Paintings For Sale - Price Range: $900 - $999

Page 11 of 31
Discover 875 original painting artworks for sale between $900 - $999. Contemporary emerging artists: Maria Teresa Fernandes, Ana Maria Hidalgo, Veronica Shimanovskaya, Animesh Roy, Mima Stajkovic, Louise Weinberg, Lawrence Buttigieg, Beverly Furman, Stephen Powell, Wayne Montecalvo, Jonathan Benitez, Richard Lazzara, David Cuffari, Flo Flo, Theo Radic, Brian Josselyn, Diane Kastensmith Bradbury, Judyta Bil, Andrew Pichakhchi, Elio Lopez, Theodhoraq Napoloni, Zuzanna Kozlowska are exhibiting their affordable original art. You can buy artwork online and browse 31 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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Ana Maria Hidalgo: 'No es bueno convertirse en lo que se tiene', 2007 Acrylic Painting, Abstract Figurative.  From the series
Abstract Figurative - Painting
2 x 106 cm (0.8 x 41.7 inches)
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Veronica Shimanovskaya: 'Depth', 2009 Oil Painting, Abstract Landscape.
, 2009
Abstract Landscape - Painting
20 x 16 inches (50.8 x 40.6 cm)
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Animesh Roy: 'Reflection', 2008 Oil Painting, Abstract Landscape.
, 2008
Abstract Landscape - Painting
0 x 0 cm (0.0 x 0.0 inches)
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Mima Stajkovic: 'Just That', 2008 Acrylic Painting, Landscape.
, 2008
Landscape - Painting
40 x 40 cm (15.7 x 15.7 inches)
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Louise Weinberg: 'SphereSeries21', 2008 Oil Painting, Undecided.  Spheres floating in space ...
Undecided - Painting
18 x 18 inches (45.7 x 45.7 cm)
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Lawrence Buttigieg: 'San Blas Gozo', 2008 Oil Painting, Landscape.
Landscape - Painting
50 x 40 cm (19.7 x 15.7 inches)
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Lawrence Buttigieg: 'Saltpans at Qbajjar', 2008 Oil Painting, Landscape.
Landscape - Painting
61 x 50 cm (24.0 x 19.7 inches)
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Beverly Furman: 'RainierForest,Lft', 2008 Acrylic Painting, Undecided.  This painting works by itself or as a diptych with Rainier Forest, Left. Frame is Illusion - - Composition of some kind, A contemporary' floating' set back black strip with Gold outer strip.  ...
Undecided - Painting
20 x 20 inches (50.8 x 50.8 cm)
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Beverly Furman: 'RainierForest,Rt', 2008 Acrylic Painting, Undecided.  This painting works by itself or as a diptych with Rainier Forest, Right. They are the same size.Frame is
Undecided - Painting
20 x 26 inches (50.8 x 66.0 cm)
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Stephen Powell: 'Emu', 2008 Oil Painting, Wildlife.  Worlds second largest bird from Australia. ...
, 2008
Wildlife - Painting
22 x 26 cm (8.7 x 10.2 inches)
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Beverly Furman: 'THENandNOW', 2008 Acrylic Painting, Undecided.  Horoscope:
, 2008
Undecided - Painting
24 x 30 inches (61.0 x 76.2 cm)
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Wayne Montecalvo: 'youll burn', 2007 Acrylic Painting, Figurative.  backdrop used for video titled Gatekeeper. Painted on Typar. ...
, 2007
Figurative - Painting
12 x 9 feet (3.66 x 2.74 m)
Jonathan Benitez: 'summer', 2008 Acrylic Painting, Satire.  this work is reflective of man's existence- under the mercy of nature. ...
, 2008
Satire - Painting
34 x 26 inches (86.4 x 66.0 cm)
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Jonathan Benitez: 'articles of beginning', 2007 Acrylic Painting, Life.  comparison on the interconnection of all living things. ...
Life - Painting
10 x 12 inches (25.4 x 30.5 cm)
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Richard Lazzara: 'vajra dakini gold', 2008 Other Painting, Buddhism.  vajra dakini gold with 24karat backing on tapestry cloth traditional framing with extra gold pegs ends at bottom, from my personal collection ...
Buddhism - Painting
24 x 34 inches (61.0 x 86.4 cm)
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Richard Lazzara: 'kubera gold', 2008 Other Painting, Buddhism.  Kubera painting done on 24karat gold backing, from my personal collection, with extra gold peg ends at painting bottom ...
