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Medium: Enamel
Untitled - Painting by Mauro Bellucci - 2020
Located in Roma, IT
This beautiful abstract painting Untitled was realized by the Italian artist Mauro Bellucci in 2020. Water enamel paint on canvas from the series Industrial Pollution. Hand-signed o...
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

Untitled - Painting by Mauro Bellucci - 2020
Located in Roma, IT
This beautiful abstract painting Untitled was realized by the Italian artist Mauro Bellucci in 2020. Water enamel paint on canvas from the series Industrial Pollution. Hand-signed o...
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

Wyatt Earp
Located in Greenwich, CT
mixed media on vintage enamel sign KADIR LÓPEZ (b. 1972, Las Tunas, Cuba) came to artistic maturity at a time when the image and illusion of the Cuban Revolution were greatly dimini...
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

Whitey Bulger
Located in Greenwich, CT
mixed media on vintage enamel sign KADIR LÓPEZ (b. 1972, Las Tunas, Cuba) came to artistic maturity at a time when the image and illusion of the Cuban Revolution were greatly dimini...
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

Nucléaire
Located in Montreal, Quebec
Building on a series of exhibitions titled Panorama of the Anthropocene which examined the ecological impact of human activity through an array of paintings, digital prints and video...
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

Sewers / Égouts
Located in Montreal, Quebec
Building on a series of exhibitions titled Panorama of the Anthropocene which examined the ecological impact of human activity through an array of paintings, digital prints and video...
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

Smog
Located in Montreal, Quebec
Building on a series of exhibitions titled Panorama of the Anthropocene which examined the ecological impact of human activity through an array of paintings, digital prints and video...
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

Crédit
Located in Montreal, Quebec
Building on a series of exhibitions titled Panorama of the Anthropocene which examined the ecological impact of human activity through an array of paintings, digital prints and video...
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

The Joshua Tree - Paintings by Ivana Burello - 2016
Located in Roma, IT
The Joshua Tree is an original painting in enamels and mixed media, a unique piece depicting the rock band U2. Hand-signed.
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

Sulla ricostruzione di una trappola a paniuzze - 1970 - Pablo Echaurren - Enamel
Located in Roma, IT
Sulla ricostruzione di una trappola a paniuzze is a colorful original painting (enamel and China ink on cardboard) realized in 1970 by Pablo Echaurren. Signature, date, and title in ...
Category

1970s Contemporary Enamel Figurative Paintings

Materials

Enamel

È la promessa di Kimra - 1970s - Pablo Echaurren - Enamel - Contemporary
Located in Roma, IT
È la promessa di Kimra is an amusing enamel and China ink on cardboard realized in 1970 by Pablo Echaurren. On the back, title, year of creation, and signature are hand-written in bl...
Category

1970s Contemporary Enamel Figurative Paintings

Materials

Enamel

Come mestiere faccio il poeta e quindi devo scriverlo con una esse sola - Enamel
Located in Roma, IT
Come mestiere faccio il poeta e quindi devo scriverlo con una esse sola is an amusing and ironic enamel and China ink on cardboard realized in 1970 by Pablo Echaurren. Signed and da...
Category

1970s Enamel Figurative Paintings

Materials

Enamel

"Hope & Tragedies" Surrealist Urban Street Art Mixed Media Painting on Wood
Located in New York, NY
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...
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

Jungle v.1
Located in Palm Desert, CA
A commercial enamel on aluminum painting executed in deeps greens and black, with pale blue and violet, depicting an abstracted view of trees and foliage by contemporary artist Timot...
Category

Early 2000s Contemporary Enamel Figurative Paintings

Materials

Metal, Enamel

"How to Explode Quietly" Surrealist Urban Street Art Mixed Media Painting
Located in New York, NY
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...
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

Tulip Mania Triptych - Basquiat Style
Located in OIA, ES
The Painting and Its Style: "Tulip Mania" This painting is a prime example of Neo-Expressionism, a movement in the arts that emerged in the late 1970s and is characterized by its bo...
Category

2010s Street Art Enamel Figurative Paintings

Materials

Enamel

Hot lips
Located in Spetses, GR
I consider each colored dot to be like a person. You and me and everyone. Together we all make up that image shown. You will notice that in my work all the dots are spread out evenly...
Category

21st Century and Contemporary Pop Art Enamel Figurative Paintings

Materials

Enamel

Crypto Vincent Van Gogh
Located in OIA, ES
This piece is part of a special collection curated by Saatchi Art, where 154 artists were carefully selected from among hundreds of thousands of Saatchi participants. The premise of ...
Category

