#imaginativerealism — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #imaginativerealism, aggregated by home.social.
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WAVE (1994)
Acrylic on Canvas - 48” x 48”Of all the paintings hanging in my home, this one probably elicits the most comments. It's also a good example of why I am reluctant to say too much about my work. Some people are frightened by it, some view it as peaceful and some are just struck by its abstract qualities. 1/2
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WAVE (1994)
Acrylic on Canvas - 48” x 48”Of all the paintings hanging in my home, this one probably elicits the most comments. It's also a good example of why I am reluctant to say too much about my work. Some people are frightened by it, some view it as peaceful and some are just struck by its abstract qualities. 1/2
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WAVE (1994)
Acrylic on Canvas - 48” x 48”Of all the paintings hanging in my home, this one probably elicits the most comments. It's also a good example of why I am reluctant to say too much about my work. Some people are frightened by it, some view it as peaceful and some are just struck by its abstract qualities. 1/2
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THE DIVINING HEART (2005)
Acrylic on Canvas - 36" x 24""Stepping stones" of ammonite fossils represent the lessons of history and are the only havens of safety for the figure in the foreground. If her journey toward the future is guided by the foundations of the past, she can reach the horizon.
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THE DIVINING HEART (2005)
Acrylic on Canvas - 36" x 24""Stepping stones" of ammonite fossils represent the lessons of history and are the only havens of safety for the figure in the foreground. If her journey toward the future is guided by the foundations of the past, she can reach the horizon.
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THE DIVINING HEART (2005)
Acrylic on Canvas - 36" x 24""Stepping stones" of ammonite fossils represent the lessons of history and are the only havens of safety for the figure in the foreground. If her journey toward the future is guided by the foundations of the past, she can reach the horizon.
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ÉMIGRÉ (2006)
Acrylic on Panel - 12” x 12”A study done at the time I painted END OF NATURE VII, later finished to become a new small painting in its own right.
If only she indulged in a little self-examination, she would know that she carries the means to a new beginning on her own shoulders.
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ÉMIGRÉ (2006)
Acrylic on Panel - 12” x 12”A study done at the time I painted END OF NATURE VII, later finished to become a new small painting in its own right.
If only she indulged in a little self-examination, she would know that she carries the means to a new beginning on her own shoulders.
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ÉMIGRÉ (2006)
Acrylic on Panel - 12” x 12”A study done at the time I painted END OF NATURE VII, later finished to become a new small painting in its own right.
If only she indulged in a little self-examination, she would know that she carries the means to a new beginning on her own shoulders.
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THE RIVER (1996)
Oil on Canvas - 48” x 36”In my personal work, the red glass heart evokes the world of the senses and things that appeal to those senses. That’s material possessions for some or pleasure seeking and gratification for others. 1/3
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THE RIVER (1996)
Oil on Canvas - 48” x 36”In my personal work, the red glass heart evokes the world of the senses and things that appeal to those senses. That’s material possessions for some or pleasure seeking and gratification for others. 1/3
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THE RIVER (1996)
Oil on Canvas - 48” x 36”In my personal work, the red glass heart evokes the world of the senses and things that appeal to those senses. That’s material possessions for some or pleasure seeking and gratification for others. 1/3
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WINGING IT (2008)
Acrylic - 36" x 24"American history is full of examples of artists who were illustrators and became recognized fine artists—Edward Hopper and Winslow Homer come to mind—but I didn’t know whether I’d be able to pull off that transition. 1/3
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WINGING IT (2008)
Acrylic - 36" x 24"American history is full of examples of artists who were illustrators and became recognized fine artists—Edward Hopper and Winslow Homer come to mind—but I didn’t know whether I’d be able to pull off that transition. 1/3
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WINGING IT (2008)
Acrylic - 36" x 24"American history is full of examples of artists who were illustrators and became recognized fine artists—Edward Hopper and Winslow Homer come to mind—but I didn’t know whether I’d be able to pull off that transition. 1/3
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SANCTUARY (2019)
Oil - 24” x 18”This rose from my desire to revisit thematic ground that inspired my first gallery show at Tree’s Place back in 1997. 1/3
#personalvisions #fineart #imaginativerealism #portals #passage
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SANCTUARY (2019)
Oil - 24” x 18”This rose from my desire to revisit thematic ground that inspired my first gallery show at Tree’s Place back in 1997. 1/3
#personalvisions #fineart #imaginativerealism #portals #passage
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SANCTUARY (2019)
Oil - 24” x 18”This rose from my desire to revisit thematic ground that inspired my first gallery show at Tree’s Place back in 1997. 1/3
#personalvisions #fineart #imaginativerealism #portals #passage
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DAWN JOURNEY (2010)
Acrylic - 14” x 11”Every day offers the possibility of a new beginning. The journey the title refers to is the freedom of mind. 1/3
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DAWN JOURNEY (2010)
Acrylic - 14” x 11”Every day offers the possibility of a new beginning. The journey the title refers to is the freedom of mind. 1/3
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DAWN JOURNEY (2010)
Acrylic - 14” x 11”Every day offers the possibility of a new beginning. The journey the title refers to is the freedom of mind. 1/3
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BROKEN CHAIN (1998)
Acrylic on Watercolor Board - 24" x 15"A simple composition with a fairly simple message. On our way to the next plane, we leave behind earthly pleasures and some small marks on our environment.
