Gregory Frux Art

"Summer Pier Fishing" American Scene Social Realism WPA Mid-20th Century Modern Syd J. Browne (1907-1991) "Summer Pier Fishing" 22 x 30 inches Oil on canvas. c. 1930s Signed lower r...

North Carolina native Jack Saylor received his degree in Art from Barton College in Wilson, North Carolina. Upon graduating he moved to Spain, then Italy w...

Represented by George Billis Gallery, NYC & LA --A walk through any major museum will reveal paintings that depict or legitimate only certain kinds of experience. Despite the good in...

Battle Mountain, Nevada (2005), oil on canvas, 30x40 inches (framed size: 39 x 50 inches) Earl Jones (1937- ) is one of Utah’s best known landscape artists. As an undergraduate at the University of Utah, where he earned a BFA in 1959 and an MFA in 1962, Jones was preoccupied with the figure, studying under the tutelage of portrait painter Alvin Gittins. He then ventured from Utah to New York and the Art Students League where he took figure painting classes with Joseph Hirsch. Later Jones became heir to the landscape legacy of LeConte Stewart...

Christopher Clark's "Pistoia Street" is an original, hand made oil and acrylic painting that depicts a brightly lit city street. Christopher has been an artist since early childhood, when he would watch Bob Ross on PBS and mimic the famed oil painter’s art with crayons. He considers himself a self-educated artist, with his studies ranging from personal training with contemporary masters, to classical academic art technique, with much inspiration from 19th Century art and the Impressionist Movement. Christopher lived in Italy for a time, immersing himself in Italian culture and art, which continues to influence his painting. His fan base has grown considerably since his return to the US, gaining the attention of Lucasfilm and Marvel Fine Art, which both signed him as an officially licensed artist in 2016. Other clients include George Lucas, Major League Baseball, Louisville Slugger, and Fender Guitars. Christopher’s painting skills are not his only talent in the arts. He has won several national swing dance championship competitions, and also studies tango and blues dancing. He has played guitar since the age of 12, and during his time as lead guitarist for a rock band, he opened for Blue Oyster Cult and Eddie Money...

Linda Lillegraven was born at Fort Benning, Georgia in 1948. She received her BA in art from San Diego State University in 1970, and a BS in zoology, also from San Diego State, in 1...

Michael Miller’s "Barn in the Rain" is a captivating oil painting on linen panel that embodies the quiet stillness of rural landscapes, in the calm before a storm. Measuring 10 x 10 ...

Roos van der Meijden Galerie Vivienne, Paris 30 x 25 cm ( framed 38 x 33 cm, frame is included in price ) Acrylic on canvas Dutch artist Roos van der Meijden is famous because of he...

Represented by George Billis Gallery, NYC & LA --Trevor Young is a quintessentially American painter. He makes no bones about his affection for the trappings of car culture, life on the road, and 1960s West Coast art. His main subject is modernism’s footprint on the outposts of Americana—places typified by harsh artificial light and hard shadows on concrete. The show makes clear that for Young, despite the contemporary art world’s preferences for irony, disjunction, and tongue-in-cheek intellectual gamesmanship, painting is at its best when it attempts to offer an unpretentious accounting of where and how we live our day-to-day lives. The celebrations of urban sprawl offered by artists like Ed Ruscha—who famously took no-nonsense aerial photographs of thirty four LA parking lots in 1967, and created sleek, stripped down paintings of Standard Oil stations—are an obvious point of reference in Young’s work. But Young’s choices seem more personal than Ruscha’s, and his technique is certainly more painterly: His images of gas stations are uneasy amalgamations, cobbled together from his own memories of road trips, photographs, and pure invention, and rendered with a sense of atmosphere and drama seemingly at odds with his use of hard lines and simple geometric shapes. Painters today tend to lean on pastiche, on art-historical mashups and code-switching. This typically results in images with no unified style and no concern for pictorial space, illusionistic or otherwise. For many contemporary painters, the picture plane is simply a flat, delimited arena in which different types of visual syntax collide, floating freely. This is a non-strategy in which artists make an end run around some of the thornier problems of composition, perception, and cognition. Young bucks this trend. He activates every square inch of his canvases, blocking in large passages of negative space with skeins of scruffy countervailing strokes. He is not a fussy painter, nor is he out to prove his own mastery to an audience. Like Edward Hopper, Young tends to eschew a lot of paint’s seductive properties, preferring to create hard edges and large, gently undulating planes of subdued color. He draws the viewer into an unpopulated, uncluttered world with a clear horizon line—but one that is also filled with hiccups, discontinuities, and compromises. In Service in the Rear, for example, a shelter for gas pumps in the foreground—closest to the viewer and, therefore, logically a dominant compositional element—is rendered as a hazy silhouette that flagrantly disobeys the rules of linear perspective. This is intentional: The structure is only important to Young in the way that it draws the viewer’s eye below and past it, to the glowing, low-slung building dominating the lefthand side of the picture. Thus Young shows his talent for creating visual tension and drama—and for sidestepping the viewer’s expectations. Young understands that some might regard his brand of painting as obsolete. He also understands the troubled legacy of modernism, and what the triumph of universal technology has meant for cultures around the globe. Still, for Young, the cold comfort offered by outposts of convenience—gas stations, airports, cheap hotel rooms—is not so easily dismissed. Young shares the strange buoyant optimism of his hero, Jonathan Richman, who, in his early ‘70s proto-punk single, Roadrunner, exults in the simple act of driving past the Stop’n’Shop with the radio on...

Brad Davis's "Winter Cord" (2020) is a compelling oil on panel of a landscape that measures 5 x 7 inches unframed.

Unframed Dimensions: 24 x 30 inches Framed Dimensions: 33 x 39 inches Frank Corso Biography American, b. 1952 Frank Corso was born in Syracuse New York. Taking a keen interest in a...

Canvas size: 54 x 72 in. Frame size: 35 1/2 x 53 1/2 in. Signed lower right Frank Corso (American, b. 1952) was born in Syracuse New York. Taking a keen interest in art at a very early age, he was inspired to draw and paint the landscape of the Finger Lakes region of Upstate New York. He had the opportunity to have very fine art teachers in high school who also happened to be fine painters, artists George Benedict...