#American landscapists

[kecobe]

Old-Fashioned Garden John Appleton Brown (American; 1844–1902) ca. 1889 Pastel on paperboard Bowdoin College Museum of Art, Brunswick, Maine

[cma-american-painting-sculpture]

Landscape, George Inness , 1888, Cleveland Museum of Art: American Painting and Sculpture

During the later 19th century, when European artists were influencing American landscapists, George Inness looked to France for stylistic inspiration. After a trip to Europe in 1853 and 1854, which brought him into contact with contemporary French painters, Inness adopted a looser way of handling paint. By the 1880s he was interested in conveying the spiritual aspects of nature. Size: Framed: 79.5 x 92 x 6 cm (31 5/16 x 36 1/4 x 2 3/8 in.); Unframed: 56.2 x 70 cm (22 1/8 x 27 9/16 in.) Medium: oil on canvas

https://clevelandart.org/art/1929.464

[fatehbaz]

As Edward Said argued, [...], the struggle with geography “is complex and interesting because it is not only about soldiers and cannons but also about ideas, about forms, about images and imaginings” [...]. [V]arious actors (soldiers, geographers, etc.) used cartography and processes like mapping to exert control over geography, nature, and human inhabitants (often Indigenous peoples) who were regularly seen as expendable or an obstacle to some Eurocentric notion of progress.

In the 1800s British landscapists helped naturalize colonial conquest in Canada and the British West Indies by strategically highlighting and suppressing select aspects of the local geography. An aquatint from 1825 by the British engraver Thomas Sutherland after James Hakewill’s Spring Garden Estate, St. George’s [...], from A Picturesque Tour of the Island of Jamaica [...], for example, is one of only three prints (of a total of twenty-one) that represent the lucrative sugarcane crop in any detail, and one of only two images to depict enslaved people in proximity to their most normative work as agricultural field laborers. Yet the [...] prominent placement of the Great House, and the complete erasure of the “Negro village” [...] position the image as a work of proslavery fantasy. Artist forays of this sort were a form of imperial intrusion [...]. Europeans [...] presented their colonial actions as natural and legitimate [...].

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Helpful here is the analysis of the geography and international studies scholar Matthew Sparke who looks at the coerced mapping of Newfoundland by Shanawdithit, [...] [a surviving] member of the island’s native Beothuk people. Rather than reading her maps as supplements to a superior European geography or artifacts of Indigenous backwardsness, Sparke focuses on Shanawdithit’s ability to decipher and reproduce the conventions of European cartography while imparting her Indigenous knowledge, sense of geographic order, and embodied memory. For instance, in Captain Buchan’s Visit in 1810-11 at the South Side of the Lake, Shanawdithit simultaneously adopted a bird’s- or God’s-eye perspective of the lake and surrounding land as well as a face-on view that includes groups of erect human figures in deliberate motion, dotted lines marking their travels crisscrossing the water. The map [...] animates the maker’s recollection of past mobility. [...] The active nature of observing, seeing, and having a point of view - attributes that imply insight, will, and agency - underscores the colonial nature of landscape production (based in colonial Western thought on the idea of a white man’s “on the spot” visual encounters with and accurate representation of a place) and showcases a visual intelligence on Shanawdithit’s part that European and Euro-Americans arrogantly assumed to be theirs alone.

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To read maps and, by extension, landscapes not as authoritative resources that provide objective scientific knowledge but as subjective means of expression is to expose their political, social, and cultural influence. These forms of visual culture produce and assert ways of knowing that are particularly dangerous and sinister [...] when deployed in the context of the colonization of “other” populations who (1) refuted these modes of knowledge, (2) could not “read” or decipher this knowledge (at least initially), and/or (3) had their own sophisticated geographic knowledge systems.

As Harley has succinctly stated, “As much as guns and warships, maps have been the weapon of imperialism.” Other types of landscape representation can be likewise positioned as “intellectual weapons” and forms of elite knowledge. The combination of these two powerful capabilities makes understanding landscape’s effects on those it marginalizes even more urgent.

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All text above by: Charmaine A. Nelson. “Interrogating the Colonial Cartographical Imagination.” American Art Vol. 31, No. 2 (Summer 2017), pp. 51-53. Online at: j stor dot org slash stable/26556793 [Some paragraph breaks/contractions added by me. Presented here for commentary, teaching, criticism purposes.]

