographs and digital prints are sketched out. Each series stands by itself Wash Drawings, Botanical Forms, Digital Prints, Photographs, Miniatures. As for my focus on botanical forms in Southwest Florida, these are wonders that compel fascination. I admit to careful study of botanical sources but l am not a Botanist--Botany is a science. Rather, I choose a subject, make drawings, take photographs and observe its response to i environment, placement, water, light, soil. Some plants are unlucky, others, breathe great growth into their lives by an accident of Nature. When I select a subject, I re-compose its attributes in a way harmonious, even surprising, to the viewer. This is in the way of following a logical perfection of the components in relation to each other and the viewer. Most of my work does not represent quiet scenes, they demand viewer participation. I do this by way of shapes, placement, color and a ...

Jim Lively - Whether portrayed in the abstract, realism, or somewhere in between, I am most influenced by both the beautiful and unattractive components of contemporary urban culture. Many times, one painting will reflect both components. My art tends to focus upon interesting juxtapositions of close-up images of human faces. Often, the larger images border upon realism and are caught expressing a panoply of emotions usually directed at the other images that share the canvas. Several of my recent works such as the tongue in cheek entitled "Lenin and Things" contain unlikely combinations of images such as a statue of Lenin which is dwarfed by a billboard size fashion model displaying a vacuous stare. A number of works contain both large images and interrelated small images. For example in the painting "Staring at Natalie", all the smaller images are a depiction of a collective group of voyeurs staring at a larger image of a posed fashion model. I want those viewing the painting to be the ultimate voyeur. The viewer is not only drawn initially to the larger image in its own right but also cannot help but then notice the relationship of the smaller images to the large image. Works displayed ...