2010s Street Art Enamel Figurative Paintings

Materials

Enamel

La Mirada
Located in OIA, ES
"La Mirada" ("The Gaze"), a title that captures the essence of the penetrating gaze that dominates this canvas, is an exemplary piece that showcases the transformative artistry of Ti...
Category

2010s Neo-Expressionist Enamel Figurative Paintings

Materials

Enamel

Carnaval Kawaii
Located in OIA, ES
🔸 _Title: Carnaval kawaii 🔸 _Artist: Diego Tirigall 🔸 _Year of Creation: 2024 🔸 _Dimensions: 160 W x 100 H x 2 D cm 🔸 _Medium: Enamel, Spray paint, Acrylic and Oil Stick 🔸 _Su...
Category

2010s Street Art Enamel Figurative Paintings

Materials

Enamel

O Canada (#1680)
Located in New York, NY
This painting by Jack Balas is offered by CLAMP in New York City. O Canada (#1680) 2018 Signed, titled, and dated, verso Oil and enamel on canvas 60 x 48 inches $13,750
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

Some Days (#2269)
Located in New York, NY
Some Days (#2269) 2022 Signed, titled, and dated, verso Oil and enamel on canvas 46 x 42 inches This painting by Jack Balas is offered by CLAMP in New York City.
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

App Ocalypse
Located in OIA, ES
🔸 _Title: App Ocalypse 🔸 _Artist: Diego Tirigall 🔸 _Year of Creation: 2023 🔸 _Dimensions: 89 W x 116 H x 3 D cm 🔸 _Medium: Acrylic, enamel, spray paint, oil pastel 🔸 _Support:...
Category

2010s Street Art Enamel Figurative Paintings

Materials

Enamel

Rake's Progress Bedlam Cufflink
Located in New York, NY
David Hockney Rake's Progress Bedlam Cufflinks, 2020 Hand painted using special enamel paints and finished with 18ct gold plate for a luxury finish in bespoke box 1 in diameter Original David Hockney designs from the 1975 production of opera The Rake's Progress. Makes a superb gift! Inspired by an original recording conducted by Igor Stravinsky and William Hogarth's series of eight paintings and engravings of the same name, Hockney began designing the set and costumes production of The Rake's Progress. Through his designs and the use of his now iconic cross-hatched etchings, he wanted to create a 20th century response to the opera and to Hogarth's 18th century idea. These cufflinks are based upon those Hockney etchings...
Category

2010s Pop Art Enamel Figurative Paintings

Materials

Gold, Enamel

Among my swan, Figurative Painting
Located in Miami Beach, FL
Among my swan, 2018 by Ramonn Vieitez Oil, enamel, acrylic, latex on canvas Size: 39.4 H x 27.6 W in. Signed on the back by the artist Unframed ___ Ramonn Vieitez is a self-taught B...
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

Solidarity
Located in Ibadan, Oyo
In the ethereal realm of "Solidarity," Dennis Onofua captures a moment of profound connection and unity between two female figures. The artwork, a testament to the power of support a...
Category

21st Century and Contemporary Contemporary Enamel Figurative Paintings

Materials

Enamel

Esoteric
Located in Ibadan, Oyo
In the enigmatic realm of "Esoteric," Dennis Onofua unveils a mesmerizing tapestry of mystery and introspection. This captivating artwork beckons viewers into a world where symbolism...
Category

21st Century and Contemporary Contemporary Enamel Figurative Paintings

Materials

Enamel

7 (Glass Houses)
Located in New York, NY
Jennifer Losch Bartlett #7 (Glass Houses), 2000 Mixed Media: 3D Sculpted plate glass over silkscreen grid on baked enamel and steel plate, housed in a box frame Signed 'J. Bartlett' ...
Category

Early 2000s Abstract Expressionist Enamel Figurative Paintings

Materials

Enamel, Steel

Bon Voyage (Paper Planes)
Located in Greenwich, CT
Bon Voyage (Paper Planes) is a mixed media painting (acrylic, gold enamel, charcoal, pencil and ink on archival cotton paper, signed 'afn' lower right and framed in a contemporary black moulding. Anne...
Category

