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From The Yellow Tape Portraits. Eleven

ghadahalkandari — Sat, 28 Nov 2009 15:34:54 +0000

eleven, 2009, acrylic and oil pastels on canvas, 91×152 cm

It’s funny. I almost didn’t include this one in the show. But it was a favorite among the gallery visitors and was eventually sold.

The Music of Prado

jasr — Sat, 28 Nov 2009 13:05:16 +0000

Stand opposite a canvas and try to imagine the sounds of the scene. You’ll soon find out that the permanent collection of Prado Museum has the sound of lutes, harps and wheel fiddles. Music has been one of the main topics in painting since the 15th century.

Hearing

With a painting, Rubens means to make us feel the music. With this allegory of hearing he evokes the music of violins, harpsichords, horns, birds and even the ticking clocks. We can almost hear it with our eyes, but it’s actually just a painting.

Angels and Demons

During the Middle Ages, the celestial courts were thought to have been formed by musician angels, like the ones in this painting by Van Eyck, who celebrate the mystery of the Eucharist with a concerp of harps, zithers and mandolins.

But music was also related to the pleasures of the flesh. In The Garden of Delights, Bosch turns an organistrum into a rack to torture the lustful.

Travelling musicians

When there was no radio nor television and most people couldn’t read, travelling musicians used to entertain villagers with the sound of their flutes. Jacob Jordaens painted three travelling musicians with incomparable freshness.

And Georges La Tour portrayed a blind man playing the same instrument that Bosch had used two centuries before as a torture rack.

Pleasure and Devotion

Music has always been the source of indescribable pleasures. For example, a usual character in Titian’s erotic paintings is the organist, who plays the piano while contemplating the goddess Venus.

With a very different purpose, for Saint Cecilia, always pictured with an organ like in this painting by Poussin, music is a way to get closer to God.

Teddy Honey Bear

mantisart — Sat, 28 Nov 2009 06:58:45 +0000

By chance, the colours began to create pictures that were not there before. Today, a look northwest. Maybe something new tomorrow.

oil series...

Background on new artist Hector Frank

splicedreps — Sat, 28 Nov 2009 05:29:55 +0000

Self taught artist Hector Frank was born in Havana, Cuba in 1961. After years of working in electronics he decided to pursue his passion and obsession, painting. He wishes to express his inner creativity and surrounding influences, the colors, textures, sounds, and landscape of Cuba through his work.

From the start of Hector Frank’s art career, he preferred to paint abstractly, and continues to be influenced by Cuban and Caribbean artists working with strong forms, and lines. Through drawing, he began expressing figurative forms in a variety of media including wood, handmade paper, and assemblage.

Progressively growing as an artist, he incorporates impasto techniques along with various mixed media and collage to build his images up off the surface and bring them to life. Hectors work has been collected internationally and critiqued against contemporary masters. The composition and shapes of Joan Miro, the layered images of Jean-Michel Basquiat, the colors and forms that Paul Klee, Kandinsky, and Willem de Kooning used, all call to mind the distinct influences of Abstract Expressionism. Hector Frank’s work encompasses the raw native influence of Cuba, while the images reference some of the most accomplished abstract painters of our time. “We know already that we are in front of an approximation to the abstraction, an old artistic language, present in every latitude, but here its creator manipulates the colors without pretending to cheat our sense. It is about characters that sometimes are worked in isolation like an imaginary portrait, sometimes as part of more embracing compositions, candid but grotesque at the same time, embodying mundane, familiar, daily issues without narrating them.” (Jose Manuel Noceda Fernandez, curator nH Central Park Hotel) Hector Frank’s paintings express emotion, memory and the best of what contemporary abstract painting looks like today.

Additionally, he has exhibited in both solo and group expositions in his home city of Havana and throughout the world. He is collected internationally and has shown work in Cuba, France, Mexico, Panama and the Caribbean. Hector Frank is excited to introduce his work to an American audience to help promote the talent and culture of Cuba.

If you would like to see more of Hector Frank’s work please click on our link to our ebay page on the bottom right of this home page.

Party @ Blender

Mark Holsworth — Sat, 28 Nov 2009 04:23:46 +0000

They came together on a hot, humid November evening in Melbourne. There were young emerging artist – “aren’t that one of those twins that was on the ABC doco?” There restless drunks clutching brown paper bags of take-away alcohol or sharing the silver plastic bag guts of a cask of wine; the beer had run out before I got there and the only thing that the very short barman was serving glasses of wine with every $2 donation to the gallery. They were no longer celebrating an exhibition opening but surviving another year in Melbourne’s art world.