Buddhism - Painting
24 x 34 inches (61.0 x 86.4 cm)
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David Cuffari: 'Two Cats', 2008 Acrylic Painting, Cats.
, 2008
Cats - Painting
24 x 24 inches (61.0 x 61.0 cm)
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David Cuffari: 'Big Splash', 2005 Acrylic Painting, Abstract Landscape.  Deep blue water and a mighty splash create interesting patterns.  In this series of water paintings I'm exploring the idea of order + chaos = order redefined.  Here I create aquatic ( and other) imagery in the reflective and turbulent water. ...
, 2005
Abstract Landscape - Painting
30 x 24 inches (76.2 x 61.0 cm)
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Flo Flo: 'Les Tricheurs The Cheats', 2005 Acrylic Painting, Abstract Figurative.
Abstract Figurative - Painting
3 x 4 feet (0.91 x 1.22 m)
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Theo Radic: 'Untitled I', 2007 Oil Painting, Undecided.   30. 0 ...
, 2007
Undecided - Painting
30 x 42 cm (11.8 x 16.5 inches)
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Theo Radic: 'Eucalyptus grove', 2007 Oil Painting, Abstract.   30. 0 ...
Abstract - Painting
30 x 42 cm (11.8 x 16.5 inches)
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Brian Josselyn: 'spring view', 2007 Acrylic Painting, Landscape.  girl with lake view in spring ...
Landscape - Painting
22 x 28 inches (55.9 x 71.1 cm)
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Diane Kastensmith Bradbury: 'Trees 178', 2006 Acrylic Painting, Abstract Landscape.  This is an original acrylic painted on canvas.  The subject is abstracted negative and positive trees with an arbitrary color division added as an abstraction.  Please contact me by email with questions. ...
, 2006
Abstract Landscape - Painting
14 x 18 inches (35.6 x 45.7 cm)
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Diane Kastensmith Bradbury: 'Enchanted Forest', 2007 Acrylic Painting, Abstract Landscape.  This is an original acrylic with detail overlaid in gold ink.  The subject is abstracted negative trees.  Please contact me by email with questions. ...
Abstract Landscape - Painting
8 x 10 inches (20.3 x 25.4 cm)
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Judyta Bil: 'Two and a half pears', 2007 Oil Painting, Still Life.  Richly textured painting. Coat of protective finish gives the painting nice sheen. ...
Still Life - Painting
24 x 48 inches (61.0 x 121.9 cm)
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Andrew Pichakhchi: 'out of season in a greek cafe', 1999 Acrylic Painting, Beach.
Beach - Painting
100 x 70 cm (39.4 x 27.6 inches)
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Elio Lopez: 'Composition', 2007 Oil Painting, Abstract.  Oil and collage on canvas ...
Abstract - Painting
48 x 36 inches (121.9 x 91.4 cm)
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Theodhoraq Napoloni: 'anatomyforunniversus', 2007 Tempera Painting, Figurative.  Artistic PracticeMy artistic practice generally is oriented toward painiting. in essence the paintings portray teatral situations created by objects and for the formal and esthetic sappereance the image that is servired have a quality and attribute of '' FICTION REALISM''What interests me most is the expressing of situations that...
Figurative - Painting
38 x 60 cm (15.0 x 23.6 inches)
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Zuzanna Kozlowska: 'Life Drawing', 2005 Acrylic Painting, Figurative. Original Acrylic.  Life drawing painted from observation of nude model ...
Figurative - Painting
18 x 24 inches (45.7 x 61.0 cm)
Sylvia Kula: 'Blue Eyes', 2007 Acrylic Painting, Children.  Original painting, acrylic on canvas, signed, size 800x1000mm, 18mm deep. NZD 1200. 00, AUD 1020. 00.Posters and Prints of some of Sylvia Kula' s paintings, in many different sizes, mediums and frames, are now available from
, 2007
Children - Painting
80 x 100 cm (31.5 x 39.4 inches)
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(Page 11 of 31) - MORE ARTWORKS
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  • Artists Describing Their Art:

