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Something new from the studio

A Walk with Fate
Oil on Canvas Board
14 x 22 inches, 2026

Silent steps wander,
Canvas holds destiny's hand,
Colors trace the path.

#StudioWork #ContemporaryArt #ModernPainting #ArtExhibit #VisualPoetry #NewArt #WesSherman #HeresToNow #theJourney

www.WesSherman.net

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Exploring Color And Chance With Simon Findlay At NO MIDDLEMAN ART GALLERY

#abstractart #contemporaryart #processbasedart #performanceart #colorstudy #largescalepainting #gesturalart #visualexpression #immersiveart #artinstallation #experimentalart #berlinart #modernpainting

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Rene Magritte, "The Great Style," oil on canvas, 1951; The Menil Collection #magritte #renemagritte #surrealist #surrealism #art #modernart #earth #paintings #oilpainting #modernpainting #kunst #museum #artgallery

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Pattern in Easter colours with central egg shape with Wishing you the Goodness of God, the Grace of Jesus and the Hope of the Holy Spirit. Painted by the artist Julia Wilkinson.

Pattern in Easter colours with central egg shape with Wishing you the Goodness of God, the Grace of Jesus and the Hope of the Holy Spirit. Painted by the artist Julia Wilkinson.

#Easter #tulips copyright #juliawilkinson. #julia #art #artist #contemporaryart #contemporaryartist #Easter2026 #floral #artdaily #dailyart #fineart #fineartist #contemporaryfineart #fraud #modernart #painting #modernpainting #mixedmedia

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NO MIDDLEMAN ART GALLERY Highlights Kamila Sitak Dance Driven Figurative Abstraction

#abstractart #contemporaryart #figurativeart #danceinspired #acrylicpainting #modernpainting #womenartists #artandmovement #interiorart #artcollector #artreview #galleryfeature

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Exploring Color And Chance With Simon Findlay At NO MIDDLEMAN ART GALLERY

#abstractart #contemporaryart #processbasedart #performanceart #colorstudy #largescalepainting #gesturalart #visualexpression #immersiveart #artinstallation #experimentalart #berlinart #modernpainting

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Une petite peinture d'un artiste qui porte le même nom que moi.
Young and innocent(1937)
Acrylique sur papier,
29,7 x 20,8 cm
#modernpainting #painting #couple #danse
#dancing #dance #hitchcock #lovers
#acrylicpainting #movies#figurativepainting #figurativeart

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Something new from the studio:

Topography of the Unread
Oil on Canvas Board
11 x 14 inches, 2026

Layers of silence,
Words buried in shifting paint,
Stories lie concealed.

#ContemporaryArt #ModernPainting #ArtExhibit #VisualPoetry #NewArt #WesSherman #HeresToNow #theJourney

www.WesSherman.net

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Raoul Dufy, "La Marne," oil on canvas, c.1925; photo: Christie's. #dufy #raouldufy #art #arte #modernart #modernpainting #paintings #peintures #oilpainting #frenchartist #museum #artgallery

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Fernand Léger first saw the work of Georges Braque and Pablo Picasso at the Paris gallery of Daniel-Henry Kahnweiler. Around 1909 Léger began to paint in a Cubist style, although his compositions in this mode are more colorful and curvilinear than works by Braque and Picasso of the same period, with their angular forms and subdued tones. An artist with far-ranging interests and talents, Léger later became a designer for theater, opera, and ballet, as well as a book illustrator, filmmaker, muralist, ceramist, and teacher.
Typically, Léger would develop a major composition by preparing studies in a variety of media. The Railway Crossing is an oil study for The Level Crossing (1919; private collection, Basel, Switzerland). When he took up this subject in 1919, he made a number of drawings and oil sketches, including the present work. Like many of his contemporaries, Léger was fascinated by the machine age. He maintained that machines and industrial objects were as important to his art as figures. References to such elements pervade The Railway Crossing. In the midst of a complex scaffolding of cylinders and beams, an arrow appears on a brightly outlined signboard. A network of solid volumes and flat forms seems to circulate within the shallow space, just as pistons move within a motor. The precise definition of his forms and the brilliance of his palette express Léger’s belief that the machine, along with the age it created, was one of the triumphs of modern civilization.

