Paintings For Sale - Price Range: $800 - $899

Page 4 of 43
Discover 1,239 original painting artworks for sale between $800 - $899. Contemporary emerging artists: Judith Fritchman, Lorrie Williamson, Ron Ogle, Lou Posner, Luise Andersen, Micha Nussinov, Edna Schonblum, Lucille Coleman, Wayne Wilcox, Bessie Papazafiriou, Storm Hammond, Shoshannah Brombacher, Mark Schwing, Reiner Makarowski, Vojkan Morar, George Grant, Randy Sprout, John Tierney, Alexandr Ivanov, Pavel Tyryshkin are exhibiting their affordable original art. You can buy artwork online and browse 43 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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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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Judith Fritchman: 'Catch Me if You Can', 2007 Oil Painting, Children. Who can resist an exuberant race with the waves?...
Children - Painting
12 x 16 inches (30.5 x 40.6 cm)
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Ron Ogle: 'HORSE SERIES number 10', 1999 Oil Painting, Abstract. Of very great importance for the development of the student is the way in which he listens to others when they speak. He must accustom himself to do this in such a way that, while listening, his inner self is absolutely silent. [ RUDOLF STEINER - KNOWLEDGE OF HIGHER WORLDS AND ITS ...
Abstract - Painting
10 x 8 inches (25.4 x 20.3 cm)
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Ron Ogle: 'HORSE SERIES number 9', 1999 Oil Painting, Abstract. Truth waits for eyes unclouded by longing....
Abstract - Painting
10 x 8 inches (25.4 x 20.3 cm)
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Lou Posner: 'Eggplant and Green Pepper', 2000 Oil Painting, Still Life. Vegetables in motion.  Oil on canvas board.  Custom frame is wood with gold tone. ...
Still Life - Painting
8 x 10 inches (20.3 x 25.4 cm)
Luise Andersen: 'I See You Watching Me', 2004 Oil Painting, Other. Oil Paints. . . With Water. . Had To try those. .  And Enjoy Them. . . .  Same Qualities. .   A forceful. .  Quick Painting. . .  Not More Than Several Days. . .  Rare For Me. .  Just Clicked. . .  Faces. . . Figures. . .  Waiting. .I Have The Urge To Introduce Gold- Leaf In it. . .  I Just Might. . On Top Arch. .  Where The Light Hits. . ...
Other - Painting
18 x 20 inches (45.7 x 50.8 cm)
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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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Edna Schonblum: 'Jaws', 2005 Oil Painting, nature.
, 2005
nature - Painting
60 x 40 cm (23.6 x 15.7 inches)
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Lucille Coleman: 'Heel Hand Pop', 2004 Oil Painting, Dance. Oil paint is applied in a spontaneous, painterly manner to imitate the energy and movement of the dance.This is one second of a hip- hop dance movement frozen in time but is actually performed very quickly. The effect looks like a surprise when the dancers jump up on their ...
Dance - Painting
38 x 36 inches (96.5 x 91.4 cm)
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Micha Nussinov: 'movement 1', 2004 Oil Painting, Abstract. Color, light and movements are sponteniously expressed reflecting on the artist mood....
, 2004
Abstract - Painting
41 x 51 cm (16.1 x 20.1 inches)
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Wayne Wilcox: 'Lake Watercolor Morning', 2004 Oil Painting, Landscape.
Landscape - Painting
14 x 18 inches (35.6 x 45.7 cm)
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Bessie Papazafiriou: 'Winter in Metsovo', 2000 Oil Painting, Landscape.      Winter in Metsovo depicts a wonderful place I discovered in Metsovo, Greece.  I love the way the vegetation pokes its way through the snow to add contrast to the painting.Comments:  Framed...
Landscape - Painting
15 x 13 inches (38.1 x 33.0 cm)
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Storm Hammond: 'Classic Monarchs', 2019 Oil Painting, Visionary.
Visionary - Painting
12 x 16 inches (30.5 x 40.6 cm)
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Storm Hammond: 'Transitions', 2018 Oil Painting, Landscape.