    Maria Teresa Fernandes - Admiring Teresa's paintings we are touched by her pictorial sensitivity. Difficult task in light colors (volume and transparencies on a clear basis). Few do it due to the required dedication with pallete knife(no brush).It's painting consacrated by the love to paint. Radha Abramo(Renowned art critique)comments at Solo Exhibition Catalog at SESC Paulista in June 84 -( sent at request and reproduced in one of the pages of this site). ...

    Ana Maria Hidalgo - These paintings I have submitted belong to the sequence of paintings I have called "Sensorial Hearts". This sequence is being shown at the present time in Chile. I am showing 13 large paintings done in acrylic on canvas. The subject has to do with the world of human feelings, symbolized by the shape of a heart, which is represented figuratively only once in while on the work of art. Human feelings as subject matter constitute an excellent excuse for developing innumerable contents that finally conform the creative act. Color plays an important role in the making of the work of art. Its construction begins with deep ochre, from whom several figures emerge, concluding strokes of pure and lively color, that finish the work of art, ending in the creation of an complete body. The creation of primogenial signs that relate to ancestral human expression and human origin is one of the objectives of this work. This paintings also have to do with the creation of space and vital cosmos where the observer can recreate himself looking for shapes that originate upon his own subjectivity. On the other side, the exhibition also includes the presentation of some poems written by the ...

    Veronica Shimanovskaya - Shimanovskaya's work is concerned with the interplay of materials, shapes and colours orchestrated into harmonies informed by personal experiences. Aspiring to simultaneously explore the poetry and semantics of the visible world, she is convinced that the the viewer will make his or her own connections. ...

    Animesh Roy - "I don't pretend that I paint because I want to say something or convey a message. So, please don't read any hidden meanings into my paintings. I paint because I like to portray the happier side of life -- beautiful landscapes, for example -- because I think that there are enough artists painting the morbid side." "I love to travel because that's where the so-called inspiration comes, so I hope to travel more, paint and be generally happy." -- Excerpt from an interview....

    Mima Stajkovic - The world I live in today is filled with the most amazing secrets. Personal secrets that cannot be told, those little thoughts that shape your personality and intimacy. Every secret have reason, every reason have shape, influence and interaction. My goal is to recognize each of them with the respect that they deserve. Bringing them to light in full color, making them touchable and visible, I get better understanding of individuals, their apprehension and shame, their desire and potential. While working on a painting over weeks, sometimes months, I found that acrylic on canvas give me the best opportunity to quickly catch my thoughts. Starting with real world and images I continue to explore with symbols and colors emphasizing my impression. The finished work may not resemble the original idea but I always get to know something new during this enjoyable process. In the latest series of paintings I am playing with women's emotions, her fears and wishes developing relations with other people. When people see my work, I'd like them to feel my thoughts and get chance to agree or not with me, but in any way to think about motives that every woman has developing emotional ...

    Louise Weinberg - Louise Weinberg - Artists Statement My work focuses on the issue of containment - the human desire for the safety of enclosure and structure vs. the terror of possible entrapment. My abstract paintings depict an array of containers- grids, buildings, eggs, spheres, circles, squares and cubes.They suggest that a container can protect, imprison or both. In my Spheres Emerging Series, I paint spheres, which are also containers, but the spheres now appear to be free, no longer held down, nor struggling to burst out. These paintings are concerned with the notion of form developing within a space. The spheres are ambiguous -at once huge or molecular. The space that surrounds the form is ambiguous as well -sometimes deep, sometimes shallow. Painting for me is a slow gradual emergence of form into space. Using palette knives, nails, combs, rags -I push, pull, dig and scrape - searching for layers underneath as I continue to add more paint on top of older layers. This way of working always allows me to make surprising discoveries, which I find to be an essential part of the painting process. My paintings emerge gradually and only after much struggle, not unlike the way a person's sense of ...