[aic-american]

Old Tower at Avignon, Samuel Colman, 1875, Art Institute of Chicago: American Art

Old Tower at Avignon depicts a 14th-century fortress in southern France. A noted colorist for his use of saturated hues, Samuel Colman captured the romance of the age-old structure amid sunlight, storm clouds, and reflections on the Rhône River. An accomplished landscapist, Colman began his career depicting New England scenery, as did his contemporaries among the Hudson River School, the dominant style of landscape painting in mid-19th-century America. After first going to Europe to study in 1860, Colman traveled extensively throughout his long career, traversing France, Italy, Spain, North Africa, Mexico, and the American West, among other destinations. Mr. and Mrs. Martin A. Ryerson Collection Size: 20.3 × 23.7 cm (8 × 9 5/16 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/16659/

[svenson777]

John French Sloan (1891)

American urban landscape painter

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A member of the Ashcan School, John Sloan (1871-1951) focused his paintings and prints on his favorite subject: the “drab, shabby, happy, sad, and human life” of a city and its people during the early 20th century. His images of pedestrians and public places helped define New York City in the popular imagination.  Sloan was also an able landscapist and portraitist. Thanks to the generosity of Helen Farr Sloan (1911-2005), the artist’s second wife and devoted widow, the Delaware Art Museum is home to the largest collection of art by Sloan, as well as the John Sloan Manuscript Collection, a treasure trove of archival materials. (Infos from: http://www.delart.org)

[krissidanielle]

An Art History Primer

by Kristian Krawford

      I spent many years studying art history in school and dearly loved it. So allow me a few moments to share the fruits of my education with you. Here is your art schooling without the cost of tuition. And you can really impress your friends with all your refinement!

    We begin in Egypt from 3,000 to 330 BC. The style was marked by stiff figures in profile, subject matter was gods and goddesses, kings and queens, jackal-headed deities and the occasional cat. Egyptians were strong believers in the afterlife and decorated tombs with things they felt one needed in eternity.

    Greece from 1200-200 BC. Not much art has survived from this period other than pots, all decorated in geometric patterns—zigzags, chevrons, checkerboards, diamonds. Also Homeric scenes and later some Kouroi statues.

    Rome from 700 BC- AD 500. Virtually everything we know of Greek art comes to us from the Romans. They were the ultimate copycats, conquering the Greek world and plundering their treasures. They did the same to Egypt. They were the first art patrons and art collectors. A tradition that continued for centuries.

    The Dark Ages AD 600-1350. This title is a misnomer as it was a very exciting time in the world. This was the era of beautiful churches, of Charlemagne (my own great-grandfather), the university and of some really beautiful art.

    Charlemagne was King of the Franks and the first Holy Roman Emperor. His empire was called Carolingian and he set out to change the world. He built monasteries and churches, basilicas, murals, sculptures and frescoes—almost none of which have survived. What have survived are beautiful illuminated manuscripts from this time period, which is also called Romanesque because it draws on Roman models.

    One way it was Roman-like was in its bigger and better churches. The architecture at the time, centered in Paris, was called Gothic by Giorgio Vasari, who intended it as an insult. It means “crude and barbaric.” Gothic style was simply the over decoration of a house of God. Elaborate stone tracery, crested finials, painted details—miscellaneous doodads. All crafted by anonymous artisans.

    A French historian (Jules Michelet) coined the term Renaissance, meaning “rebirth,” in the 1800’s. And because the subject is so broad and involves so many artists, I could go on for pages. So for the sake of brevity, some things will receive only a passing mention.

    The Renaissance can be divided into High and Low or Early and Late. The major artists of the Early Period were Giotto (first to paint three-dimensional people); Masaccio (mastered groups of figures); Lorenzo Ghiberti (spent 21 years working on the bronze doors of the Florence Baptistery aka. Gates of Paradise); Donatello (invented relief sculpture); and Filippo Brunelleschi (architect of the Duomo and first to apply the rules of perspective to art).

    The major artists of the Late Period were: Sandro Botticelli (known for sensuous human forms, i.e. Birth of Venus); Leonardo da Vinci (arguably the most famous artist ever of the most famous painting ever, i.e. Mona Lisa); Michelangelo (started out in Florence, moved to Rome to paint the Sistine ceiling); Raphael (another darling of the papacy and one of my personal faves. I love School of Athens); Tintoretto (he closes out the High Renaissance with a Mannerist style); and Titian (greatest Venetian painter, he painted a lot of mythological subjects).