Landscape - Painting
16 x 12 inches (40.6 x 30.5 cm)
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Storm Hammond: 'Doria Monastery', 2018 Oil Painting, Figurative.
Figurative - Painting
12 x 16 inches (30.5 x 40.6 cm)
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Storm Hammond: 'Rubens Garden', 1998 Oil Painting, Landscape.
Landscape - Painting
12 x 16 inches (30.5 x 40.6 cm)
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Shoshannah Brombacher: 'A golden Jerusalem', 1996 Oil Painting, Judaic. Rabbi Akiva loved his wife Rachel so much that he promised her a Golden Jerusalem ( a piece of jewelry) . He was extremely poor at that time, and she, though coming from a rich family, followed him in his poverty and gave up everything so that he could study Torah. Later ...
Judaic - Painting
16 x 20 inches (40.6 x 50.8 cm)
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Mark Schwing: 'dream house', 2021 Acrylic Painting, Surrealism. A special place to call home.This abstraction with color create a peaceful harmony. ...
Surrealism - Painting
24 x 19 inches (61.0 x 48.3 cm)
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Reiner Makarowski: 'h44', 2021 Oil Painting, Abstract. Expressive abstrakt...
, 2021
Abstract - Painting
50 x 70 cm (19.7 x 27.6 inches)
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Mark Schwing: 'a few tickets left', 2021 Acrylic Painting, Abstract Landscape. acrylic on paper, abstract surrealismRides at an old amusement park. ...
Abstract Landscape - Painting
19 x 24 inches (48.3 x 61.0 cm)
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Mark Schwing: 'green fabrication', 2020 Acrylic Painting, Surrealism. The unexpected change in the course of events.acrylic on paper...
Surrealism - Painting
24 x 19 inches (61.0 x 48.3 cm)
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Vojkan Morar: 'angel of angels', 2021 Oil Painting, Fantasy. oil on canvas painting...
Fantasy - Painting
30 x 40 cm (11.8 x 15.7 inches)
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George Grant: 'still life with fruits', 2021 Oil Painting, Still Life. Classic painting style, classic still life, still life oil, classic oil painting, ...
Still Life - Painting
25 x 35 cm (9.8 x 13.8 inches)
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George Grant: 'Don Quixote', 2021 Oil Painting, Abstract. Intuitive sensation of the Cervantes book Don Quixote, abstract painting, abstract oil painting, ...
Abstract - Painting
25 x 35 cm (9.8 x 13.8 inches)
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Randy Sprout: 'salton sea trees', 2019 Painting, Landscape. 11X14 Oil on Canvas...
Landscape - Painting
14 x 11 inches (35.6 x 27.9 cm)
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John Tierney: 'tselote', 2020 Oil Painting, Abstract Landscape. Early light, not quite awake, dreamhaze...
, 2020
Abstract Landscape - Painting
45 x 65 inches (114.3 x 165.1 cm)
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John Tierney: 'blue hills', 2020 Oil Painting, Abstract Landscape. Always on the horizon...
, 2020
Abstract Landscape - Painting
60 x 40 cm (23.6 x 15.7 inches)
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Alexandr Ivanov: 'long hard way', 2020 Oil Painting, Fantasy. complex multilayer oil painting on canvas80 aEUR
Fantasy - Painting
60 x 62 cm (23.6 x 24.4 inches)
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Pavel Tyryshkin: 'still life with guitar', 2020 Oil Painting, Still Life. bouquet, guitar, oil painting on canvas...
Still Life - Painting
40 x 60 cm (15.7 x 23.6 inches)
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Jay Braden: 'bats at congress ave bridge', 2010 Other Painting, Cityscape. Depiction of the Mexican Free- tailed bats emerging from under the Congress Avenue Bridge at twilight, Austin Texas...
Cityscape - Painting
13 x 10 inches (33.0 x 25.4 cm)
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(Page 4 of 43) - MORE ARTWORKS
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  • Artists Describing Their Art:

