Early 2000s Still-life Paintings

Fiori Gialli MAYA KOPITZEVA (Gagra, Georgia, 1924 - 2005) Maya kopitzeva’s works have been acquired by the Russian Ministry of Culture, by the Foundation for the Russian Culture...

Miguel Padura El Abismo, 2009 Oil on canvas 40 x 58 in Miguel Padura was born in Havana in 1957. “I was four years old when my family moved to Rodas, in the province of Las Villas. ...

This oil on canvas painting features a view of the Clonmacnoise monastery in County Offaly, Ireland. Clonmacnoise means "Meadow of the Sons of Nós." The cool, tinted hues of green, b...

Flowers - Gianluca d'Este Italia 2000 - Oil on canvas cm. 76x64 This is his reinterpretation of a greatest old master painting "Floral Still Life"by Jacob van Walscapelle, Dutch pai...

Still Life of Two Pears in Acrylic on Archival Paper Vibrant still life by California artist Christine Cohen (American, b. 1943). This piece is a close-up still life of two pears, a...

Contemporary colorful realistic pastel food still life drawing of pastries. The work features detailed drawings of eclairs, each with a chocolate drizzle, whipped cream, and cherries...

Flowers - Giovanni Bonetti Italia 2008 - Oil on canvas cm. 60x80 Undisputed artist of still life, Giovanni Bonetti reveals his originality and shrewd mastery in this precious Flower...

Tomatoes by Mark Midgley. Original Oil on Canvas. The Cape Town artist, Mark Midgley, is originally from Leeds in the UK. He moved to South Africa in 1979, where he started a silk...

Randy Browning’s paintings sparkle with the breath of life. His delightful contemporary paintings offer his viewers a unique way of regarding contemporary still life, combined with old-world attention to detail. Browning feels that to truly observe an object, one must be absorbed by it. The large scale of the paintings helps people focus on the incredible variety and subtlety of apparently common objects. In this painting, a retro blue teapot sits behind a red coffee mug that gives high contrast. The pair sits on a yellow and white striped background creating pop art and giving a unique modern twist. Randy Browning’s paintings sparkle with the breath of life. His delightful fruit and vegetable paintings...

Balcony. 2006, oil on cardboard, 80x80 cm

Vibrant abstract red flowers with splashes of green & yellow on box canvas by Contemporary British Artist, Angela Wakefield Art measures 20 x 8 inches Signed, Unique Original, Unfra...

Anita Roy Chowdhury - Untitled (Flower Pot) Oil on Canvas 12 x 15 inches, 2007 (Unframed & Delivered) Style : Her works manifest human figures, nude or draped in different poses and...

This small painting in acrylics on board shows a very stylized palm tree in hues of red and brown on a background of mostly stark white. The artist has emphasized the details of the ...

Work on canvas This work of art stands out for its simplicity and visual power, which immediately captures the eye of the observer. The composition is carefully arranged, highlight...

