Deborah Grant Art

ITEM DETAILS The edges are painted Some parts of the picture glow under blue light The painting's surface has a craquelure effect ABOUT THE ARTWORK This painting is a delicate and...

The edges are painted The painting was part of an exhibition 'Ancestral call' in Switzerland The "Melancholy" series of paintings reveals the inner world of a person lost in his own emotions. When inner reflection takes precedence over life itself we strive to uncover our essence and understand who we truly are. This collection delves deep into reflections on self-discovery and one's nature. The paintings are imbued with sadness and quiet serenity, while the blue and purple color palette emphasizes the magical and unreal quality of the scenes depicted. The symbolism of horses in the paintings embodies inner forces that can be either wild and untamed or tamed and controlled. It reflects the struggle with inner conflict and ambiguity. The artist hopes that viewers will reflect on their feelings and inner contradictions while contemplating these paintings. Whether they fear sorrow or, on the contrary, seek constant joy without understanding the potential for growth hidden in melancholy. The purpose of this series is to encourage inner exploration and answer the question of whether melancholy is a problem or a path to emotional growth. The artist believes that the heart of melancholy may be a key to a deeper understanding of oneself and one's emotional landscape. ABOUT ARTIST Olha...

In the fish tank is al modern artwork realized in the 1970s-. Mixed colored oil and enamel on cardboard. Monogrammed CB on the lower margin

Keng’s gorgeously rich animal impressions are a synergy of decorative tableaux and depiction in paint on canvas of his memories and imagination. “Using acrylic as a medium, I tend t...

Brighten your living space with the vivid and joyful "Nice Friend 1" and "Nice Friend 2” – a delightful pair of two miniature paintings by contemporary artist Steffen Bue. Each measu...

Ambrosia, Owl #9 from "The Wise Guys" series is a poppy and fun painting on Fabriano paper depicting a Blue Owl. The painting is in a white box frame. Ambro...

In the latest addition to the 'The Joy Series: A Journey to Inner Happiness,' the artist encapsulates the essence of serenity and contentment in the painting titled 'Moments of Bliss...

"Nearly Camouflaged Cow III" is a framed acrylic painting on canvas by Joshua Brown, depicting a closeup of a cow with a prominently pink nose. This playful work features careful bru...

Archaic Hercules Skinning a Rabbit, 2019 Acrylic on canvas 53.14 H x 55.11 W in. 135 H x 140 W cm In classical mythology, Hercules is famous for his strength and his numerous far-ra...

This figurative dog portrait titled "Afghan Hound I (Hindu Kush Mountains)" is an original artwork by Emily White made of acrylic paint on wood panel. This ...

Santiago Fuente Bo pieces are exceptionally high in detail, but as well are playful and thought provoking. He is influenced with the ever-changing idea of what home means. His consta...

This is a framed original painting. Biography Creating paintings inspired by western movies and by Remington and Russell, he is a native of the West, having been born and raised in rural Colorado. He studied art at Baylor University in Waco, Texas; at the California Institute of the Arts in Valencia, and at the University of Colorado, Boulder where he earned a Master's Degree in 1979. For two decades he worked as curator at the Yellowstone Art Museum in Billings, Montana, before leaving in 1999 to begin work as a full-time painter and independent curator. His work is in the collections of the Buffalo Bill Historical Center in Cody, Wyoming; the Art Museum of Missoula; and the Yellowstone Art Museum; the Federal Reserve Bank in Helena, Montana; and the Deaconness Medical Center in Billings, Montana. Artist Statement For a long time, the images in my paintings have been identifiably, even iconically, western-stagecoaches and false-front main streets, poker games and gun battles, cowboys, Indians, cavalry troopers and horses, all suspended in a choreographed matrix of dancing paint. Distinct from the traditional western genre-which inventories the minutia of cowboy gear or tells sentimental stories of rangeland romance-my paintings embody something more elemental and timeless, animated and abstract. The images tend to be stark, graphic, and charged with painterly energy. Though they are derived from fugitive television images, the paintings, as paintings, are still, silent and non-ephemeral. They register the technological transfer of primal shadows onto the electroluminescent screens of our collective consciousness, a shimmering blur of perception and memory transposed in an interchange of gesture and description, painted marks simultaneously arresting and embodying movement. I've always liked what a painter friend, Marc Vischer, wrote in 1988 about an early group of my western paintings. Now, I'm fourteen years closer to actualizing my vision for this work, and his astute remarks seem more pertinent today than they did then. He wrote in part, "For McConnell, a searing light emanates from a new desert: that of television. And from that most desolate backdrop, he salvages fragments from a movie world that spoke of honor in a land that was lawless. In a romantic sense, McConnell's works are a visual seance. Figures, like specters distorted through intense heat waves, are captured from their eternity of 24 frames a second. Their shapes and shadows are brought back into a radically different world and given substance and texture. It is an impossible attempt to freeze them, to arrest the present's ceaseless molestation of the past, to close off the continuum. Sometimes this is done darkly and thickly as an emphatic gesture of permanence. In other works a few light strokes quickly applied suggest the ephemeral nature of film and perhaps the fleeting nature of our own lives." I have been examining new imagery in my paintings, drawing subjects from Mexican graphic novelas, modern women and men of romance and mystery from the mid-20th century, motorcycles and airplanes. The end titles of movies, stated in several languages, have inspired me to begin a new series of cross-media translations in both acrylic and watercolor. My paintings have long begun where the movies have left off. The elements of water and light co-mingle in some pieces from this series and in others which take the viewpoint of a swimmer, watching other swimmers from the wet side of this aqueous membrane, looking up toward the light. My arrival in Montana in 1982 brought me into intimate contact with some of the most storied places of the historic West and also gave me the opportunity to study the paintings of two of the most influential codifiers of western imagery, Frederic Remington and Charlie Russell...