    Judith Fritchman - I cannot remember a time when I did not want to draw or paint. From my earliest childhood days I have found great joy in depicting my surroundings. Compelling images call out to be examined and expressed: a lone oak tree starkly outlined against a curve of corn stubble, a Cezanne-like arrangement of objects on a table as I walk through a room. But of all God's infinitely varied creations, it is the human face and form which most fascinates and humbles me; the possibility of capturing a fleeting aspect of humanity unique to that individual is an endlessly exciting pursuit. After studying at Beaver College, Cedar Crest College, and Lehigh University, I have also studied classical drawing and design for many years with Myron Barnstone at his studios in Coplay, Pennsylvania. There I have learned to examine the work of great artists of the past as instruction and inspiration. Knowing they have pursued similar interests is a gratifying experience, offering the potential for learning something new, and using it to express my own personal images, values, and emotions. It is my hope that each of my works will reflect, in some small way, a facet of the ...

    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....

    Lorrie Williamson - Lou Posner - FLASH New offer on the classic 1982 Posners Pocket Guide to Oil Painting. Hand-written, then reproduced by offset process. Hand-assembled. Original, unique art attached to EVERY cover. No two alike. Some in oil paint, some in other media. Collectors item. Best pocket guide to oil painting, ever. For beginners as well as advanced artists. 399 dollars each plus first class postage. Indiana residents add 7 percent sales tax to merchandise not including postage and shipping. Selection of cover art offered, but not guaranteed. Use email messaging here to contact the artist. No postage if you pick it up about 10 mi. north of Tell City, Indiana. Not set up for credit card sales. Check or cash only. Buy one or more, OR later on, kick yourself in the behind for passing up a real bargain and an investment opportunity. After you reach the main or first Posner portfolio page, the tour is pretty intuitive. Please click on an image to enlarge it and bring up further details about the piece of art and a description or story about it. Once you have done this, you may also click on zoom-in, a function, which may or may not...

    Luise Andersen - Luise'Mignon' Andersen Luise'Mignon' Andersen has only recently begun to reveal her lifes work. Soon after her debut she exploded onto the mainstream art world. Her breathtaking pieces have captured international interest. The stories Luise'Mignon' is telling through her truly deep, layered works seem to decipher the past and foretell the future, perhaps sharing her window to other dimensions and a seventh sense. Her detailed acrylic'Mignon' series speaks to the beholder. They inspire raw emotion and ignite ones imagination. The indescribable nature of the "Duree De Ma Vie" in particular has a growing portion of the art community considering it the conception of an entirely new style. By Maxi c)2006 Guided Through Inner Mind- Intuition- Mental Imagery- I Create The Final Of What I Am Consciously Not Aware Of.. That I Want...... Need... With Each Completed Painting... Eye Of Core Gains a Glimpse Of My Tomorrow.... c) LA I crave.. painting...drawing... sculpting... writing... Like re-inventing my life... my purpose... myself.. .Gives me a direction.. the courage to look at myself ..and find'ME' there... At least for the duration of creating.. ....and once I collect these shards of my core within colors, shapes... form...

    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 ...

    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. ...

    Wayne Wilcox - ArtistaEURtms statements have always seemed redundant to me. The work generally speaks for itself. But here goes.. For me itaEURtms about shapes, color and lines interacting and relating to each other. Representational, abstract, non-objective theyaEURtmre all the same. Light against dark, color against color, line intersecting line. IaEUR~m as comfortable with super realism as I am with abstract expressionism. Then, of course, thereaEURtms the medium. I love the paint. I love the act of painting. I love how it flows and how it takes on a direction on itaEURtms own. ItaEURtms like magic. With one stroke something appears before your eyes that wasnaEURtmt there before. An image. An emotion. With each stroke or drip it changes. ItaEURtms an amazing experience. I highly recommend it. And then thereaEURtms image. I am a visual artist. IaEUR~m after strong images, images that evoke a feeling. Starkness, warmth, love, violence, emptiness, beauty, strength. I want the painting or drawing to stand on itaEURtms own. I am a painter. I cannot escape that fact. There have been times IaEUR~ve tried but I always return. ItaEURtms not what I do. ItaEURtm...

    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....

    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, ...

    Shoshannah Brombacher - Art makes the world within the artist visible. Classical music, poetry, Jewish and Chassidic stories, traveling, the love for people and memories of eras gone but not forgotten, cities where I lived and worked, like Amsterdam, Berlin, Jerusalem, New York, or visitedm, lie Prague and Sicily, are the main ingredients of my art. My art is like the water of the canals of my native Amsterdam, Rembrandts city, the deeper you look into it, the more you see. A reflection of a reflection of a reflection...look, what you see is not what you see. My art contains texts and letters, lets writing come alive, and reflects my deep connection with the Dutch 17th century Masters, German expressionism, Russian art and medieval miniatures. My art is also a tribute to music and the world of the great Chassidic masters of Eastern Europe. The Kotzker Rebbe listened to a Chassidic storyteller in the street and stated He told what he wanted and I heard what I needed. That is Art. ...

    Mark Schwing - Ideally the artist is employed by society at large. The artist helps define culture and culture makes us who we are in whatever time and place we are at. Of course most of us are not living in caves anymore but even then art helped society function; helped the hunter hunt, showed people what to do. Art is still showing people what to do in a way. Whether it is raising awareness by showing what is going on, teaching by example or simply exploring ideas that give people ideas. My art is about ideas as much as anything else but it is a surrealistic and intuitive approach. So what is presented isn't a literal interpretation, it is more like exploring the idea with art. It is really another reality. It mirrors our reality and/or it is influenced by our reality. I can't help but be affected by what is going on around me and I am interested in the transcendental as well. Please visit my website, www.markschwing1.com, for more images....