"Rose Bouquet (Tenor) (2002)" by Aaron Fink (American, b. 1955) Signed, titled, and dated verso. Born in Boston, Fink received his BFA from the Maryland Institute College of Art and his MFA from the Yale University School of Art. His work has been exhibited widely throughout the U.S., Europe, Japan and Australia. He has been the subject of solo exhibitions at the Massachusetts Institute of Technology, the Muskegon Museum of Art, Michigan, the Rockford Art Museum, Illinois, and Colorado State University, Fort Collins. In 2002 a monograph on Fink’s work, Out of the Ordinary, was published, with text by Eleanor Heartney. In 1983 Fink met the collector John Powers, who remained a strong supporter of his work until his death in 1999. Fink’s work is represented in the collections of the Art Institute of Chicago, the Hara Museum, Tokyo, the Metropolitan Museum of Art, New York, the Museum of Modern Art, New York and the National Gallery of Art, Washington, DC, among many others. Fink currently divides his time between Boston and Rockport, Massachusetts. Selected Group Exhibitions Contemporary Responses to Modernism: A New England Perspective, University of Southern Maine, Gorham, 2019, with Martha Armstrong, Ben Aronson, Gideon Bok, Sascha Braunig, Bernard Chaet, Susanna Coffey, Aaron Fink, Jon Imber, Dinorá Justice, David Kapp, György Kepes, Kayla Mohammadi, Jim Ritchie, Ann Weber Color and Line: Expressive Tradition in Boston, Endicott College, Beverly, MA, 2017 Boston’s unique approach to Expressionism by uniting works from the late 1930s to the present day through an examination of subject, process, and materials. Influenced by the teachings of German Expressionist Karl Zerbe, and the early work of Hyman Bloom and Jack Levine. Summertime 16: The Big Annual Group Show, Galerie Christoffer Egelund, Copenhagen, Denmark, 2016 Beautiful Decay, Danforth Art Museum, Framingham, MA, 2016 MICA Then and Now, Ethan Cohen Gallery, Beacon, New York, 2013 Stuart Abarbanel, Donald Baechler, Brock Enright, Aaron Fink, Frank Hyder, Peter Greaves, Morris Louis, Herman Maril The Expressive Voice, Danforth Museum, Framingham, MA, 2012 Bon Appetit, Concord Art Association (curated by Meredyth Hyatt Moses), 2010 Celebrating Ten Years, Galerie D’Avignon, Montreal, Canada, 2008 New England Impressions II: Exploring the Woodcut, Concord Art, Concord, MA, 2008 with artists: Doug Andersen, Leonard Baskin, Aaron Fink, Don Govett, Peik Larsen, Michael Mazur, Barry Moser, Brian Shure, Heidi Siebel, Annie Silverman, Andrew Stevovitch, James Stroud. Right to Print: Segura Publishing Company, Scottsdale Museum of Contemporary Art, Go Figure: The Figure in Contemporary Art – A Response to Art History, McIninch Art Gallery, Southern New Hampshire University, 2007 Fourteen Artists/Fourteen Years: Mahaffey Fine Art, Portland Art Museum, Portland, OR, 2006-2007 More Than One: Prints and Portfolios from the Center Street Studio, Boston Painting in Boston: 1950-2000, DeCordova Museum and Sculpture Park, Lincoln, MA, 2002 A Tribute to John Powers, Hatton Gallery, Colorado State University, Fort Collins, CO, 2000 A Salute to Boston, Wiggin Gallery, Boston Public Library, Boston, MA, 1998 Be Still Dear Art, New England School of Art and Design, Boston, MA, 1998 Attributes of the Artist, The Art Complex Museum, Duxbury, MA, 1997 Working Sources: The Painter and the Photographic Image, Alpha Gallery, Boston, MA, 1997 The Unique Print: Six Innovative Approaches to the Monotype, Starr Gallery, Newton, MA, 1997 Face and Figure, Museum of Fine Arts, Boston, MA, 1996 Grand Illusions: Four Centuries of Still Life Painting, Museum of Fine Arts, Boston, MA, 1994 The Label Show, Museum of Fine Arts, Boston, MA, 1994 Selections from Atelier Mourlot, Hankyu Department Store, Tokyo, Japan, 1993 Yale Collects Yale, Yale University Art Gallery, New Haven, CT, 1993 Includes works by Thomas Bang, Jennifer Bartlett, Jonathan Borofsky, Chuck Close, Steve Currie, Rackstraw Downes, Aaron Fink, Audrey Flack, Nancy Graves, Eva Hesse, Brice Marden, Claes Oldenburg, and more. Fast Forward: Six Years of Collecting for a New Museum, Samuel P. Harn Museum of Art, Gainesville, FL, 1993 A Decade of Print Publishing, Neuberger Museum of Art, Purchase, NY, 1993 The Art Collection of the Federal Reserve Board: Five Years of Accessions, Board of Governors Building, Washington, DC, 1992 The Object: Found, Observed, Imagined, Fitchburg Art Museum, Fitchburg, MA, 1991 The Unique Print, Museum of Fine Arts, Boston, MA, 1990 8 Artists/8 Visions, DeCordova Museum, Lincoln, MA, 1990 The 1980s: Prints from the Collection of Joshua P. Smith, National Gallery of Art, Washington, DC, 1989-1990 The Age of Pluralism, Centro di Cultura Ausoni, Rome, Italy, 1989 Award Candidates Show, American Academy and Institute of Arts and Letters, New York, NY, 1987 70’s into 80’s: Printmaking Now, Museum of Fine Arts, Boston, MA Skowhegan Alumni, Leo Castelli Gallery, New York, and Portland Museum of Art, Portland, Maine, 1986 Public and Private: American Prints Today, Brooklyn Museum, Brooklyn, NY, 1986 Highlights: Selections from the Bank of America Headquarters, San Francisco, CA, 1984 Local Visions IV: Portraits, Hayden Gallery, MIT, Cambridge, 1984 Contemporary Miami Collectors, Metropolitan Museum, Coral Gables, FL, 1984 The Modern Art of the Print: Selections from the Lois and Michael Torf Collection, Museum of Fine Arts, Boston, and Williams College Museum of Art, 1984 Painting and Sculpture Today, Indianapolis Museum of Art, 1984 The New Portrait, Institute of Art and Urban Resources, Project Studio One, Long Island City, New York, 1984 The American Artist as Printmaker, Brooklyn Museum, Brooklyn, NY, 1983-84 Boston Now: Part II, Institute of Contemporary Art, Boston, MA, 1983 Jon Abbot, Aaron Fink, Tom Lieber, Chris Wool, Delahunty Gallery, New York, NY, 1983 The Figure Beside Itself: Contemporary Figurative Prints, University of Massachusetts, Amherst, MA, 1982 Art of the State, Rose Art Museum, Brandeis University, Waltham, MA, 1982 Boston Now: Figuration, Institute of Contemporary Art, Boston, MA, 1982 A Private Vision: Contemporary Art from the Graham Gund Collection, Museum of Fine Arts, Boston, MA, 1982 Boston Printmakers 32nd National Exhibition, DeCordova Museum, Lincoln, MA, 1979-1980 Works on Paper from the Yale School of Art, Victorian College of the Arts Gallery, Melbourne, Australia, 1978 S E L E C T E D C O L L E C T I O N S Art Institute of Chicago Bank of America Boston Public Library Bouwfonds Nederlandse Gemeenten, The Netherlands Brooklyn Museum of Art Castelli Collection, New York Chase Manhattan Bank Chemical Bank Children's Hospital, Chicago Choate Rosemary Hall...