Fernand Léger first saw the work of Georges Braque and Pablo Picasso at the Paris gallery of Daniel-Henry Kahnweiler. Around 1909 Léger began to paint in a Cubist style, although his compositions in this mode are more colorful and curvilinear than works by Braque and Picasso of the same period, with their angular forms and subdued tones. An artist with far-ranging interests and talents, Léger later became a designer for theater, opera, and ballet, as well as a book illustrator, filmmaker, muralist, ceramist, and teacher. Typically, Léger would develop a major composition by preparing studies in a variety of media. The Railway Crossing is an oil study for The Level Crossing (1919; private collection, Basel, Switzerland). When he took up this subject in 1919, he made a number of drawings and oil sketches, including the present work. Like many of his contemporaries, Léger was fascinated by the machine age. He maintained that machines and industrial objects were as important to his art as figures. References to such elements pervade The Railway Crossing. In the midst of a complex scaffolding of cylinders and beams, an arrow appears on a brightly outlined signboard. A network of solid volumes and flat forms seems to circulate within the shallow space, just as pistons move within a motor. The precise definition of his forms and the brilliance of his palette express Léger’s belief that the machine, along with the age it created, was one of the triumphs of modern civilization.

The Railway Crossing (Sketch)
oil on canvas
1919
Fernand Léger (1881-1955)
France

#fernandleger #art #modernart #therailwaycrossing #oilpainting #c1919 #france #frenchmodernism #modernpainting #20thcenturyart #modernism #cubism #tubism #cubistart #machineage #europe #europeanart

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Tamara de Lempicka , "L'Eclat," oil on panel, c.1932; photo: Sotheby's. #lempicka #delempicka #portrait #modernart #modernpainting #oilpainting #paintings #peintures #art #arte #femaleartist #womanartist #museum #artgallery

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Georgia O'Keeffe, "It Was Yellow and Pink III," oil on canvas, 1960; Art Institute of Chicago. #okeeffe #georgiaokeeffe #abstractart #abstractpainting #modernart #modernpainting #art #arte #paintings #oilpainting #museum #artgallery

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#wassilykandinsky #russia #france #cross #c1926 #oilpainting #art #modernart #constructivistart #abstract #geometric #modernpainting #frenchmodernism #constructivism

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Something new from the studio

After The Looking
Oil on Canvas Board
11 x 14 inches, 2026

After the Looking
the field stays in quiet bands,
time soft on the eyes.

#AfterTheLooking #Art2026 #StudioWork #ContemporaryArt #ModernPainting #VisualPoetry #NewArt #WesSherman #HeresToNow #theJourney

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Green Balloon Figure on Hot Pink

#ContemporaryArt
#PopArt
#BoldColors
#FluorescentPink
#NeonGreen
#AbstractFigure
#NudeArt
#ExaggeratedForm
#BodyPositive
#PlayfulArt
#ColorContrast
#ModernPainting
#AcrylicPainting
#WeirdArt
#FunkyArt
#SurrealBody

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No Middleman Art Gallery Features Frédéric Cadiou And His Serene Landscapes

#landscapepainting #contemporaryart #fineart #visualart #artgallery #modernpainting #artistsoninstagram #artlovers #galleryexhibition #artcollectors

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NO MIDDLEMAN ART GALLERY Highlights Kamila Sitak Dance Driven Figurative Abstraction

#abstractart #contemporaryart #figurativeart #danceinspired #acrylicpainting #modernpainting #womenartists #artandmovement #interiorart #artcollector #artreview #galleryfeature

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Denise Heywood, "Pink Parrot Tulips," contemporary watercolor, nd; photo: Lime Tree Gallery. #tulips #flowers #flowerpainting #realism #realisticpainting #modernart #contemporaryart #modernpainting #contemporarypainting #paintings #art #arte #museum #artgallery

