Paintings For Sale - Price Range: $4000 - $4999

Page 2 of 29
Discover 816 original painting artworks for sale between $4000 - $4999. Contemporary emerging artists: John Gamache, Marino Chanlatte, Ron Ogle, William Dick, C. Mari Pack, Roger Williams, Geo Sipp, Hans-ruedi Kammermann, Lou Posner, Jose Freitascruz, Franziska Turek, James Gwynne, Leo Evans, Marcia Freedman are exhibiting their affordable original art. You can buy artwork online and browse 29 pages for more originals at the end of this page. To view detailed information for any of these artworks click the image or browse the artist's portfolio website.


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John Gamache: 'Saints and Sinners 2', 2016 Oil Painting, Representational. Oil on Linen - Medieval Christian Pagan Confict ...
Representational - Painting
16 x 20 inches (40.6 x 50.8 cm)
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John Gamache: '1929 Duesenburg Model A Boatail Speedster', 2016 Oil Painting, Automotive.  1926 Duesenburg Model A Boatail Speedster - parked in a French a brick courtyard - Brick garages - estate - color white as sun goes down ...
Automotive - Painting
30 x 24 inches (76.2 x 61.0 cm)
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John Gamache: 'The Artist', 2016 Oil Painting, Portrait. Oil on Linen 18 x 24 Portrait of Johnny Depp as an the artist that he is - Looking Bohemian French or Dutch contemplating his next work. ...
, 2016
Portrait - Painting
24 x 18 inches (61.0 x 45.7 cm)
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Marino Chanlatte: 'Ocean 3', 2016 Oil Painting, Abstract. This Ocean series is a challenge and a joy for me, I choose which colors I am going to mix directly on the canvas, getting multiple layers of new tones and texture, describing shapes, lights, and shades of the oceans.  Being born in an island the ocean has always been ...
, 2016
Abstract - Painting
48 x 48 inches (121.9 x 121.9 cm)
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Ron Ogle: '  VIEW OF ASHEVILLE in 1850 after Duncanson', 2015 Oil Painting, History.  My oil on panel copy of Robert S.  Duncansons VIEW OF ASHEVILLE, 1850 ...
History - Painting
21 x 17 inches (53.3 x 43.2 cm)
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William Dick: 'LEERIE II', 2015 Encaustic Painting, Abstract.                                               Description:  The painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing...
, 2015
Abstract - Painting
50 x 50 cm (19.7 x 19.7 inches)
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William Dick: 'LEERIE IV', 2015 Encaustic Painting, Abstract.                                             Description:  The painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing...
, 2015
Abstract - Painting
50 x 50 cm (19.7 x 19.7 inches)
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William Dick: 'YALLAE I', 2015 Encaustic Painting, Abstract.                                            Description:  The painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing...
, 2015
Abstract - Painting
50 x 50 cm (19.7 x 19.7 inches)
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William Dick: 'YALLAE III', 2015 Encaustic Painting, Abstract.                                        Description:  The painting portrays a powerful sense of illumination and generates a spiritual atmosphere through its repainting. The geometric patterns are inspired by both ancient tribal symbols and a fascination with the geological formations of the landscape. Each painting therefore evolves out of itself, layer on layer, transforming and growing...
, 2015
Abstract - Painting
50 x 50 cm (19.7 x 19.7 inches)
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C. Mari Pack: 'Fire and Water', 2015 Acrylic Painting, Abstract.   Original poured large scale poured acrylic painting. Deep blues with accents of orange. It is inspired by the ocean and covered in a clear coat of medium that produces a surf board finish similar to resin. All materials used are archival.  ...
Abstract - Painting
52 x 34 inches (132.1 x 86.4 cm)
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Roger Williams: 'Dwarfed Start', 2013 Acrylic Painting, Astronomy.
Astronomy - Painting
57 x 69 inches (144.8 x 175.3 cm)
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Geo Sipp: 'Gone Fishin', 2014 Oil Painting, Figurative.   Painting including the Queen of England       ...
Figurative - Painting
38 x 32 inches (96.5 x 81.3 cm)
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Hans-ruedi Kammermann: 'SUMMER SECRETS', 2013 Oil Painting, People.
People - Painting
110 x 100 cm (43.3 x 39.4 inches)
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Hans-ruedi Kammermann: 'SUMMERS FLAIR', 2010 Oil Painting, People.