    Reiner Makarowski - I don't like the usage of " uploading the importance and the meaning of artworks by words". I don't like it at all ... and I'm committed not to take place in this marketing game. The main influences of my work seem to be the so called classic modernism represented for example by works of Kandinsky, Klee, Braques a.o. Other influences come from many contemporary painters , for example guys who prefer the so called "lyrical expressionism". And of course I'm on the road to find and establish "my style". ...

    George Grant - In my works I try to mold invisible ideas into visible forms. Merging of the invisible and visible in surreal themes and objects, or in coded geometrical shapes in my art is the way I establish the purpose of breaking through the conventional statuses of material life, into the dream world of human subconscious, where the infinite universes are hiding. So the objects and beings in my works are often appearing as symbols pointing to that which can hardly be talked about in words, allowing the viewer to get the hunch on deeper non-verbal level. Apart of surrealism, abstraction and abstract expressionism, my second fav is a realistic classic painting, where I endeavor to follow the principles and techniques of Renaissance artists. ...

    Randy Sprout - I grew up in a small town in Northern Iowa, played football, coached the swimming team, and graduated from the University of Iowa with a BA in printmaking studying under Mauricio Lasansky. I then went into the Army and ended up pulling 13 months in Korea on the DMZ. Coming out of Korea I entered UCLA and earned a MA and MFA in printmaking while studying under Jan Stussy and Stanton Mac-Donald Wright. The next year after the funds dried up on my Fulbright Award to Portugal, because of the Angola War, I was lucky to get hired by USC where I taught printmaking as a junior faculty member. I also replaced professors at UCLA when they went on sabaticals, and taught one year at Pierce College. In 1977 I tried Real Estate, you know just for the summer, but by fall I had purchased Century 21 Hollywood Inc. and had a new vocation going. Now 31 years into real estate, I'm coming full circle and starting to paint little quick studies 9X12. I'm using just 1/2 inch brushes and 5 colors. I intentionally limit my time to 2 hours after which I stop and throw ...

    John Tierney - The paintings I make are charts of wanderings; what I mean by that is: you can wander around a painting and have, at least sometimes, a feeling of recognition of the place where you are. But the place can shift into a new location, you lose your bearings and then find yourself by intuition. You don't know how you got there, but you know where you are. There are well-beaten tracks and waymarkings that appear familiar. When I set off on a new canvas, white, pristine, in the morning, I often think why should I want to mess this up? It's like an empty mirror, but when the first few marks are made, it changes. It has direction, it begins to beckon you. Making the decision to start is the important thing, it doesn't seem to matter what you do. Disparate things can be united, related somehow. Dialogue begins. You're conscious of what is going on in one direction, but a lot is happening along the wayside. Contrasts are important: for example, organic versus geometric. Organic forms arise from memory. There is the energy of the life form against the rectangle of geometric space. Color...

    Alexandr Ivanov - OVERCOMING OF LONELINESS Painting as well as any present{true} art is improbably sensitive to an essence of time, its{his} secrets, fears, hopes aEUR| the Rhythm of an epoch, its{his} power, always D1/2DuD3/4ND3/4D*D1/2DdegD1/2D1/2D3/4 are reflected in music, the literary statement, is freakish and D?D3/4N,DdegN'D1/2D1/2D3/4 leave traces on a canvas of the artist. Time silently addresses to the master inquiry. The end of a century of the past - the beginning present ascertained weariness of a postmodernism in which EVERYTHING has been admissible, and any Text became the World in which settled ND,D1/4NfD>>NDoNEURN<, allocated D,D1/2N,,DuNEURD1/2DdegD>>NOED1/2N>NOED1/2D3/4NN,NOE emphasized D,NN++DuNEURD?DdegD1/2D1/2D3/4NN,NOE searches of the modern language, new dialogue with itself and with eternity - all was, was, was. The existential loneliness of the person who has lost in time aEUR| became obvious Alexander Ivanov - very modern and duly artist. Its{his} painting is interesting to me for a long time. That not noticing, it{he} as it seems to me, has passed{has taken place} a complex{difficult} way of influences of a postmodern on its{his} handwriting. I ...