21st Century and Contemporary Surrealist Enamel Figurative Paintings

Materials

Enamel

The Order of the Heart in the Hand
Located in Greenwich, CT
The Order of the Heart in the Hand is a mixed media painting (acrylic and gold enamel on hand-aged canvas) with a canvas size of 48 x 48 inches, signed 'afn' lower center and framed in a contemporary black moulding. Anne Faith...
Category

21st Century and Contemporary Surrealist Enamel Figurative Paintings

Materials

Enamel

Bon Voyage
Located in Greenwich, CT
Bon Voyage is a mixed media painting (acrylic, gold enamel, charcoal, pencil and ink on archival cotton paper), with an image size of 14 x 10.5 inches, signed 'afn' lower right and framed in a contemporary black moulding. Anne Faith...
Category

21st Century and Contemporary Surrealist Enamel Figurative Paintings

Materials

Enamel

Looking Out From Within: Buffalo
Located in Greenwich, CT
Looking Out from Within: Buffalo is a mixed media painting (acrylic and gold enamel on canvas) with a canvas size of 60 x 48 inches, signed 'afn' lower right, and framed in a contemporary white moulding. Anne Faith...
Category

21st Century and Contemporary Surrealist Enamel Figurative Paintings

Materials

Enamel

Rebirth 2
Located in Ibadan, Oyo
"Rebirth" is a compelling artwork created by Dennis Onofua, showcasing a young woman in a standing posture. The title suggests a powerful theme of transformation, renewal, and person...
Category

21st Century and Contemporary Contemporary Enamel Figurative Paintings

Materials

Enamel

In Times Like This
Located in Ibadan, Oyo
"In Times Like This" is a touching artwork created by Dennis Onofua, portraying two young women embracing each other in a warm and comforting hug. This artwork captures the essence o...
Category

21st Century and Contemporary Contemporary Enamel Figurative Paintings

Materials

Enamel

Rebirth 1
Located in Ibadan, Oyo
"Rebirth" is a compelling artwork created by Dennis Onofua, showcasing a young woman in a standing posture. The title suggests a powerful theme of transformation, renewal, and person...
Category