People - Painting
100 x 90 cm (39.4 x 35.4 inches)
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Hans-ruedi Kammermann: 'FRAMMISCHI DI INCONTRO', 2012 Oil Painting, Gestalt.
Gestalt - Painting
100 x 90 cm (39.4 x 35.4 inches)
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Hans-ruedi Kammermann: 'coming of shade into light', 2013 Oil Painting, Gestalt.
Gestalt - Painting
100 x 92 cm (39.4 x 36.2 inches)
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Lou Posner: 'Danny on the Bow', 2013 Oil Painting, Boating.  Near Rockport, Indiana.  ...
Boating - Painting
11 x 14 inches (27.9 x 35.6 cm)
Jose Freitascruz: 'zipangu', 2012 Acrylic Painting, Abstract Landscape. acrylic- m.  media on wood unframed to be placed directly on wall as is - from the exhibition poetry of soul at mssohkan gallery, kobe, japan...
, 2012
Abstract Landscape - Painting
240 x 60 cm (94.5 x 23.6 inches)
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Jose Freitascruz: 'the long sea', 2012 Acrylic Painting, Seascape.  acrylic- m.  media on wood unframed to be placed directly on wall as is - from the exhibition poetry of soul at mssohkan gallery, kobe, japan ...
Seascape - Painting
240 x 60 cm (94.5 x 23.6 inches)
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Franziska Turek: 'darkening of the light', 2012 Other Painting, Abstract.
Abstract - Painting
110 x 125 cm (43.3 x 49.2 inches)
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James Gwynne: 'Hair II', 2002 Oil Painting, nudes. Hair, back view, larger than life ...
, 2002
nudes - Painting
46 x 50 inches (116.8 x 127.0 cm)
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James Gwynne: 'Sleeping Nude', 2003 Oil Painting, nudes.  Nude with long hair sleeping ...
nudes - Painting
40 x 36 inches (101.6 x 91.4 cm)
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James Gwynne: 'Model back view', 2009 Oil Painting, nudes. Sunlit view of models hair and back ...
nudes - Painting
42 x 36 inches (106.7 x 91.4 cm)
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James Gwynne: 'Landscape with Flag II', 2012 Oil Painting, Landscape.  A flag that a patriotic someone tied to a branch in the woods among dried grass and leaves ...
Landscape - Painting
48 x 42 inches (121.9 x 106.7 cm)
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Leo Evans: 'The separation of the galaxies, forming planets and the creation of EARTH  G', 2010 Acrylic Painting, Cosmic.      A spontaneous moment when I started this set of paintings, before I even laid the brush on the canvas this design was already in my mind and core. The entire set was created over a period of 5 days' in May of 2010an galactic creative flow that came together...
Cosmic - Painting
16 x 20 inches (40.6 x 50.8 cm)
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Leo Evans: 'The separation of the galaxies, forming planets and the creation of EARTH  H', 2010 Acrylic Painting, Cosmic.     A spontaneous moment when I started this set of paintings, before I even laid the brush on the canvas this design was already in my mind and core. The entire set was created over a period of 5 days' in May of 2010an galactic creative flow that came together...
Cosmic - Painting
16 x 20 inches (40.6 x 50.8 cm)
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Leo Evans: 'The separation of the galaxies, forming planets and the creation of EARTH  I', 2010 Acrylic Painting, Cosmic.    A spontaneous moment when I started this set of paintings, before I even laid the brush on the canvas this design was already in my mind and core. The entire set was created over a period of 5 days' in May of 2010an galactic creative flow that came together...
Cosmic - Painting
16 x 20 inches (40.6 x 50.8 cm)
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Leo Evans: 'A blast from the past Mellow 2004', 2004 Acrylic Painting, Floral.
Floral - Painting
15 x 17 inches (38.1 x 43.2 cm)
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Marcia Freedman: 'DAMAGED', 2009 Oil Painting, Abstract.   Damaged is an abstract oil painting on paper influenced by imagery from landscape and from within the interior of the human body.  ...
, 2009
Abstract - Painting
52 x 48 inches (132.1 x 121.9 cm)
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Lou Posner: 'The Nester House', 2004 Oil Painting, Americana. A national historic structure on the banks of the Ohio River at Troy, Indiana.  Built in 1863, it was formerly a hotel.  My plumber friend recently helped with remodeling the apartment upstairs.  Framed in lattice painted white.  The price is high because even tho it is a famous structure, there ...
Americana - Painting
14 x 9 inches (35.6 x 22.9 cm)
(Page 2 of 29) - MORE ARTWORKS
  • MORE »
  • Artists Describing Their Art:

    John Gamache - If I come across something of interest that will be a focal point for me to build on, that excites my passion for elements of the pastaEUR"old, cast-off objects,aEUR"run down barns, old junk cars, and abandoned houses. These are the objects I collect and infuse with new life through my paintings. When I create such a piece, I wish to convey the emotions I feel for the scene or objects to the viewer. I want the viewer to be an active participant in my joy, melancholy, humor, nostalgia. Through my textures, layers, earth-tones, and choice of images, I strive to convey these feelings. To me, the process of creating a work is transcendental I am completely lost in the making, I am part of each piece. It does take time to finish each painting as I work on several at once. Each painting is a slow build up of many layers to reach the final detailing. My goal is to create and master my craft, not just in the painting but in the feelings Ive described previously to the viewer. To elicit emotion will make the piece and my goal complete as a work of art. ...

    Marino Chanlatte - I started painting a long time before I realized it was my passion, and that I would be a painter. I felt the inner need to express through painting, in a freely and spontaneous way, my feelings, thoughts, ideas and fantasies that appeared as visions ... I use color, texture, shapes, light, and shadows to express myself. If my work communicates any emotion or feeling to the viewer, then I accomplished my purpose....

    Marino Chanlatte - William Dick - STATEMENT My paintings record my interest in reconciling different and often estranged qualities and ideas in painting. I work through an experimental evaluation of the co-influence or confluence of organic and geometric, texture and structure, density and transparency, the sensuous history of paint and the austere tradition of minimalism. Within the context of abstraction, namely geometric and organic, I begin with the fundamental balance in painting between line and colour. I have drawn on ancient symbolic shapes from my Scottish background and I am influenced by the symbolic power of simplest forms of drawn lines such as the circles, concentric circles and spirals of Pictish and Celtic Art. Linear elements in my work derive from this source as well as from African and Aboriginal Art, Abyssinian Warrior Shields and Russian icons, and other lines and shapes that retain, in the broadest sense, some significance within culture. For colour I begin from observation of geological form and the substance of land of dust, sand, mud and rock as well as the outcrop of local street furniture architecture weather and the effects of weathering, and then of the often extreme and exotic colour of lichen, peat and mosses. My work exploits ...

    C. Mari Pack - I paint with the conviction that color can manipulate the mind; it can make the heart beat faster, whet the appetite, or spark a memory. Much of our reaction to color is subliminal, and we are generally unaware of its pervasive and seductive effects. The colors we see are invariably influenced by what we feel; therefore, we can never really separate what we see from what we know. Contrast and color are essential in my process. I start by selecting two or three colors; I work the canvas from all angles discovering new forms of composition through the use of movement and gravity. I push the paint to its chemical limit allowing it to mutate and evolve. My work is based on the fact that we have become imprinted with a reaction to colors, shapes, and patterns. Through the use of both color psychology and geology, and executed through chemistry I have created visual colorscapes that engage both the conscious and subconscious, provoking the audience to find imagery through movement. Everyone sees something different! What do you see?...

    Geo Sipp - Geo Sipp Artist Statement: The primary emphasis of my images is to reflect our experiences as consumers of the media in the aftermath of September Eleventh. As we go about our lives the media constantly reminds us of our exposure and vulnerability. The visual perception that is promoted is of our being continuous observers of the human condition. A sense of being under threat heightens our awareness and is implicit in our roles as parents, friends and guardians. The media trivializes threats by distilling them into short, dramatic events. Meaning and emotion become codified. I create images as responses to social and political situations, but no attempt is made to editorialize the content. The work is intended to reevaluate the visual narrative to which we've become conditioned. A variety of media is used to create my work. The decision to create a drawing or a painting or a print is primarily intuitive. Yet, because they are multiples, prints reference the mass marketing of published imagery in a news cycle. The Algeria Series references the Iraq War and Middle East instability. The fact that the images are multiples printed from several plates alludes to the tradition of photojournalism and role...