    Lawrence Buttigieg - "My paintings are a balance of physical form and feeling. I penetrate the character of the person and focus on the inward reflective qualities. I slip my view of the subject between the layers of paint. I want my colours to be the colours of life, rendering likeness and personal stylisation inseparable. I am not concerned with the instantaneous image of the model but rather a prolonged record of his or her character."...

    Beverly Furman - Welcome to my exhibit of works in various media and combinations of techniques that I have developed during 40-plus years of making images. My experience with Drawing, Printmaking, Painting: Oils, Acrylics and Watercolor, as well as Oil Pastel, Colored Pencil, Rubberstamping, Inkjet Transfer, Bookworks and Collage has given me a large visual vocabulary with which to express my particular interests and world-view. My work is a response to my immediate surroundings and life events. The effect of humans on Nature, or vice-versa fascinate me. The subject is sometimes less important to me than the visual and emotional impact of the image. Using the immediate and familiar, I seek to create something I have not seen before. Exploring an expanding variety of two-diminsional media has yielded and ever-widening means of expression. My work spans a range from'realism' to'abstract', with expressionist tendencies. Presently, I am interested in combining life experiences and art techniques into evocative images that express my evolving vision in new ways....

    Stephen Powell - WILDLIFE ARTIST - PHOTOGRAPHER - TUTOR - SPEAKER - MOTIVATOR - WEBSITE DESIGNER Stephen has been an active environmentalist working in, field work, public speaking and lobbying at all levels of government. He has spoken at school and community gatherings as well as on radio. His comments on environmental issues have appeared in newspapers and newsletters. His love of wildlife and the need for illustrations for news letters lead to an artistic future. After a management career in the ceramic industry for 20 years Steve set his sights on an artistic future. 25 years had elapsed since he last attended High School Art classes and the first step was to undertake VCE Studio Art. The first year of his artistic career resulted in, distinctions in VCE, a proposal from a leading publisher for an illustrated book and the sale of his first Wildlife paintings. This rapid rise has continued, his work has featured in a books, graphic displays, numerous environmental news letters and a R.S.P.C.A. Calendar and an 8 page feature in 'The Artist's Palette magazine' has show cased his work. His work has attracted a number awards, Which include Wildlife Art Society of Australasia & Best Flora or Fauna - Moomba ...

    Jonathan Benitez - my art is a storytelling in visual form.my images are my attempt to extricate memories from my past experiences as a child.i live in a coastal community where the daily toils of the fisher folks are my sources of inspirations. beauty sometimes do not reconcile with certain aesthetics. but i found it in exploring realities,there is beauty in depicting the human conditions,the other side of happiness,the negative feelings as effected by pain and sufferings but unspoken.the best art in the world is not about happiness but its about depicting what happen to humanity. ...

    Jonathan Benitez - David Cuffari - I approach my work as a visual poem. Sometimes the meaning is simple and direct and other times it's more complex. I prefer to create work that is open-ended allowing the viewer their own interpretation of what I present. I am primarily a painter preferring to work in acrylics as it allows me to make rapid revisions which helps keep the work fresh and immediate. The over-arching theme of my artwork is the human condition. I see the fabric of life as woven in opposites. By employing dualities like order/chaos, rough/smooth textures, themes of life/death, controlled effects/happy accidents, rational/irrational imagery, I try to paint interesting pictures that allow the viewer to see the world a bit differently. I am also interested in the notion of time. I don't believe that time is linear but more like an echo. I try to avoid static imagery preferring to create a complex painting that unfolds as you look at it, with layers of imagery and meaning. I do this by preserving the process of editing and revision as I arrive at the final image. Most recently I've been proceeding without a pre-conceived ...

