Henry Stanton Lynton Art

Justin Wheatley's "Good Morning" is an original, handmade acrylic painting depicting a city scene with a basketball hoop. Justin Wheatley was born and raised in Clinton, Utah. He ho...

Louis-Alexandre CABIÉ (Dol-de-Bretagne 1853 - Bordeaux 1939) Landes at Pessac, near Bordeaux - Gironde Oil on canvas H. 126 cm; W. 201 cm Signed lower left Louis Cabié, a renowned a...

Carl SCHLICHTING-CARLSEN (Flensburg 1842 – Hellebæk 1931) The Painter's Rest Oil on canvas H. 130 cm; W. 93 cm Signed and dated lower left – S. Carlsen (18)94 This artist of German ...

Mark Harrison’s “Home Sweet Home” (2024) is a masterful oil on canvas capturing a winter forest scene steeped in quietude and solitude. Measuring 15.75 x 39.37 inches (40 x 100 cm) a...

Judd Mercer's (US based) "Gairnshiel Bridge," is an original, handmade oil painting that depicts a stone bridge extending over a rocky river and leading to a small countryside shire or town. About the Artist: Judd Mercer is a watercolor painter based in Denver, Colorado. After attending art school for industrial design, Judd pursued a career in digital design and user experience and is co-owner of Elevated Third, a Denver-based digital agency. After committing to writing and illustrating a full-length fantasy novel in his spare time, Judd began watercolor painting around 2014, studying with teachers such as Alvaro Castagnet, Joseph Zbukvic and Herman Pekel...

Eardley Knollys (1902-1991) 'Santa Panagia, Sicily' ‍ Oil on canvas 77 x 61cm Unsigned Eardley Knollys was a deeply impressive and charming figure. E...

This painting is a quietly luminous depiction of a snow-covered garden in winter, rendered in oil on canvas at H 23.6 in x W 28.7 in. Bare deciduous trees dominate the foreground and...

Oil paint on canvas Unique work Hand-signed by the artist Stéphane Fauchille, dream anthropologist “Would you, for a moment, like to become the Claude Lévi-Strauss of the aborigin...

Christopher Clark's "Field of Memories" is an original, hand made oil painting that depicts a landscape of two trees backlit by a brilliant sun shining on a poppy field. Christophe...

Jim Beckner's (US based) "Intersection" is an original, handmade oil painting depicting an abstracted city scene at night. About the Artist: (Born 1970) Denver-based artist Jim Be...

Judd Mercer's (US based) "Chance of Showers" (2023) is an original handmade oil painting depicting a neighborhood with a large storm cloud above. Artist bio/statement Judd Mercer i...

Christopher Clark's "Icy Morning Light" is an original, hand made oil painting that depicts a landscape of snow covered trees with a warm sun rising in the background. 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...

Hadley Rampton's "Fleurs" is an original, handmade oil painting that depicts an aspen tree with blue sky in the background. Artist Statement Some tell me I’m crazy for painting in...