21st Century and Contemporary Contemporary Enamel Figurative Paintings

Materials

Enamel

"Elvis", Denied Andy Warhol Silver & Black Pop Art Painting by Charles Lutz
Located in Brooklyn, NY
Elvis, Metallic Silver and Black Full Length Silkscreen Painting by Charles Lutz Silkscreen and silver enamel painted on vintage 1960's era linen with Artist's Denied stamp of the Andy Warhol Art Authentication Board. 82" x 40" inches 2010 Lutz's 2007 ''Warhol Denied'' series gained international attention by calling into question the importance of originality or lack thereof in the work of Andy Warhol. The authentication/denial process of the [[Andy Warhol Art Authentication Board]] was used to create value by submitting recreations of Warhol works for judgment with the full intention for the works to be formally marked "DENIED". The final product of the conceptual project being "officially denied" "Warhol" paintings authored by Lutz. Based on the full-length Elvis Presley paintings by Pop Artist Andy Warhol in 1964, this is likely one of his most iconic images, next to Campbell's Soup Cans and portraits of Jackie Kennedy, Marilyn Monroe, Liz Taylor, and Marlon Brando. This is the rarest of the Elvis works from the series, as Lutz sourced a vintage roll of 1960's primed artist linen which was used for this one Elvis. The silkscreen, like Warhol's embraced imperfections, like the slight double image printing of the Elvis image. Lutz received his BFA in Painting and Art History from Pratt Institute and studied Human Dissection and Anatomy at Columbia University, New York. Lutz's work deals with perceptions and value structures, specifically the idea of the transference of values. Lutz's most recently presented an installation of new sculptures dealing with consumerism at Frank Lloyd Wright's Fallingwater House in 2022. Lutz's 2007 Warhol Denied series received international attention calling into question the importance of originality in a work of art. The valuation process (authentication or denial) of the Andy Warhol Art Authentication Board was used by the artist to create value by submitting recreations of Warhol works for judgment, with the full intention for the works to be formally marked "DENIED" of their authenticity. The final product of this conceptual project is "Officially DENIED" "Warhol" paintings authored by Lutz. Later in 2013, Lutz went on to do one of his largest public installations to date. At the 100th Anniversary of Marcel Duchamp's groundbreaking and controversial Armory Show, Lutz was asked by the curator of Armory Focus: USA and former Director of The Andy Warhol Museum, Eric Shiner to create a site-specific installation representing the US. The installation "Babel" (based on Pieter Bruegel's famous painting) consisted of 1500 cardboard replicas of Warhol's Brillo Box (Stockholm Type) stacked 20 ft tall. All 1500 boxes were then given to the public freely, debasing the Brillo Box as an art commodity by removing its value, in addition to debasing its willing consumers. Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." Leonard Bernstein in: Exh. Cat., Boston, The Institute of Contemporary Art and traveling, Elvis + Marilyn 2 x Immortal, 1994-97, p. 9. Andy Warhol "quite simply changed how we all see the world around us." Kynaston McShine in: Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13. In the summer of 1963 Elvis Presley was just twenty-eight years old but already a legend of his time. During the preceding seven years - since Heartbreak Hotel became the biggest-selling record of 1956 - he had recorded seventeen number-one singles and seven number-one albums; starred in eleven films, countless national TV appearances, tours, and live performances; earned tens of millions of dollars; and was instantly recognized across the globe. The undisputed King of Rock and Roll, Elvis was the biggest star alive: a cultural phenomenon of mythic proportions apparently no longer confined to the man alone. As the eminent composer Leonard Bernstein put it, Elvis was "the greatest cultural force in the Twentieth Century. He introduced the beat to everything, and he changed everything - music, language, clothes, it's a whole new social revolution." (Exh. Cat., Boston, The Institute of Contemporary Art (and traveling), Elvis + Marilyn 2 x Immortal, 1994, p. 9). In the summer of 1963 Andy Warhol was thirty-four years old and transforming the parameters of visual culture in America. The focus of his signature silkscreen was leveled at subjects he brilliantly perceived as the most important concerns of day to day contemporary life. By appropriating the visual vernacular of consumer culture and multiplying readymade images gleaned from newspapers, magazines and advertising, he turned a mirror onto the contradictions behind quotidian existence. Above all else he was obsessed with themes of celebrity and death, executing intensely multifaceted and complex works in series that continue to resound with universal relevance. His unprecedented practice re-presented how society viewed itself, simultaneously reinforcing and radically undermining the collective psychology of popular culture. He epitomized the tide of change that swept through the 1960s and, as Kynaston McShine has concisely stated, "He quite simply changed how we all see the world around us." (Exh. Cat., New York, Museum of Modern Art (and traveling), Andy Warhol: Retrospective, 1996, p. 13). Thus in the summer of 1963 there could not have been a more perfect alignment of artist and subject than Warhol and Elvis. Perhaps the most famous depiction of the biggest superstar by the original superstar artist, Double Elvis is a historic paradigm of Pop Art from a breath-taking moment in Art History. With devastating immediacy and efficiency, Warhol's canvas seduces our view with a stunning aesthetic and confronts our experience with a sophisticated array of thematic content. Not only is there all of Elvis, man and legend, but we are also presented with the specter of death, staring at us down the barrel of a gun; and the lone cowboy, confronting the great frontier and the American dream. The spray painted silver screen denotes the glamour and glory of cinema, the artificiality of fantasy, and the idea of a mirror that reveals our own reality back to us. At the same time, Warhol's replication of Elvis' image as a double stands as metaphor for the means and effects of mass-media and its inherent potential to manipulate and condition. These thematic strata function in simultaneous concert to deliver a work of phenomenal conceptual brilliance. The portrait of a man, the portrait of a country, and the portrait of a time, Double Elvis is an indisputable icon for our age. The source image was a publicity still for the movie Flaming Star, starring Presley as the character Pacer Burton and directed by Don Siegel in 1960. The film was originally intended as a vehicle for Marlon Brando and produced by David Weisbart, who had made James Dean's Rebel Without a Cause in 1955. It was the first of two Twentieth Century Fox productions Presley was contracted to by his manager Colonel Tom Parker, determined to make the singer a movie star. For the compulsive movie-fan Warhol, the sheer power of Elvis wielding a revolver as the reluctant gunslinger presented the zenith of subject matter: ultimate celebrity invested with the ultimate power to issue death. Warhol's Elvis is physically larger than life and wears the expression that catapulted him into a million hearts: inexplicably and all at once fearful and resolute; vulnerable and predatory; innocent and explicit. It is the look of David Halberstam's observation that "Elvis Presley was an American original, the rebel as mother's boy, alternately sweet and sullen, ready on demand to be either respectable or rebellious." (Exh. Cat., Boston, Op. Cit.). Indeed, amidst Warhol's art there is only one other subject whose character so ethereally defies categorization and who so acutely conflated total fame with the inevitability of mortality. In Warhol's work, only Elvis and Marilyn harness