    Theo Radic - Everyone experiences drawing and painting as children. I was perhaps one year old therefore when I was first initiated into the painter's craft. I continued these universal beginnings throughout my school years and sporadic courses in college (which gave me few insights into this art). [...] I had only myself as a teacher in the art of painting. My evolution as a painter paralleled that of art history in general, beginning with my prehistoric period as a one-year-old-clutcher-of-crayolas, groping through Egyptian and Greek periods; a Renaissance period; and then neo-classicism, romanticism and naturalism; impressionism and fauvism; cubism and abstract expressionism. At nineteen I went to Europe, thirsty for scope and depth in Art which America lacks. Having established myself in the south of France, I absorbed the emanations of the modern masters who had lived and painted there. I was profoundly moved by the bizarre snow storm over La Cote d'Azur on the night of Picasso's death. No such storm had ever been seen before in April, as old-timers in Nice told me. [...] Fully acknowledging my debt to 'abstract expressionism', I nonetheless do not consider my art'abstract' - a word ...

    Brian Josselyn - ' I use thick, rich paint to translate the beauty, and excitment of a moment into a lusious vision. The scultural presence of thick paint tempts you to touch it with it's seductive tactile appeal. . Dramitic lightin futher abstracts familar imagery creating a new provocitive view.' ...

    Diane Kastensmith Bradbury - I love the spontaneity and freshness of watercolor - especially the "accidental" movement of color that results from painting wet into wet. I usually start with a wet into wet technique, and work through all the stages of the paper, until I am painting wet into dry. I often soak the painting in the bathtub overnight to soften the edges and lighten the colors, going back in the next day to sharpen details and brighten or darken colors where needed. I repeat this process until I can see that the painting is finished. I believe the record for the number of times this was done was a painting I sold in 1985, called "Blue Tree". It had been soaked twenty-two times before I was satisfied with the result. Of course, high quality paint and paper are essential to this process. "Seasons ...

    Elio Lopez - Expressionism through color, depth, and the deconstruction of form Sight. Seeing. How do we see? Is it simply through optic sensations that we view and judge the world around us? Our circumstances? Or is there some deeper, psychological process we are/are not aware of at play? To what extent of what we see is colored by our own personal psychology? The psychology of our environment? Our society? What I ultimately love most about painting over all other mediums, is the flexibility allowed the artist. While the same may be said of other mediums, for me, this is especially true with painting. Recent technological developments in materials has decreased the medium's limitations. Now more than ever a wide variety of possibilities to express oneself exists. Currently the images I'm working with come from a long tradition in European (especially Spanish) painting. By searching for new ways to approach and create these archaic images, I seek to find a new way of self-expression. I believe that most, if not all, great art is born of struggle between the things that limit us, that stand between what we want and what we can control. Each attempt at deconstructing the ...

    Theodhoraq Napoloni - Artistic Practice My artistic practice generally is oriented towards painting. In essence the paintings portray theatrical situations created by objects, and for a formal and aesthetic appearance the image that is represented has the quality and attributes of''FICTION REALISM''. What interests me most is the expressing of situations that deal with the unconsciousness, and it is exactly this unconsciouss that gives a lot of importance to the instinctive side and pushes me toward certain actions or pulls my attention towards something. During the realization phase of painting, this''special interest'' becomes more stronger and gives the image more apparent clearness with all the details and characteristics of the object. For me, the content I select to represent is very important. It is a selection that follows intuition primarily, and the psychological stains, putting them all together towards a real ending, that in fact, is an invisible reality whose imprints are hidden deep into fragmentilized moments of our history. All this process for me is the best tool to bring it in surface the deepest content of the truth, and the aesthetic dimension. The nature of the objects that become part of the painting is different. Sometimes the definitive images ...