Still life - Massimo Reggiani Italia 2007 - Oil on canvas cm.40x60 Still life, a pictorial representation of foodstuffs, objects or inanimate objects, was one of the artistic genres...

In crafting this piece, I channeled my reverence for nature’s elegance into each stroke. The interplay of impressionism and realism breathes life into the oil medium, capturing the delicate essence of the bloom. It's a spirited dance of texture and light, meant to evoke a sense of tranquility and contemplation in any space it inhabits. Through these blossoms, I share with you a moment of serene beauty, forever preserved in vibrant hues and dynamic contrasts. A flower with a beautiful structure, delicate color and plastic forms. The very perfection of nature. This creation can be admired endlessly. Original oil painting by the artist Simon...

This bright and extraordinary painting has an immediate appeal with a thrilling a dance of organic forms and geometric shapes that are elegantly dispersed on the top part of the pain...

Still life - Paolo De Robertis Italia 2002 - Oil on canvas cm.50x70 The painting is inspired by the work of Abraham Van Beyeren, a Dutch painter of the Baroque era and one of the greatest still life painters.The composition of this painting can be characterised as a simpler version of a type of banquet or Pronkstilleven that flourished in Antwerp in the 1740s. In this 'pronkstilleven' (Dutch for 'sumptuous still life') De Robertis depicts a wide variety of luxurious objects, such as the silver bowl and tray...

This still-life painting, oil on canvas, has a dark palette of burgundies, browns, and grays. The artist has assembled some shallots, garlic, and onion. The painting also shows a pan, a knife, and a bottle. The artist has signed the painting in the front and in the back; the painting is sold in a dark wood frame. Bob Blackmon...

ROBINSON, Geoffrey (b.1945) A May Wedding 40.6 x 30.3 cm c.2000 Oil on board, Unframed Geoffrey Robinson trained at Bournemouth College of Art in the 1960’s, before a career in ad...

Gabryela Wasowicz is a Polish painter born in 1947. She studied at the Academy of Fine Arts of Warsaw and then at the Gerrit Rietveld Akademie in Amsterdam. Once she graduated in 197...

trumpets and carnations original impressionist acrylic painting. SOLÁ paints in a natural way, which reflects the Old Masters, soaking up the colour, air, smell and the pure scent o...