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BROKEN CHAIN (1998)
Acrylic on Watercolor Board - 24" x 15"A simple composition with a fairly simple message. On our way to the next plane, we leave behind earthly pleasures and some small marks on our environment.
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BROKEN CHAIN (1998)
Acrylic on Watercolor Board - 24" x 15"A simple composition with a fairly simple message. On our way to the next plane, we leave behind earthly pleasures and some small marks on our environment.
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TERMINUS (2007)
Acrylic on Canvas - 36" X 48"Growing up in the fifties and sixties most of us fully expected the progress so evident in society and the space sciences to continue at the same headlong pace they had shown during those years. As a young boy I never imagined that by the new millennium we would not even have a base on the moon yet! 1/3
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TERMINUS (2007)
Acrylic on Canvas - 36" X 48"Growing up in the fifties and sixties most of us fully expected the progress so evident in society and the space sciences to continue at the same headlong pace they had shown during those years. As a young boy I never imagined that by the new millennium we would not even have a base on the moon yet! 1/3
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TERMINUS (2007)
Acrylic on Canvas - 36" X 48"Growing up in the fifties and sixties most of us fully expected the progress so evident in society and the space sciences to continue at the same headlong pace they had shown during those years. As a young boy I never imagined that by the new millennium we would not even have a base on the moon yet! 1/3
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THE WAYFARER AND THE EVENING STAR (1997)
Acrylic on Panel - 24” x 36”I was trying to learn the technique of Lucid Dreaming, but I have only had limited success. A self-portrait.
The color and detailing on the rocks were derived, at least in part, by my experiences in Australia. I also saw quite a bit of such rocks in the Southwest at various times, especially near Sedona.
https://www.michaelwhelan.com/galleries/wayfarer-and-evening-star/
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THE WAYFARER AND THE EVENING STAR (1997)
Acrylic on Panel - 24” x 36”I was trying to learn the technique of Lucid Dreaming, but I have only had limited success. A self-portrait.
The color and detailing on the rocks were derived, at least in part, by my experiences in Australia. I also saw quite a bit of such rocks in the Southwest at various times, especially near Sedona.
https://www.michaelwhelan.com/galleries/wayfarer-and-evening-star/
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THE WAYFARER AND THE EVENING STAR (1997)
Acrylic on Panel - 24” x 36”I was trying to learn the technique of Lucid Dreaming, but I have only had limited success. A self-portrait.
The color and detailing on the rocks were derived, at least in part, by my experiences in Australia. I also saw quite a bit of such rocks in the Southwest at various times, especially near Sedona.
https://www.michaelwhelan.com/galleries/wayfarer-and-evening-star/
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THE INEXORABLE EQUATION (1997)
Acrylic on Canvas - 48" x 36"The window contains a beautiful but threatening view, seen from a place of illusory refuge.
The painting was completed in the lead up to my first one man art exhibition at Tree’s Place in 1997. The success of that show allowed me to step away from illustration to focus on my gallery art.
https://www.michaelwhelan.com/galleries/inexorable-equation/
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THE INEXORABLE EQUATION (1997)
Acrylic on Canvas - 48" x 36"The window contains a beautiful but threatening view, seen from a place of illusory refuge.