    Hans-Ruedi Kammermann - Painting for me is passion, a fascinating process of seeing that alters the vision of things. The everyday becomes special, unique, unknown. What is seen, is never what is painted, yet the painting becomes a new reality. I don't invent abstract images but the act of accumulating material on the canvas creates form and color - being materialistic in order to transform matter into imagination and perception. In the process of painting I find new images, something appears, stimulates vision, projects lost or remembered entities, becomes alive and finally communicates. ...

    Lou Posner - FLASH New offer on the classic 1982 Posners Pocket Guide to Oil Painting. Hand-written, then reproduced by offset process. Hand-assembled. Original, unique art attached to EVERY cover. No two alike. Some in oil paint, some in other media. Collectors item. Best pocket guide to oil painting, ever. For beginners as well as advanced artists. 450 dollars each plus first class postage. Indiana residents add 7 percent sales tax to merchandise not including postage and shipping. Selection of cover art offered, but not guaranteed. Use email messaging here to contact the artist. No postage if you pick it up about 10 mi. north of Tell City, Indiana. Not set up for credit card sales. Check or cash only. Buy one or more, OR later on, kick yourself in the behind for passing up a real bargain and an investment opportunity. After you reach the main or first Posner portfolio page, the tour is pretty intuitive. Please click on an image to enlarge it and bring up further details about the piece of art and a description or story about it. Once you have done this, you may also click on zoom-in, a function, which may or may not...

    Jose Freitascruz - Borneo > 2003 The tropical rainforest and tales of maritime exploration continue to be reflected in my work. Indeed, travel and displacement condition my work - the many places I lived in throughout my childhood and those others my chronic wanderlust has led me to since then have always had an impact on the choices and directions I have taken. The knowledge that a new perspective can be acquired over things we believe to be "fixed" triggers curiosity and fosters a certain degree of unconformity. The need to find and learn new ways to depict whatever it is I wish to depict keeps me on my toes and doesn't allow me to settle with the tools or the style I am already familiar with - I am constantly "on the move" and my painting is meant to be a record of the path I move along. Perceived from a distance my approach tends to be cyclic, each cycle divided into series. Progression occurs from the outside in aEUR" from the surface to the core, from a certain degree of figuration to abstraction. Upon tackling each new theme I will be struck by the outward aspect of things and charged with a strong desire ...

    Franziska Turek - This painting is individual, without any compromise, it combinates the occurence with intuition. The pictures are intrinsic of a special magic, which is not intended or planned, its resulting out of the painting process. The organic impressioned spaces and worlds of this pictures lead to associations and they will contemplate the art of painting themselves, they open a fascinating spectrum of color, area, line, which combines to mythical compactness. ...

    James Gwynne - The sky and clouds afford the artist a tremendous number of shapes and colors. Movement can be captured in rhythmical patterns and forms. Together, these qualities can be inspirational and aesthetically stimulating when captured on canvas. The environmental paintings show the landscape affected by intrusions by man in the form of grafitti, trash, discarded objects, utility poles, etc. One can say that these are ugly reminders of landscape abuse, or that the beauty of nature dominates whatever intrudes. The figure paintings evolved from drawings done along with students during 30 years of teaching life drawing at the college level....

    James Gwynne - Marcia Freedman - My art process is part of the contemporary cultural dialogue, observing and commenting on events and things that already exist. I use organic forms found within landscape or the human body as a source. My work is based on visceral reactions based on the fluidity of life and changes that occur in the body due to the effects of genetics and/or the environment. Images of pods, organs, body parts, rocks and cellular forms deteriorate into abstract images conjuring up complex associations, perceptions and emotions connected to the human condition. Source materials are processed so that multiple readings are investigated. Abstract evolving imagery gives insight into the possibilities of processes both artistic and intellectual. The paintings integrate the personal and memory with organic objects exploring science with nature and the potential they present for investigating new ideas to describe the life cycle. They become a metaphor for internal landscapes and external perceptions but on a wider scale transcend the individual to a broader one, open to further interpretations. Original forms are fragmented, deconstructed, fractured and reconfigured into abstract forms as the creative process dictates the way. The physicality of the paint joined with resultant symbols is a narrative or dialogue ...