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No Middleman Art Gallery Features Frédéric Cadiou And His Serene Landscapes

#landscapepainting #contemporaryart #fineart #visualart #artgallery #modernpainting #artistsoninstagram #artlovers #galleryexhibition #artcollectors

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"I'll See You There" and it's charcoal predecessor. This one actually didn't need a model. The image was just enough to get me started. There was no need to create my own lighting as the shadow was already perfect. #ContemporaryArt #BostonArtist #ModernPainting #StudioPractice #ArtCollectors

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Francis Campbell Boileau Cadell, "Santa Maria della Salute, Venice," oil on board, 1910; National Galleries Scotland. #venice #paintings #modernpainting #modernart #scenic #oilpainting #peintures #art #arte #museum #artgallery

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During the summer of 1923 Joan Miró began painting The Tilled Field, a view of his family’s farm in Montroig, Catalonia. Although thematically related to his earlier quasi-realistic, Fauvist-colored rural views, such as Prades, The Village, this painting is the first example of Miró’s Surrealist vision. Its fanciful juxtaposition of human, animal, and vegetal forms and its array of schematized creatures constitute a realm visible only to the mind’s eye, and reveal the great range of Miró’s imagination. While working on the painting he wrote, “I have managed to escape into the absolute of nature.” The Tilled Field is thus a poetic metaphor that expresses Miró’s idyllic conception of his homeland, where, he said, he could not “conceive of the wrongdoings of mankind.”
The complex iconography of The Tilled Field has myriad sources, and attests to Miró’s long-standing interest in his artistic heritage. The muted, contrasting tones of the painting recall the colors of Catalan Romanesque frescoes, while the overt flatness of the painting—space is suggested by three horizontal bands indicating sky, sea, and earth—and the decorative scattering of multicolored animals throughout were most likely inspired by medieval Spanish tapestries. These lively creatures are themselves derived from Catalan ceramics, which Miró collected and kept in his studio. The stylized figure with a plow has its source in the prehistoric cave paintings of Altamira, which Miró knew well. Even the enormous eye peering through the foliage of the pine tree, and the eye-covered pine cone beneath it, can be traced to examples of early Christian art, in which the wings of angels were bedecked with many tiny eyes. Miró found something alive and magical in all things: the gigantic ear affixed to the trunk of the tree, for example, reflects his belief that every object contains a living soul.

During the summer of 1923 Joan Miró began painting The Tilled Field, a view of his family’s farm in Montroig, Catalonia. Although thematically related to his earlier quasi-realistic, Fauvist-colored rural views, such as Prades, The Village, this painting is the first example of Miró’s Surrealist vision. Its fanciful juxtaposition of human, animal, and vegetal forms and its array of schematized creatures constitute a realm visible only to the mind’s eye, and reveal the great range of Miró’s imagination. While working on the painting he wrote, “I have managed to escape into the absolute of nature.” The Tilled Field is thus a poetic metaphor that expresses Miró’s idyllic conception of his homeland, where, he said, he could not “conceive of the wrongdoings of mankind.” The complex iconography of The Tilled Field has myriad sources, and attests to Miró’s long-standing interest in his artistic heritage. The muted, contrasting tones of the painting recall the colors of Catalan Romanesque frescoes, while the overt flatness of the painting—space is suggested by three horizontal bands indicating sky, sea, and earth—and the decorative scattering of multicolored animals throughout were most likely inspired by medieval Spanish tapestries. These lively creatures are themselves derived from Catalan ceramics, which Miró collected and kept in his studio. The stylized figure with a plow has its source in the prehistoric cave paintings of Altamira, which Miró knew well. Even the enormous eye peering through the foliage of the pine tree, and the eye-covered pine cone beneath it, can be traced to examples of early Christian art, in which the wings of angels were bedecked with many tiny eyes. Miró found something alive and magical in all things: the gigantic ear affixed to the trunk of the tree, for example, reflects his belief that every object contains a living soul.