The painting was completed in the lead up to my first one man art exhibition at Tree’s Place in 1997. The success of that show allowed me to step away from illustration to focus on my gallery art.
https://www.michaelwhelan.com/galleries/inexorable-equation/
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THE INEXORABLE EQUATION (1997)
Acrylic on Canvas - 48" x 36"The window contains a beautiful but threatening view, seen from a place of illusory refuge.
The painting was completed in the lead up to my first one man art exhibition at Tree’s Place in 1997. The success of that show allowed me to step away from illustration to focus on my gallery art.
https://www.michaelwhelan.com/galleries/inexorable-equation/
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TIME AND TIDE (2009)
Oil - 24” x 18”This painting started out to be just a morning exercise, kind of a companion idea to TIME'S PASSING. But once I added the water, I was drawn into the scene—pardon the pun—and it ended up being a finished work.
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TIME AND TIDE (2009)
Oil - 24” x 18”This painting started out to be just a morning exercise, kind of a companion idea to TIME'S PASSING. But once I added the water, I was drawn into the scene—pardon the pun—and it ended up being a finished work.
-
TIME AND TIDE (2009)
Oil - 24” x 18”This painting started out to be just a morning exercise, kind of a companion idea to TIME'S PASSING. But once I added the water, I was drawn into the scene—pardon the pun—and it ended up being a finished work.
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DAWN PORTAL (2006)
Acrylic on Panel - 20" x 24"The woman in this Portals painting is seeking wisdom and meaning beyond the knowledge she can gain from cultural influences, here represented by the statues.
Night is passing and she is facing the light squarely, drawing conclusions based on direct personal experience, not the received wisdom of bygone ages.
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DAWN PORTAL (2006)
Acrylic on Panel - 20" x 24"The woman in this Portals painting is seeking wisdom and meaning beyond the knowledge she can gain from cultural influences, here represented by the statues.
Night is passing and she is facing the light squarely, drawing conclusions based on direct personal experience, not the received wisdom of bygone ages.
-
DAWN PORTAL (2006)
Acrylic on Panel - 20" x 24"The woman in this Portals painting is seeking wisdom and meaning beyond the knowledge she can gain from cultural influences, here represented by the statues.
Night is passing and she is facing the light squarely, drawing conclusions based on direct personal experience, not the received wisdom of bygone ages.
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THE SCALE OF ETERNITY (1999)
Oil on Gessoboard - 25" x 40"On close examination the linear form the man is climbing is marked with gradations like a ruler. At the time I painted SCALE, I was thinking a lot about our innate drive to quantify, judge or rate aspects of our collective human experience. We can't seem to overcome our need to define the best, the prettiest, the most powerful or the biggest.
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THE SCALE OF ETERNITY (1999)
Oil on Gessoboard - 25" x 40"On close examination the linear form the man is climbing is marked with gradations like a ruler. At the time I painted SCALE, I was thinking a lot about our innate drive to quantify, judge or rate aspects of our collective human experience. We can't seem to overcome our need to define the best, the prettiest, the most powerful or the biggest.
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THE SCALE OF ETERNITY (1999)
Oil on Gessoboard - 25" x 40"On close examination the linear form the man is climbing is marked with gradations like a ruler. At the time I painted SCALE, I was thinking a lot about our innate drive to quantify, judge or rate aspects of our collective human experience. We can't seem to overcome our need to define the best, the prettiest, the most powerful or the biggest.