a pictorial magnetism of mythic proportions. With Marilyn Monroe, whom Warhol depicted immediately after her premature death in August 1962, he discovered a memento mori to unite the obsessions driving his career: glamour, beauty, fame, and death. As a star of the silver screen and the definitive international sex symbol, Marilyn epitomized the unattainable essence of superstardom that Warhol craved. Just as there was no question in 1963, there remains still none today that the male equivalent to Marilyn is Elvis. However, despite his famous 1968 adage, "If you want to know all about Andy Warhol, just look at the surface of my paintings" Warhol's fascination held purpose far beyond mere idolization. As Rainer Crone explained in 1970, Warhol was interested in movie stars above all else because they were "people who could justifiably be seen as the nearest thing to representatives of mass culture." (Rainer Crone, Andy Warhol, New York, 1970, p. 22). Warhol was singularly drawn to the idols of Elvis and Marilyn, as he was to Marlon Brando and Liz Taylor, because he implicitly understood the concurrence between the projection of their image and the projection of their brand. Some years after the present work he wrote, "In the early days of film, fans used to idolize a whole star - they would take one star and love everything about that star...So you should always have a product that's not just 'you.' An actress should count up her plays and movies and a model should count up her photographs and a writer should count up his words and an artist should count up his pictures so you always know exactly what you're worth, and you don't get stuck thinking your product is you and your fame, and your aura." (Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again), San Diego, New York and London, 1977, p. 86). The film stars of the late 1950s and early 1960s that most obsessed Warhol embodied tectonic shifts in wider cultural and societal values. In 1971 John Coplans argued that Warhol was transfixed by the subject of Elvis, and to a lesser degree by Marlon Brando and James Dean, because they were "authentically creative, and not merely products of Hollywood's fantasy or commercialism. All three had originative lives, and therefore are strong personalities; all three raised - at one level or another - important questions as to the quality of life in America and the nature of its freedoms. Implicit in their attitude is a condemnation of society and its ways; they project an image of the necessity for the individual to search for his own future, not passively, but aggressively, with commitment and passion." (John Coplans, "Andy Warhol and Elvis Presley," Studio International, vol. 181, no. 930, February 1971, pp. 51-52). However, while Warhol unquestionably adored these idols as transformative heralds, the suggestion that his paintings of Elvis are uncritical of a generated public image issued for mass consumption fails to appreciate the acuity of his specific re-presentation of the King. As with Marilyn, Liz and Marlon, Warhol instinctively understood the Elvis brand as an industrialized construct, designed for mass consumption like a Coca-Cola bottle or Campbell's Soup Can, and radically revealed it as a precisely composed non-reality. Of course Elvis offered Warhol the biggest brand of all, and he accentuates this by choosing a manifestly contrived version of Elvis-the-film-star, rather than the raw genius of Elvis as performing Rock n' Roll pioneer. A few months prior to the present work he had silkscreened Elvis' brooding visage in a small cycle of works based on a simple headshot, including Red Elvis, but the absence of context in these works minimizes the critical potency that is so present in Double Elvis. With Double Elvis we are confronted by a figure so familiar to us, yet playing a role relating to violence and death that is entirely at odds with the associations entrenched with the singer's renowned love songs. Although we may think this version of Elvis makes sense, it is the overwhelming power of the totemic cipher of the Elvis legend that means we might not even question why he is pointing a gun rather than a guitar. Thus Warhol interrogates the limits of the popular visual vernacular, posing vital questions of collective perception and cognition in contemporary society. The notion that this self-determinedly iconic painting shows an artificial paradigm is compounded by Warhol's enlistment of a reflective metallic surface, a treatment he reserved for his most important portraits of Elvis, Marilyn, Marlon and Liz. Here the synthetic chemical silver paint becomes allegory for the manufacture of the Elvis product, and directly anticipates the artist's 1968 statement: "Everything is sort of artificial. I don't know where the artificial stops and the real starts. The artificial fascinates me, the bright and shiny..." (Artist quoted in Exh. Cat., Stockholm, Moderna Museet and traveling, Andy Warhol, 1968, n.p.). At the same time, the shiny silver paint of Double Elvis unquestionably denotes the glamour of the silver screen and the attractive fantasies of cinema. At exactly this time in the summer of 1963 Warhol bought his first movie camera and produced his first films such as Sleep, Kiss and Tarzan and Jane Regained. Although the absence of plot or narrative convention in these movies was a purposely anti-Hollywood gesture, the unattainability of classic movie stardom still held profound allure and resonance for Warhol. He remained a celebrity and film fanatic, and it was exactly this addiction that so qualifies his sensational critique of the industry machinations behind the stars he adored. Double Elvis was executed less than eighteen months after he had created 32 Campbell's Soup Cans for his immortal show at the Ferus Gallery, Los Angeles in July and August 1962, and which is famously housed in the Museum of Modern Art, New York. In the intervening period he had produced the series Dollar Bills, Coca-Cola Bottles, Suicides, Disasters, and Silver Electric Chairs, all in addition to the portrait cycles of Marilyn and Liz. This explosive outpouring of astonishing artistic invention stands as definitive testament to Warhol's aptitude to seize the most potent images of his time. He recognized that not only the product itself, but also the means of consumption - in this case society's abandoned deification of Elvis - was symptomatic of a new mode of existence. As Heiner Bastian has precisely summated: "the aura of utterly affirmative idolization already stands as a stereotype of a 'consumer-goods style' expression of an American way of life and of the mass-media culture of a nation." (Exh. Cat., Berlin, Neue Nationalgalerie (and traveling), Andy Warhol: Retrospective, 2001, p. 28). For Warhol, the act of image replication and multiplication anaesthetized the effect of the subject, and while he had undermined the potency of wealth in 200 One Dollar Bills, and cheated the terror of death by electric chair in Silver Disaster # 6, the proliferation of Elvis here emasculates a prefabricated version of character authenticity. Here the cinematic quality of variety within unity is apparent in the degrees to which Presley's arm and gun become less visible to the left of the canvas. The sense of movement is further enhanced by a sense of receding depth as the viewer is presented with the ghost like repetition of the figure in the left of the canvas, a 'jump effect' in the screening process that would be replicated in the multiple Elvis paintings. The seriality of the image heightens the sense of a moving image, displayed for us like the unwinding of a reel of film. Elvis was central to Warhol's legendary solo exhibition organized by Irving Blum at the Ferus Gallery in the Fall of 1963 - the show having been conceived around the Elvis paintings since at least May of that year. A well-known installation photograph shows the present work prominently presented among the constant reel of canvases, designed to fill the space as a filmic diorama. While the Elvis canvases...
Category