Camilo BLAS (born José Alfonso Sánchez Urteaga) (Cajamarca 1903 – Lima 1985) Andean Landscape – "Paisaje Andino" Oil on canvas H. 47.5 cm; W. 62 cm Signed lower right and dated 1926 Exhibition: Lima, Casino Español, *Exposición de Camilo Blas*, July 1927. Bibliography: - *Variedades*, Lima, July 9, 1927, in the article "La exposición de Camilo Blas," under the heading "Arte Nacional"; reproduced under the title *Paisaje*. - *El Comercio*, Lima, July 24, 2020, in the article "Camilo Blas, 35 years after his death: an assessment of his contribution to Peruvian arts"; reproduced under the title *Paisaje Andino*. A major figure in 20th-century Peruvian *Indigenist* painting, Camilo Blas created a body of work deeply committed to depicting the daily life, landscapes, and people of Peru. The pseudonym Camilo Blas conceals the identity of José Alfonso Sánchez Urteaga, a native of Cajamarca in the northern Peruvian Andes. A painter, draftsman, printmaker, and educator, he belonged to the generation that, during the early decades of the century, helped give rise to a modern Peruvian style of painting rooted in the observation of the country as it truly was. Hailing from a region particularly rich in artistic traditions, Camilo Blas showed an early aptitude for drawing. His maternal uncle, the painter Mario Urteaga, played a pivotal role in his early development, introducing him to the observation of landscapes and rural life. This close connection to peasant life and the traditions of Cajamarca formed one of the foundations of his artistic vision. Before dedicating himself fully to art, Blas began studying law at the University of Trujillo, but his calling as a painter soon asserted itself. In 1922, he moved to Lima and enrolled in the Escuela Nacional de Bellas Artes (National School of Fine Arts), which had been founded a few years earlier. He initially studied under Daniel Hernández before meeting José Sabogal, a central figure in the Peruvian *indigenismo* art movement. This meeting proved decisive. Sabogal recognized a unique sensitivity to Peruvian reality in the young Blas and became his mentor, fellow traveler, and one of his key supporters. Blas thus became part of the *indigenista* movement, which sought to forge a national artistic expression by highlighting the cultures, landscapes, and indigenous and *mestizo* populations of Peru. However, Camilo Blas’s *indigenismo* was not merely an ideological agenda. His originality lay in how he transformed observations of reality into paintings that were vibrant, sensitive, and often humorous. Markets, festivals, processions, street scenes, agricultural work, musicians, artisans, peasants, and city dwellers all became protagonists in a vast visual chronicle of Peru. His gaze encompassed the Andes, the coast, and tropical regions alike, reflecting a desire to traverse and depict the country in all its diversity. His work is distinguished by precise, expressive draftsmanship combined with a luminous, refined palette. Moving beyond strictly documentary representation, Blas infused his compositions with a poetic—and sometimes satirical—dimension. His figures are captured within their environments, amidst the gestures, customs, and communal scenes that lend his paintings a narrative quality. This focus on the daily lives of the people earned him a nickname bestowed by José Sabogal: "the Pancho Fierro of the Sierra"—a reference to the famous 19th-century graphic chronicler of Lima society. Blas’s time in Cusco (1924–1926) marked another significant stage in his career. He traveled with Sabogal and worked in Bolivia before returning to Cusco, where he lived for several years. There, he created paintings, drawings, and prints depicting local life. These experiences informed a body of work that combined easel painting, drawing, watercolor, and printmaking, with a diversity of techniques mirroring the variety of his subjects. His work *La Trilla* (1928) exemplifies this period and is now part of the collection at the Museum of Modern Art in New York. In 1933, he became a professor at the Escuela Nacional de Bellas Artes in Lima. He taught drawing and painting there for many years before eventually becoming the school's director. Through his teaching, he helped pass on an artistic philosophy rooted in the direct observation of the local landscape and the quest for a Peruvian artistic identity. His influence was thus exerted as much through his own creative output as through his role in training several generations of artists. In 1946, he received the Ignacio Merino National Painting Prize, one of Peru’s most prestigious artistic honors. His work continued to evolve around the same fundamental themes: Andean landscapes, scenes of everyday life, religious festivals, trades, portraits, and glimpses of daily existence. This steadfastness regarding his subject matter never implied stagnation; over the decades, Blas refined his pictorial language and evolved his approach to light, color, and composition. Camilo Blas thus holds a unique place in the history of modern Peruvian art. While his name remains closely linked to the *Indigenismo* movement of José Sabogal, his work transcends the confines of any single school or manifesto. Above all, it serves as a vast, evocative record of 20th-century Peru. In his paintings and drawings, the Indigenous and *mestizo* populations are not merely motifs; they become the heart of a pictorial world where landscape, labor, celebration, and community life all converge to form a shared identity. Through the delicacy of his draftsmanship, the richness of his palette, and the deeply human quality of his subjects, Camilo Blas helped elevate everyday Peruvian life into a worthy subject for painting. He died in Lima in 1985, leaving behind a prolific and multidisciplinary body of work that holds a pivotal place in the history of modern Peruvian painting...

ARTIST STATEMENT Sparky LeBold has made a name for himself both in America and abroad over the course of his stellar career.  Since graduating from Art Center College of Design in P...