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UNWINDING (2021)
Acrylic on Gessobord - 10" x 11 ½”The paintings in The End of Nature series are concerned with our relationship to the environment and how we need to care for it. Here, the young boy takes a moment to just enjoy it. 1/3
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UNWINDING (2021)
Acrylic on Gessobord - 10" x 11 ½”The paintings in The End of Nature series are concerned with our relationship to the environment and how we need to care for it. Here, the young boy takes a moment to just enjoy it. 1/3
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UNWINDING (2021)
Acrylic on Gessobord - 10" x 11 ½”The paintings in The End of Nature series are concerned with our relationship to the environment and how we need to care for it. Here, the young boy takes a moment to just enjoy it. 1/3
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PATH (2016)
Acrylic on Panel - 12" x 16"This painting featuring my granddaughter Seren was done for the inaugural Leftovers and Palette Gremlins gallery. Every week I set out to complete a small piece inspired by paint marks or other found patterns. 1/3
#leftoversandpalettegremlins #fineart #personalvisions #imaginativerealism
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PATH (2016)
Acrylic on Panel - 12" x 16"This painting featuring my granddaughter Seren was done for the inaugural Leftovers and Palette Gremlins gallery. Every week I set out to complete a small piece inspired by paint marks or other found patterns. 1/3
#leftoversandpalettegremlins #fineart #personalvisions #imaginativerealism
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PATH (2016)
Acrylic on Panel - 12" x 16"This painting featuring my granddaughter Seren was done for the inaugural Leftovers and Palette Gremlins gallery. Every week I set out to complete a small piece inspired by paint marks or other found patterns. 1/3
#leftoversandpalettegremlins #fineart #personalvisions #imaginativerealism
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I painted this while listening to a lot of Hozier. Inspired by "Too Sweet" and "Abstract (Psychopomp)" specifically. Also, amazing figure reference from Howard Lyon.
#Watercolor #Portrait #ImaginativeRealism #SpiritualArt #InspiredByMusic #Hozier #JordanLynnGribbleArt
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I painted this while listening to a lot of Hozier. Inspired by "Too Sweet" and "Abstract (Psychopomp)" specifically. Also, amazing figure reference from Howard Lyon.
#Watercolor #Portrait #ImaginativeRealism #SpiritualArt #InspiredByMusic #Hozier #JordanLynnGribbleArt
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I painted this while listening to a lot of Hozier. Inspired by "Too Sweet" and "Abstract (Psychopomp)" specifically. Also, amazing figure reference from Howard Lyon.
#Watercolor #Portrait #ImaginativeRealism #SpiritualArt #InspiredByMusic #Hozier #JordanLynnGribbleArt
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THE FOURTH CRUSADE (2002)
Acrylic on Panel - 12” x 12”The Virtue of Faith. Constantinople burns in the background...a chance to reread some history lessons.
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THE FOURTH CRUSADE (2002)
Acrylic on Panel - 12” x 12”The Virtue of Faith. Constantinople burns in the background...a chance to reread some history lessons.
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THE FOURTH CRUSADE (2002)
Acrylic on Panel - 12” x 12”The Virtue of Faith. Constantinople burns in the background...a chance to reread some history lessons.
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CW: Artistic Nudity
THE END OF NATURE V (2000)
Acrylic on Canvas - 36" x 24"The title is meant as a double-entendre of sorts, something I enjoy doing with my personal work. 1/2
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CW: Artistic Nudity
THE END OF NATURE V (2000)
Acrylic on Canvas - 36" x 24"The title is meant as a double-entendre of sorts, something I enjoy doing with my personal work. 1/2
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CW: Artistic Nudity
THE END OF NATURE V (2000)
Acrylic on Canvas - 36" x 24"The title is meant as a double-entendre of sorts, something I enjoy doing with my personal work. 1/2
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ISLAND (2007)
Acrylic on Panel - 30" x 40"There is a long tradition of using the concept of “island” as a metaphor for the world as a whole, as in “This Island Earth.”
This painting—the first in a series of works employing that metaphor—began as a meditation on the necessity for humanity to explore beyond the reaches of our immediate environs in space. 1/7
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ISLAND (2007)
Acrylic on Panel - 30" x 40"There is a long tradition of using the concept of “island” as a metaphor for the world as a whole, as in “This Island Earth.”
This painting—the first in a series of works employing that metaphor—began as a meditation on the necessity for humanity to explore beyond the reaches of our immediate environs in space. 1/7
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ISLAND (2007)
Acrylic on Panel - 30" x 40"There is a long tradition of using the concept of “island” as a metaphor for the world as a whole, as in “This Island Earth.”
This painting—the first in a series of works employing that metaphor—began as a meditation on the necessity for humanity to explore beyond the reaches of our immediate environs in space. 1/7