21st Century and Contemporary Pop Art Enamel Figurative Paintings

Materials

Enamel

Even in Darkness
Located in Saint Louis, MO
Fahamu Pecou is a visual artist and scholar whose works combine observations on hip-hop, fine art and popular culture. Pecou’s paintings, performance art, and academic work addresses...
Category

2010s Enamel Figurative Paintings

Materials

Enamel, Gold Leaf

Geppetto’s GPT Awakening - Basquiat Style
Located in OIA, ES
🔸 _Title: Geppetto’s GPT Awakening 🔸 _Artist: Diego Tirigall 🔸 _Year of Creation: 2023 🔸 _Dimensions: 97 W x 130 H x 2.5 D cm 🔸 _Medium: Acrylic, enamel, spray paint, oil paste...
Category

2010s Street Art Enamel Figurative Paintings

Materials

Enamel

Blue Robot - Street Art
Located in OIA, ES
🔸 _Title: Blue Robot 🔸 _Artist: Diego Tirigall 🔸 _Year of Creation: 2023 🔸 _Dimensions: 39 x 63 in / 100 x 160 cm 🔸 _Medium: Acrylic, enamel, spray paint, oil pastel 🔸 _Support...
Category

2010s Street Art Enamel Figurative Paintings

Materials

Enamel

Northwoods, Mixed Media Enamel on Aluminum Painting
By Tom LaDuke
Located in Surfside, FL
Northwoods, 2001. Signed and dated Military Enamel, Watercolor, Glitter, Decal, Aluminum Paint on Aluminum. Bears a label from Angles Gallery verso. Tom LaDuke (born 1964) is an Am...
Category

Early 2000s American Modern Enamel Figurative Paintings

Materials

Enamel

The Good Father
Located in Central, HK
Fika Leon The Good Father, 2022 Acrylic, enamel, white silicone on canvas 47 1/5 × 39 2/5 in 120 × 100 cm Unique work
Category

2010s Enamel Figurative Paintings

Materials

Enamel

A Glimpse of Mankind - Street Art
Located in OIA, ES
The Painting and Its Style: "Tulip Mania" This painting is a prime example of Neo-Expressionism, a movement in the arts that emerged in the late 1970s and is characterized by its bo...
Category