    Some interest tidbits about Leonardo before closing out the Renaissance entirely. Leonardo wasn’t just an artist. He was a scientist, architect, engineer, draftsman, inventor and jack of all trades. He studied the human body by dissecting cadavers and imagined flight hundreds of years before the Wright brothers. He was interested in everything, yet finished almost nothing. He was a master of unfinished work. In fact, the Mona Lisa is one of only a handful of pieces he ever completed. And it was his personal favorite that he carried with him until his death. For centuries, Mona Lisa has remained an enigma. Not just her identity but her unusual expression. Is she or isn’t she smiling? According to Vasari, Leonardo painted a very melancholy sitter. He employed magicians, jesters and theatre performers to entertain her while he painted. It was while painting this portrait that he developed his sfumato technique (Italian for “like smoke”) in which colors and form subtly merge. It would become his trademark.

    The Northern Renaissance is also divided into Low and High. These are the best known Low artists: Jan van Eyck (founder of Flemish painting, he painted the Ghent Altarpiece); Rogier van der Weyden (known for attention to detail and portraits of nobles); and Hieronymous Bosch (known for fantastical landscapes of a dark, medieval world).

    The High Artists of the Northern Renaissance are: Albrecht Durer (not to my liking but this German artist is known for his engravings and woodcuts); and Pieter Breughel the Elder (Flemish painter known for allegories and parables of peasant life).

    Baroque came after the Renaissance. It was a time of courtly festivals and royal ceremony. The term meant to be an insult—“degenerate.”  Caravaggio was the most famous Baroque artist. A rogue character (even tried for murder), he was a naturalistic painter known for dramatic light. He placed ordinary people in his paintings of religious subjects. Scandalous! Peter Paul Rubens painted nobles while El Greco was known for his elongated figures. Rembrandt, considered the greatest Dutch painter ever, was known for his unusual lighting in which he made the most ordinary of people look mysterious. Jan Vermeer, also known for interesting light effects, enjoyed painting the Dutch bourgeoisie. Lastly, Velazquez was a great Spanish painter most interested in royalty.

   From the 1700’s to the 19th century, there were four major art movements: Rococo, Neoclassicism, Romanticism, and Realism.

    Rococo (c. 1730-1800) was art of the boudoir. It was a flirty, fanciful way of decorating the canvas. The main artists (all French) were Francois Boucher, Jacques-Louis David (I can’t stand that guy), Jean-Auguste Dominique Ingres, Eugène Delacroix and Gustave Courbet.

    Neoclassicism (c. 1750-1820) was a genre in which artists copies the simple designs and restrained ornament of the ancient Greeks and Romans. The main artists Jacques-Louis David (I still can’t stand him), Antonio Canova, Jean-Antoine Houdon (known for his amazing bust sculptures of Ben Franklin and George Washington) and Jean-Dominique Ingres.

    Romanticism (c. 1780-1850) was melodramatic portrayals of imaginary subjects. The best known artists were Eugène Delacroix, Francisco de Goya and William Blake—a wonderful writer who illustrated his poems.

    Realism (c. 1848-1875) was basically a reaction to the excesses of Romanticism and some Neoclassicism. In this movement, it was the Americans who led the way. Many were painting beautiful landscapes of their young nation on large canvases. The landscapists were Thomas Cole, Frederic Edwin Church, Albert Bierstadt and Thomas Moran. Realist artists were Winslow Homer and Thomas Eakins.

    Ah, Impressionism! Who doesn’t love it? It all began in 1874 when a group of Paris-based artists who’d been rejected by the Salon were mockingly called “Impressionists” by the April 25th issue of Le Charivari magazine. The name stuck. The style itself was marked by a close observation of nature whereby marks of pure color are placed side by side to create the effects of light on the canvas. They also differed in subject matter, tossing out literary subjects, mythology, and even history. They focused instead on scenes of everyday life. They also abandoned contour, modeling and precise details.

Though Èdouard Manet is the founding father of Impressionism, it is Claude Monet who is most often associated with it. Other stars are: Edgar Degas (he favored ballet dancers); Auguste Renoir (young women and rosy-cheeked girls); Alfred Sisley (the only Brit in the mix); and Mary Cassatt (the only American and most famous woman).

    From 1874 to 1886, the Impressionists exhibited together a total of 8 times, but long before they broke up, the members were moving on to other things.

    Post-Impressionism is a catch-all term to describe all the art that came after Impressionism. It also relied on the use of bright colors and splashy brushwork, but differed in what artists were feeling and saying. The stars of this movement were: Georges Seurat (inventor of Pointillism and a personal fave); Paul Gaugin (the native-loving man of bright colors); Vincent Van Gogh (most mad and magnetizing); and Henri de Toulouse-Lautrec (decorative posters of cabaret life).