Armand Tatossian, Canadian, 1948-2012 First snow Oil on canvas 20 x 24 in Signed on the lower right: A. Tatossian Signed and titled on the reverse PROVENAN...

Still life - Oil on canvas painting cm.25x35, Francesca Strino, Italy., 2005 Beautilful and realistic still life, authenticated and dated on the back by the artist..

Rose Trio by Lu Haskew Oil 6x12" image size Still Life Painting of red roses next to a silver vase This painting is unframed, canvas on gator board, the price reflects that it is un...

"Promenade" Landscape in Oil on Masonite Spring landscape by Richard M. Bacon (American, 20th Century). A woman with a parasol is walking her dog on the other side of a hedge with b...

Still Life of an Orange in Acrylic on Archival Paper Vibrant still life by California artist Christine Cohen (American, b. 1943). This piece is a close-up, single subject still life...

"Les Raisins" is an 18.25x22 original oil painting by renowned artist Alain Pontecorvo. Featured is a still life of a black bowl of a bunch of red grapes on a table with green grape...

ZBIGNIEW WOZNIAK (b. 1952) Studied at the Academy of Fine Arts in Wroclaw, at the Department of Glass and Ceramics. He is involved in painting, graphics and artistic glass design. He...

Impressive contemporary still life oil painting by Stephen Heigh. Oil on canvas. Signed.

STILL LIFE - Oil on canvas cn. 60x60 Francesca Strino Italy, 2005 Francesca Strino, a Neapolitan painter, creates this delightful oil on canvas with great pictorial realism. The pai...

Provenance: Babcock Galleries (bears their label verso. signed verso with artists monogram signature. Marylyn Dintenfass (born 1943) is an American painter, printmaker, and sculptor. She is primarily known for her oil paintings, which use a dynamic color palette and lexicon of gestural imagery to explore dualities in the human experience and everyday sensual pleasures. Marylyn Dintenfass was born in 1943 in Brooklyn, New York and spent most of her early years in Brooklyn and then Long Island. She attended Queens College, and graduated in 1965 with a bachelor's degree in Fine Arts. During this time, the artist worked with Abstract Expressionist painter John Ferren and muralist Barse Miller. Marilyn Dintenfass explored new media and developed her own reaction to abstract expressionism with color, line, and gesture. Dintenfass acquired an appreciation for a broad range of materials that led to major sculpture installations composed of ceramic materials, steel, lead, wood, wax and a variety of pigments and epoxies. Following a tour of museums in Amsterdam, Paris and Rome, the artist made her way to Jerusalem in 1966. During this journey, the artist worked with painter Ruth Bamberger, studied etching and mingled with the artists and intellectuals of the city. The result was Dintenfass's first architectural commission, to design the “Pop Op Disco,” Jerusalem's first disco. This commission allowed her to work with an array of materials to employ shapes, surfaces, textures, colors, and lights, all of which coalesced in her consciousness that would become important components of her mature personal visual vocabulary. Dintenfass also married and started her family during these years. Art critic Meredith Mendelsohn writes, “Dintenfass uses luscious colors, repetitive forms, and a gestural intensity that combines Abstract Expressionism and Pop Art.” Dintenfass often works with oil paint on wooden panels fragmented into parts of a grid. "After completing a painting," writes curator and critic Lilly Wei in a study of Dintenfass' work, "Dintenfass literally takes it apart, treating each panel as a discrete entity, exchanging panels between works in an aesthetic mix and match as she searches for interactions and relationships of color and form that satisfy her sense of visual excitement, sparked by the frisson of the dissonant." In an interview with critic Irving Sandler, Dintenfass speaks of the grid as a necessary, formal restraint for the passion of the gestural marks it contains. Joyce Robinson illuminates; “Dintenfass is at heart, though, a painter, and the grid, with its reference to and notion of modular parts, has remained central to her artistic enterprise, functioning as a kind of Apollonian matrix holding in check the exuberant, vividly colored abstractions of this essentially Dionysian artist.” Lilly Wei adds, "Ultimately, however, Dintenfass is more sensualist than theorist, and her paintings owe much of their allure to their materiality and the dazzle of color. Her array of ripe, radiant, saturated hues—a palette of gorgeous diversity—can be silkily smooth and nuanced; boldly exuberant; or edgily, feverishly discordant." The artist's abstract imagery usually appears in her work as various forms of stripes or circles arranged across translucent layers of alternating matte and high gloss textures. In a conversation with gallery owner, John Driscoll, Dintenfass likens these symbols to language that predates the written word, saying her "work relates to communication through the visceral channel." Rooted in autobiography, the artist's paintings also examine the contrast between what she calls the “micro” and the “macro.” At times the shapes simultaneously resemble cells under a microscope and visions of the cosmos. Dintenfass' themes explore the dualities of everyday pleasures; depending on the focus of a series, her symbols might conjure characters, candies, car wheels, or paint itself. Although known for her paintings, Dintenfass was first recognized for her sculptural installations. Her innovative use of mixed media (ceramics, epoxies, wax, pigments, steel, lead, wood, etc.) transformed understanding of what a “ceramic” work of art could be and firmly fixed her position and influence among a generation of mixed media artists expanding the traditional definitions and boundaries of object and materials to create modern art. The results came as architectural reliefs and installation sculpture unique to her organic but structural personal style. Similar to her paintings, Dintenfass developed a modular language of symbols, amalgams of line and curve, which she would combine to create detailed pictographic languages all her own, what she has called “organic alphabets.” As Ted Castle relates, “Ideas are furtive elements, stolen from the matrix, so as to be reformed by human genius into something unforeseen—a poem, a painting, a game of dominoes, a television set, a brick, a tile, a cup. Marylyn Dintenfass is a master of the transformation of ideas into palpable form.” Dintenfass has also been commissioned to create many large-scale installations, including works for the State of Connecticut Superior Courthouse; the Port Authority of NY 42nd Street Bus Terminal; IBM in Atlanta, Charlotte, and San Jose; The Baltimore Federal...