2010s Street Art Enamel Figurative Paintings

Materials

Enamel

"The Ancient Testament" Pop Art Painting 55" x 79" inch by Gosha Ostretsov
Located in Culver City, CA
"The Ancient Testament" Pop Art Painting 55" x 79" inch by Gosha Ostretsov Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and works in Moscow. PUBLIC...
Category

20th Century Contemporary Enamel Figurative Paintings

Materials

Enamel

White Mask on Violet Ground - Mythic mask mountain -
Located in Berlin, DE
Hermann Schütte (1893 Osnabrück - 1973 Hamburg), White Mask on Violet Ground. Enameled copper plate on wooden base, 37 x 29.5 cm, monogrammed and dated "S[chütte] [19]62" in the lowe...
Category

1960s Post-War Enamel Figurative Paintings

Materials

Enamel

Parisian Chandeliers, landscape art, original art, interior art, still-life
Located in Deddington, GB
Parisian Chandeliers by Lesley Ann Derks [2017] original Oil and enamel on canvas Image size: H:40 cm x W:50 cm Complete Size of Unframed Work: H:...
Category

21st Century and Contemporary Realist Enamel Figurative Paintings

Materials

Enamel

"Incomplete Solar System" Painting 55" x 79" inch by Gosha Ostretsov
Located in Culver City, CA
"Incomplete Solar System" Painting 55" x 79" inch by Gosha Ostretsov Acrylic & enamel on canvas Born in 1967, in Moscow Lived in Paris for ten years (1988 - 1998), now lives and wo...
Category

20th Century Pop Art Enamel Figurative Paintings

Materials

Enamel

Stacked Cake: Black on Pale Pink and Grey
Located in Fairfield, CT
Unique; water-based enamel paint on paper bags
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

Cake Stacked: Blue on White
Located in Fairfield, CT
Unique; Water-based enamel paint on paper stacks
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

Cake Stacked: Blue on Yellow
Located in Fairfield, CT
Unique; Water-based enamel paint on paper stacks
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

Cake Stacked: White on Turquoise
Located in Fairfield, CT
Unique; Water-based enamel paint on paper stacks
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

Orange Cake Stacked on White
Located in Fairfield, CT
Unique; Water-based enamel paint on paper stacks
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

Cake Stacked: Bright Pink on White
Located in Fairfield, CT
Unique; Water-based enamel paint on paper stacks
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

Red Cake Stacked on White
Located in Fairfield, CT
Unique; Water-based enamel paint on paper stacks
Category

2010s Contemporary Enamel Figurative Paintings

Materials

Enamel

Astro Boy - Street Art
Located in OIA, ES
🔸 _Title: Astro Boy 🔸 _Artist: Diego Tirigall 🔸 _Year of Creation: 2023 🔸 _Dimensions: 1 meter by 1 meter 🔸 _Medium: Acrylic, enamel, spray paint, oil pastel 🔸 _Support: Canvas stretched on wooden frame 🔸 _Condition: New work sold directly by the artist 🔸 _Provenance: Directly from the artist's studio 🔸 _Location: Spain 🔸 _Signature: On the front and back 🔸 _Detailed Description: Diego Tirigall's "Astro Boy" is a nostalgic tribute to the iconic animation character, presented through the distinct lens of urban art. This work invites deep reflection on our digital age, depicting Astro Boy as a white specter, suggesting the loss of an authentic childhood now supplanted by the flickering lights of screens. This message of resistance against the omnipresence of digital technology is reinforced through Astro Boy's stance, akin to Michelangelo's David, an iconic symbol of resistance and humanity. This piece is part of Tirigall's "Cracking the Kids Code" series, reflecting his concerns about the growing role of technology in child-rearing. "Astro Boy" invites the viewer to contemplate the space screens...
Category