There was an exhibition opening earlier in the night at Michael Koro Gallery: “Surface”, an exhibition about the painted surface. Only a few people were still in the gallery and most of those were queuing at the bar. Stephen Giblett was showing two paintings exploring the transition where the representational becomes abstract, as in his painting of paint on a painter’s overalls. He said that he was trying to be less tightly controlled with his brushwork with these paintings. Dan Sibley’s paintings of burning cars are very controlled; using a technique that appeared like Aboriginal dot painting or pointillism. Melbourne street artist, Frederick Fowler (aka NUROC) was exhibiting paintings of spontaneous aerosol single line drawings that filled the surface in his personal style. And, outside in the street, there were cowboys moving on the “Melbourne Propaganda Window”, two digital projectors on the papered upstairs windows of Michael Koro Gallery.

There were lots of exhibition openings on last Friday night in Melbourne. Outside the Yarra Sculpture Gallery there were lots of guys with mohawks and I could see another opening going on through the window of Per Square Metre as I passed by. I couldn’t go to them as I had other business to attend to; earlier in the evening I was at the Melbourne Stencil Festival AGM. I was elected secretary and the rest of the team that ran this years festival were all formally elected to run next year’s festival. I won’t bore you with any details of the meeting; we were trying not to bore ourselves and got through everything in under an hour.

When I arrive people’s attention had shifted to the studios and the alley that runs alongside Michael Koro Gallery and Blender Studios. Most of the studios had a few works on exhibition for the night. HaHa was sitting around in his studio upstairs with conspiracy theory videos running on the TV but no one was watching. A post-graduate social-anthropology student was trying to get 500 responses to a survey about attitudes to graffiti. A very quite techno music duo was playing with a singer wearing a showgirl style black costume with tassels made of garbage bag plastic. I asked Drew Funk what he was going to do now that he has painted the walls of so many bars, cafes and alleys in Melbourne. He told me is moving to Sydney.

It was yet another time that I had left my camera at home – every time I do I miss photo opportunities. The truth is that I still haven’t adjusted to the demand that a blogger is also a photojournalist. Not that I even had my notebook on this occasion, just a backpack full of stencil festival files. So this cannot be taken as an accurate record, it is just my distorted memory.

Elequid

abramobastik — Sat, 28 Nov 2009 01:15:30 +0000

sun 2009-number 05

Radenovic Alyse — Sat, 28 Nov 2009 00:00:44 +0000

painting, sun 2009-no.05, 16″x20″ acrylic on canvas, by alyse radenovic, at http://www.aelisheva.com

What I Love

PixInMotion — Fri, 27 Nov 2009 20:20:07 +0000

When Koen Scherer sent me his improvisation song “Love”, with trumpetist Saskia Laroo, he knew that would inspire me.After weeks of listening to this beautiful piece and letting it brew and ferment, it just popped during my sleep.

Here’s the result: http://www.vimeo.com/7855051 .

I decided to use Marc Chagalls’ themes and paintings. Thought it would be a great complement to Koen’s music. I hope you enjoy it. Check Saskia Laroo at :: http://www.saskialaroo.nl
~~~

About Marc Chagall (1887-1985);

Chagall was a Russian painter of the 20th Century and one of the best known representatives of the Russian Avant-Garde in the West. Chagall painted in a style all his own, combining elements of Expressionism, Symbolism, Cubism and, to a lesser degree, other Modernist art movements. A prolific and multi-faceted artist, Chagall left behind him thousands of works in many different techniques and media that have established him as one of the foremost artists of the 20th Century.

Marc Chagall, whose real name is Moishe Shagal, grew up as the eldest of 9 children in a happy but impoverished Jewish family, where his father was a herring merchant. He moved to St. Petersburg and joined the school of the Society of Art Supporters. Eventually he met his future wife, Bella Rosenfeld, in his home town in 1909. Chagall and his wife settled in Paris in order to be close to the art community. In 1944 Chagall’s wife passed away from an illness – she was a constant subject of his art. Chagall took Virginia Haggard as a lover and had a son – he came out of his depression, and rediscovered bright fun colors and his works are filled with the joy of life. He also started working with ceramics, stained glass, and sculpture.

Chagall remarried in 1952 to Valentina Brodsky, traveled to Greece, and created stained glass windows for the synagogue of the Hadassah Ein Kerem hospital in Jerusalem in 1960. Marc Chagall passed away at the age of 97, in Saint-Paul de Vence, France.
~~~
Leo

Pix In Motion
Leo Bar
Creative Imagining

Storefront, 8th Ave. NYC

kullaf — Fri, 27 Nov 2009 20:10:17 +0000

Storefront, 8th Ave. NYC, oil on canvas, 8x10 in.