"Winter Folly" - Original 2003 Oil on Masonite 2003 oil on masonite still life painting titled "Winter Folly" by American artist Richard M. Bacon (American, 20th Century). Colorful...

Flowers - Oil on canvas cm.100x80, Lorenzo Renzi, Italy, 2003 The painting recalls the works of the Neapolitan painter Gasparo Lopez dei Fiori in its pic...

Still Life with Daises and Wisteria in Acrylic on Masonite Still life by a window by Richard M. Bacon (American, 20th Century). A still life with a bouquet, a glass of wine, and a b...

Peonies, Pink ,white ,Russia ,Flowers Published in a monographic catalogue Georgij MOROZ (Dneprodzerzinsk, Ucraina, 1937 - St. Petersburg, 2015) 1937: he was born in Dneprodzerzin...

Denied Warhol Green Electric Chair Painting by Charles Lutz Silkscreen and acrylic on linen with the Denied stamp of the Andy Warhol Art Authentication Board. 22 x 28" inches 2008 L...

STILL LIFE - Oil on canvas painting by Massimo Reggiani, Italy 2006 The origins of still life can be found in Dutch painting. At the beginning of Dutch painting, artists included add...

Flowers - Giovanni Bonetti Italia 2007 - Oil on canvas cm. 50x80 Undisputed artist of still life, Giovanni Bonetti reveals his originality and shrewd mastery in this precious Flower ...

Desire is an original oil painting realized in 2005 by Zhang Wei Guang (Mirror). Includes frame: 40 x 3 x 53 cm Hand-signed and dated on the lower right corner. Good conditions ...

Witch 2009, oil on canvas, 130x130 cm Kristīne Luīze Avotiņa is a young and bright personality whose talent is appreciated not only in Latvia, but also in other parts of the world. Her deep inner experiences and feelings of the soul are not hidden from the eyes of the audience, but are openly and engagingly narrated: about relationships, man and woman, passion, emotions, about experience and connection with nature. Characters live in Kristine's compositional solutions, where figurative painting and ornament appear. When painting large-format works, she masters the entire format, composition and color of the work, as well as linear drawing. Kristīne herself emphasizes: "Relationships between nature and people - it has always been a relevant topic in my painting. The more I work on it, the more interesting it seems to me. It is infinite and unending. With paint I refresh the beauty of nature and love on the canvas and I want to show that nature and love are equal in their beauty. In my works, I always want to show that nature is beautiful and worthy of admiration - a newly blooming water lily, falling leaves from golden trees, a pink sunset sky... This could go on forever..." Education: 2009 – 2010 Studies in „Escola Massana”, Painting Department, Barcelona, Spain 2003 - 2009 Studies in Painting Department, Latvian Academy of Arts, Riga, Latvia 2003 – „Jaņa Rozentāla Riga Art College”, graduation work in photo design. 1999 - 2003 „Jaņa Rozentāla Riga Art College”, Riga, Latvia 1990 - 1999 „Riga French Lycee”, Riga, Latvia Solo exhibitions: 2010 – „1000 and 1 night” Barcelona painting...