2010s Neo-Expressionist Enamel Figurative Paintings

Materials

Enamel

Book Sculpture Paper Mache Enamel Painting Jean Lowe Please Don't Eat Daisy
By Jean Lowe
Located in Surfside, FL
Jean Lowe (American, b. 1960) Book-form sculpture, 2004 "Please Don't Eat Daisy", Enamel painted papier-mache Hand signed and dated verso Dimensions 10.5"h x 12.75"w x 4"d This title is well suited for vegetarians, vegans and plant based diets! Jean Lowe is a California-based painter and sculptor. She creates installations and sculptural works of enamel-painted papier-mâché. Lowe earned a B.A. from UC Berkeley in 1983. She earned her MFA from UC San Diego in 1988. She was a lecturer at UC San Diego from 1992 to 2008. Lowe's installations are handmade, labor intensive and visually playful installations, with papier-mâché furnishings and objects juxtaposed to site specific wall painting. Lowe says of her installations, "Intellectually I am driven by an interest in challenging a status quo anthropocentric world view and formally interested in marrying that content to a 'domestic' decorative esthetic." Many of Lowe's installations have quoted 18th and 19th century French decoration, rife with romanticized images of animals and nature and imbued with a sense of class and privilege. Into this fabric she substitutes or integrate corresponding contemporary attitudes--both about our treatment of the land and its other inhabitants and our attitudes regarding decoration: the wrestling match between high and low art. Wry humor. Lowe creates sculptural representations of everyday objects using papier-mâché and enamel paint. She is known for her papier-mâché books and has created a large collection of them with evocative and amusing titles. Her work Books and Ideas in an Age of Anxiety comprises a collection of them in display cases and is situated in Byers Hall at UCSF as part of the J. Michael Bishop Art Collection at Mission Bay. Among the book titles are: Accelerated Zen Buddhism: How to Win at the Hereafter. Anxiety: The Unexploited Weight Loss Tool. Artistic Mammography. The Eco-Tourist's Guide to Las Vegas. A Guide to Box Wines. Hot Buttered Cop Porn. How to Dominate Women. Militant Feminist Veganism for All. The Triumph of Minimalism and other such titles. Exhibitions Lowe has exhibited in both New York and Los Angeles. She participated in the 1994 exhibition Bad Girls West. Curated by Marcia Tucker, Bad Girls was a humorous and transgressive look at gender and feminist issues. It featured work from artist across many media, including photo, painting, sculpture, performance, film, comics, advertisements, writings and more. Janine Antoni, Andrea Bowers, Nancy Dwyer, The Guerrilla Girls...
Category

Early 2000s Contemporary Enamel Figurative Paintings

Materials

Enamel

A Little Bit Of Magic - Mickey mouse painting
Located in OIA, ES
"A Little Bit of Magic" is an expressionist portrait of Mickey Mouse, the beloved Disney character. When you gaze upon the painting, you can't help but be amazed by the immense numbe...
Category

2010s Neo-Expressionist Enamel Figurative Paintings

Materials

Enamel

Instant Society - Basquiat Style, 2022
Located in OIA, ES
"Nestcafe Society" and Corporate Ideals A striking painting by Diego Tirigall prompts deep thoughts about the relationship between appearances and reality. The painting features a rough sketch of a well-known instant coffee brand logo with words "N3stcafe Society" beneath it. This serves as a powerful symbol of the illusions that society and corporate ideals can create. The Illusion of High-Quality Coffee The painting highlights the gap between the promise of high-quality coffee and the reality of mass-produced, preservative-filled coffee packaged in an industrial jar. The large axe that cuts through the words "N3stcafe Society" symbolizes the destruction of these false promises and the consequences of pretending to be something one is not. The red coffee jar...
Category

2010s Neo-Expressionist Enamel Figurative Paintings

Materials

Enamel

View of St. Pauls from the Shard, Vibrant Cityscape of London, Evening Skyline
Located in Deddington, GB
This painting is a view of St. Paul’s cathedral from The Shard. I love how this composition incorporates many bridges and St. Paul’s Cathedral at night. Discover more original artwork by Lesley Anne...
Category

2010s Realist Enamel Figurative Paintings

Materials

Enamel

Enamel figurative paintings for sale on 1stDibs.

Find a wide variety of authentic Enamel figurative paintings available on 1stDibs. While artists have worked in this medium across a range of time periods, art made with this material during the 21st Century is especially popular. If you’re looking to add figurative paintings created with this material to introduce a provocative pop of color and texture to an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, orange, green, pink and other colors. There are many well-known artists whose body of work includes ceramic sculptures. Popular artists on 1stDibs associated with pieces like this include Eleanor Aldrich, Gary Komarin, John Grande, and Pablo Echaurren. Frequently made by artists working in the Contemporary, Pop Art, all of these pieces for sale are unique and many will draw the attention of guests in your home. Not every interior allows for large Enamel figurative paintings, so small editions measuring 0.1 inches across are also available

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