The Tilled Field
oil on canvas
1923-24
Joan Miró (1893-1983)
Catalonia, Spain

#surrealism #surrealistart #joanmiro #spain #catalonia #thetilledfield #modernart #catalanart #catalanartist #painting #modernpainting #c1923

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Joseph Edward Southall, "Fishermen and Visitors," watercolor on paper, 1931; Russell-Cotes Art Gallery & Museum. #art #paintings #watercolor #paintings #peintures #arte #modernart #modernpainting #britain #england #artsandcrafts #museum #artgallery

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William Crosbie, "Fruit and Wine," oil on board, 1994; photo: Christie's. #stilllife #modernart #modernpainting #abstractart #paintings #oilpainting #peintures #art #arte #museum #artgallery

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Vu Cao Dam (Vietnam, 1908-2000), "Lady with Cherry Blossom," gouache on silk, c.1950; photo: Sotheby's. #vietnam #portrait #flowers #gouache #paintings #peintures #art #arte #modernpainting #museum #artgallery

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Spirale
acrylic on canvas
1972
Victor Vasarely (1906-1997)
b. Hungary, d. France

#opart #opticalart #art #geometry #opticalillusion #theresponsiveeye #moma #victorvasarely #modernart #modernism #spirale #c1972 #painting #modernpainting

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Joel Stein was a French artist of the 20th century. He studied at the National Higher School of Fine Arts and attended Fernand Leger's atelier in 1949, where he met the “Lettriste” group, the surrealist group and Francois Morellet. His works are characterized by research linked to geometric expression and mathematical systems. In 1960 he participated in the foundation of the “Groupe Motus”, of the “Centre de Recherche d'Art Visuel”, which would become the “Group de Recherche d'Art Visual” (GRAV). In 1961 the GRAV was presented for the second time, for which he made a film the following year. He also participated in several exhibitions at the Denise Renè Gallery in Paris and at the Museum of Modern Art in New York. His works are located in many Italian and foreign museums, galleries and collections.

Joel Stein was a French artist of the 20th century. He studied at the National Higher School of Fine Arts and attended Fernand Leger's atelier in 1949, where he met the “Lettriste” group, the surrealist group and Francois Morellet. His works are characterized by research linked to geometric expression and mathematical systems. In 1960 he participated in the foundation of the “Groupe Motus”, of the “Centre de Recherche d'Art Visuel”, which would become the “Group de Recherche d'Art Visual” (GRAV). In 1961 the GRAV was presented for the second time, for which he made a film the following year. He also participated in several exhibitions at the Denise Renè Gallery in Paris and at the Museum of Modern Art in New York. His works are located in many Italian and foreign museums, galleries and collections.

Untitled
acrylic on canvas
1972
Joel Stein (1926-2012)
France

#opart #kineticart #grav #france #frenchart #joelstein #untitled #artwork #art #c1972 #painting #modernart #modernpainting #geometric #modernism #opticalart #opticalillusion #op

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No Middleman Art Gallery Features Frédéric Cadiou And His Serene Landscapes

#landscapepainting #contemporaryart #fineart #visualart #artgallery #modernpainting #artistsoninstagram #artlovers #galleryexhibition #artcollectors

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"Erst wenn du sie siehst"

𝘰𝘪𝘭 𝘰𝘯 𝘤𝘢𝘯𝘷𝘢𝘴
40 𝘹 50 𝘤𝘮

#oilpaintings #contemporaryart #guatemala🇬🇹 #oilpaintingsoncanvas #contemporarypainting #modernart #modernpainting

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Femmelaharpe aka Femme à la Harpe
Oil on canvas
1957
Man Ray (1890-1976)
USA

#art #manray #femmelaharpe #femmealaharpe #painting #circa1957 #modernart #mcm #surrealism #surrealistart #modernpainting #artist #artwork #americaninparis #dada #painter #photographer

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