ROBINSON, Geoffrey (b.1945) Untitled 2000 50.0 x 60.5 cm Collage on unstretched canvas, Unframed Geoffrey Robinson trained at Bournemouth College of Art in the 1960’s, before a car...

Still life - Salvatore Marinelli Italia 2007 - Oil on canvas cm. 50x100 Salvatore Marinelli's painting is a still life with black and white grapes, peaches, melon, a basket of pomegranates and figs. Objects and light are intensely studied and are painted with wonderful tenderness with variety of fruits. Marinelli is inspired by one of the many works by Adriaen Coorte...

ROBINSON, Geoffrey (b.1945) Green Table 2000 50.7 x 67.3 cm Collage on board, Unframed Geoffrey Robinson trained at Bournemouth College of Art in the 1960’s, before a career in adv...

Modernist tropical flower still life of Birds of Paradise (Strelitzia) painting in acrylic on canvas — “Five Birds” Striking modernist style still life of tropical Bird of Paradise...

ROBINSON, Geoffrey (b.1945) Summer Table 61.0 x 38.2 cm c.2000 Oil on board, Unframed Geoffrey Robinson trained at Bournemouth College of Art in the 1960’s, before a career in adv...

Multi-coloured apples fill an elegant crystal vase situated on a smooth surface. This vase is the heart of the composition and it captures the attention of the beholders with its met...

"Colors" by Malva is an impressionistic still life painting measuring 32x32 in. A Colorful vase od flowers including white daisies, orange and yellow pansies, and purple anemones s...

"The Shape of Trumpets" by Lu Haskew Oil 28x22" framed, 24x18" image size Signed lower right, a still life of tulips and daffodil with porcelain and lemons below ABOUT THE ARTIST: ...