Orange brick with white trim, fire escapes and morning light, could not pass this one up. I hope to put it in the upcoming Salmagundi Thumb Box exhibition held from Dec. 7 through the end of the year. The show will feature small works (no larger than 8×10 in.) and all must be priced under $750. Many good works will be available from a variety of artists, these small paintings make great holiday gifts and support the Club at the same time. There are a lot of small works exhibits taking place during holiday shopping season. Somerset Art Association’s Small Treasures Silent Auction is being held on Dec. 5 from 2-4 p.m. I have a small exhibit in the faculty gallery as well and am offering unframed studies and demos for sale priced affordably for holiday shopping. Why not buy something a little different this year? You’ll be supporting your local arts organizations and giving a unique and lasting gift. For more info about either of these events, call the Salmagundi Club at 212-255-7740 or the Somerset Art Association at 908-234-2345.

"As the Farm Was Home #2"

caroleeclark — Fri, 27 Nov 2009 20:02:32 +0000

“As the Farm Was Home #2″
by Carolee Clark
18″ x 24″
acrylic on wrapped canvas
$400 + $16 shipping within US

Click here for larger image.

Salvador Dalí

Ayanna Nahmias — Fri, 27 Nov 2009 19:20:28 +0000

Salvador Dalí’s paintings and art are some of the most recognizable of the Surrealist movement

Paintings #47, #48, #49

Scott — Fri, 27 Nov 2009 15:50:17 +0000

Painting #48 – 1) The Inside Of My Head, originally uploaded by scottisskill.

I’ve always tried to work on one thing at a time. Seems easier that way. But all of a sudden, that has broken down. As of right now, I’m working on three seperate pieces – Paintings #47, 48, and 49.

Above is Painting #48, which, as may be obvious, is being made with no planning and no thought. But there is a huge effort being put in. I’m trying to censor my censor, and let it all flow out. It stubbornly refuses to do this, and squeezes out in chunks. All the same, I lay all these chunks down and pile them on top of each other with only the vaguest thought about placement and composition. I’m intrigued to see if a natural sense of composition will hang it all together. I’m also intrigued to see whether the primaries that are spread all over the place will cool or twist or otherwise form a scheme. I have literally no idea. But I am enjoying the process, and it seems to be freeing me up to act on other things.

Like this. This is Painting #49, and it is the very barest bones of the view out of my window. It’s there to act as a counterbalance really. It’s from life and planned and the colour is realistic (or will be). It’s also primarily about composition. It will probably end up being as realistic as I can make it. It also might act as an explanation for the amount of colour bursting out everywhere else at the moment. These are the colours I see in the real world, being, as I am, in England in November.

And anyone who’s good with numbers will have noticed that I have not mentioned Painting #47. No image for this one – I’m keeping it well and truly under wraps until it’s finished. The main reason for that is that it’s for someone, and I don’t want them to see it. The other reason is that it is a portrait (which is always difficult). Also, it is a picture of Mark E Smith, and I would like to minimise the chances of him seeing a poor version of it and deciding to come over to my house and punch me. While unlikely, this is geographically not that big a leap. Also, if I get this wrong I will have to hide all traces. A portrait of MES is not something to be trifled with.

What else? I’m reading a fantastic book by James Elkins called What Painting Is. It’s about the philosophical and practical implications of a comparison between painting and alchemy, which sounds heavy and is, but in a good way. It’s also about the substance of paint itself, and how painting is on a physical level. This is why I’m reading it really – trying to prepare to start ‘real world’ painting next year. It feels like a good preparation, although I’m sadly going to have to work with acrylic rather than oil due to space constraints, which kind of takes the edge off. Still, truly excellent and if anyone has any suggestions for these kind of practical/theoretical/philosophical art books, I’d be really glad to hear them. I’m bored of reading instructional books designed to turn out robot painters.

Hmmm….robot painters…..

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dreamwoven — Fri, 27 Nov 2009 14:18:07 +0000

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