Provenance: Babcock Galleries (bears their label verso.) signed verso with artists monogram signature. Marylyn Dintenfass (born 1943) is an American painter, printmaker, and sculptor. She is primarily known for her oil paintings, which use a dynamic color palette and lexicon of gestural imagery to explore dualities in the human experience and everyday sensual pleasures. Marylyn Dintenfass was born in 1943 in Brooklyn, New York and spent most of her early years in Brooklyn and then Long Island. She attended Queens College, and graduated in 1965 with a bachelor's degree in Fine Arts. During this time, the artist worked with Abstract Expressionist painter John Ferren and muralist Barse Miller. Marilyn Dintenfass explored new media and developed her own reaction to abstract expressionism with color, line, and gesture. Dintenfass acquired an appreciation for a broad range of materials that led to major sculpture installations composed of ceramic materials, steel, lead, wood, wax and a variety of pigments and epoxies. Following a tour of museums in Amsterdam, Paris and Rome, the artist made her way to Jerusalem in 1966. During this journey, the artist worked with painter Ruth Bamberger, studied etching and mingled with the artists and intellectuals of the city. The result was Dintenfass's first architectural commission, to design the “Pop Op Disco,” Jerusalem's first disco. This commission allowed her to work with an array of materials to employ shapes, surfaces, textures, colors, and lights, all of which coalesced in her consciousness that would become important components of her mature personal visual vocabulary. Dintenfass also married and started her family during these years. Art critic Meredith Mendelsohn writes, “Dintenfass uses luscious colors, repetitive forms, and a gestural intensity that combines Abstract Expressionism and Pop Art.” Dintenfass often works with oil paint on wooden panels fragmented into parts of a grid. "After completing a painting," writes curator and critic Lilly Wei in a study of Dintenfass' work, "Dintenfass literally takes it apart, treating each panel as a discrete entity, exchanging panels between works in an aesthetic mix and match as she searches for interactions and relationships of color and form that satisfy her sense of visual excitement, sparked by the frisson of the dissonant." In an interview with critic Irving Sandler, Dintenfass speaks of the grid as a necessary, formal restraint for the passion of the gestural marks it contains. Joyce Robinson illuminates; “Dintenfass is at heart, though, a painter, and the grid, with its reference to and notion of modular parts, has remained central to her artistic enterprise, functioning as a kind of Apollonian matrix holding in check the exuberant, vividly colored abstractions of this essentially Dionysian artist.” Lilly Wei adds, "Ultimately, however, Dintenfass is more sensualist than theorist, and her paintings owe much of their allure to their materiality and the dazzle of color. Her array of ripe, radiant, saturated hues—a palette of gorgeous diversity—can be silkily smooth and nuanced; boldly exuberant; or edgily, feverishly discordant." The artist's abstract imagery usually appears in her work as various forms of stripes or circles arranged across translucent layers of alternating matte and high gloss textures. In a conversation with gallery owner, John Driscoll, Dintenfass likens these symbols to language that predates the written word, saying her "work relates to communication through the visceral channel." Rooted in autobiography, the artist's paintings also examine the contrast between what she calls the “micro” and the “macro.” At times the shapes simultaneously resemble cells under a microscope and visions of the cosmos. Dintenfass' themes explore the dualities of everyday pleasures; depending on the focus of a series, her symbols might conjure characters, candies, car wheels, or paint itself. Although known for her paintings, Dintenfass was first recognized for her sculptural installations. Her innovative use of mixed media (ceramics, epoxies, wax, pigments, steel, lead, wood, etc.) transformed understanding of what a “ceramic” work of art could be and firmly fixed her position and influence among a generation of mixed media artists expanding the traditional definitions and boundaries of object and materials to create modern art. The results came as architectural reliefs and installation sculpture unique to her organic but structural personal style. Similar to her paintings, Dintenfass developed a modular language of symbols, amalgams of line and curve, which she would combine to create detailed pictographic languages all her own, what she has called “organic alphabets.” As Ted Castle relates, “Ideas are furtive elements, stolen from the matrix, so as to be reformed by human genius into something unforeseen—a poem, a painting, a game of dominoes, a television set, a brick, a tile, a cup. Marylyn Dintenfass is a master of the transformation of ideas into palpable form.” Dintenfass has also been commissioned to create many large-scale installations, including works for the State of Connecticut Superior Courthouse; the Port Authority of NY 42nd Street Bus Terminal; IBM in Atlanta, Charlotte, and San Jose; The Baltimore Federal...

Multicolored apples fill an elegant crystal vase collocated on a smooth surface. This vase is the heart of the composition and it captures with its opulence of details the attention ...

This oil on canvas painting is a lovely still-life. In the center of the painting is a light blue vase with a bouquet of magenta, ochre, and yellow flowers, all with dark leaves. The...

Elliot Gordon (American) , "The Blue Urn", Contemporary Acrylic on Linen, 36 x 24 Canvas, Early 21st Century, 2009 Colors: Red, Yellow, Orange, White, Blue, ...

Still life - Salvatore Marinelli Italia 2008 - Oil on canvas cm. 60x120 Salvatore marinelli's painting is a beautiful still life of black and white grapes, peaches, figs and ears, a huge jug and an overturned glass, all the composition on a wooden table. The canvas is of singular beauty, the background is dark. Marinelli is inspired by the compositions of Adriaen Coorte...

ROBINSON, Geoffrey (b.1945) Still Life with Pear 2000 28.0 x 38.0 cm Unstretched and Unframed canvas Geoffrey Robinson trained at Bournemouth Col...

STILL LIFE - Oil on canvas cm. 80x90 by Massimo Reggiani, Italy 2007 The origins of still life can be found in Dutch painting. At the beginning of Dutch painting, artists included additional elements in their religious compositions, depicting them in a realistic and meticulous way to the point that these paintings included small still lifes inserted spontaneously into their compositions. Reggiani composed this still life inspired by the Dutch school. In the painting we observe white grapes, beautiful white flowers collected in a glass vase, a book and an ancient globe...

Photographically accurate realism and conceptualism, peacefully coexisting on the canvases of Pavel Polanski. His canvases are gray with different depths of tone, almost monochrome a...