    Expressionism was marked by sometimes violent colors, abstract forms and emotional subjects. The big Expressionists were: Edvard Munch; Henri Matisse (inventor of Fauvism); Wassily Kandinsky (inventor of Abstraction); and Amadeo Modigliani (lover of long, lean bodies and necks); and the Viennese love-chronicler, Gustav Klimt.

    Cubism is my least favorite genre so will receive scant mention here. It was the first totally abstract art movement—not at all representational—relying on geometric forms. Created by Pablo Picasso and Georges Braque, they were influenced by Cézanne, modern science and African masks.

    Dada was a brief European anti-art movement that sprang up after WW1. It spawned the likes of Marcel Duchamp, Max Ernst and Man Ray. I take back what I said about Cubism being my least favorite. Dada is.

    Surrealism came after Dada and although it was primarily a literary movement, it translated well into art. Basically about the relationship between dreams and the unconscious, this movement gave us Marc Chagall, Joan Miró and Salvador Dalí.

    Constructivism was another brief art genre, this one centered in Russia. It spawned no internationally known starts, only regional artists on a mission.

    Abstract Expressionism was about bigness—big canvases, big brushes, big cans of house paint, big male egos. It was also almost totally American. The main men were: Jackson Pollock (big drips and splatters); Willem de Kooning (brushy abstractions); and Mark Rothko (large blocks of color).

    Pop Art is populist art. It’s representational and easily comprehensible. It’s spawned some very famous artists—Jasper Johns, Robert Rauschenberg, Andy Warhol and Roy Lichtenstein, to name a few. These artists rejected nature and instead focused on the manmade.

    Minimalism came after Pop Art and spawned Frank Stella and a few minor artists.

    So what genre is the art of today and where is it headed? Well, all the art since is generally lumped into the category of post-modernism and involves artists deriving their work from both natural and manmade sources. Today artists even use a third source—the wonderfully human imagination. Artists also create their work from many different mediums. Today, we have oil painters, acrylic artists, watercolorists, charcoal and pencil artists, collage artists and even mixed-media artists who use a combination of all of the above to create their unique works. And let’s not forget digital artists who create their imaginary worlds entirely on computer. Though future historians will have a difficult time categorizing the art of today, one thing is for certain: they won’t lack for interesting and beautiful paradigms to study.

[drrobertpuffphd]

Janet Fish American, b. 1938 “The Ox Bow” 1977 Oil on canvas Photo is taken by: @robertpuffjr This over-life-size still life takes its name from the same geographical feature near Northampton, Massachusetts the location of Smith College, artist Janet Fish's alma mater--that landscapist Thomas Cole memorialized in his painting View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm--The Oxbow (1836). Rather than Cole's mountaintop view, captured just after a thunderstorm, Fish chooses a position beside the river, on a sunny afternoon. In Fish's hands, we get a catalogue of optical effects and reflective surfaces, of the four glass vessels arrayed on a glass tabletop, and the briskly moving water behind. Though sometimes associated with Photorealism, Fish's brushwork here is loose and painterly. (This writeup is taken from the description at Museum.) Oklahoma City Museum of Art, Oklahoma, USA #janetfish #oklahomacitymuseumofart #historyofart #arthistory #greatworksofart #artmuseum #art #artist #masterpiece #painting #museumvisit #artlover #artists #artblogger (at Oklahoma City Museum of Art) https://www.instagram.com/p/CevW3YXuW-y/?igshid=NGJjMDIxMWI=

[the-whoofwhoof]

How to Go Green for your Dog’s Health

They'll take a walk. They'll go get. They'll go down and turn over. However, how would you get your dog to practice environmental awareness?

A large number of individuals are understanding that it's better for our wellbeing to drink sifted water, reuse, and avoid synthetic substances and plastics. They're likewise beginning to understand that a green way of life holds a portion of similar advantages for their dogs. If you looking for best pet grooming in delhi visit to our website

A ton of the things you can do are not excessively hard, don't need a lot of exertion, and are basic advances you can take to make life more green for your dog.

Poisons in the Home

Your home and yard are likely the spots where you and your pet invest the vast majority of your energy. Yet, while you eat off artistic plates and drink filtered water, Rover is eating and drinking out of plastic dishes. While you stroll around in shoes and rest in a bed, your dog is strolling shoeless on the floor and moving around on the rug. Here's the manner by which to deal with expected perils:

Supplant plastic dishes With all the ongoing insanity about the potential wellbeing effects of Bisphenol A (BPA), a compound used to make numerous plastic water containers and infant bottles, it could be an ideal opportunity to take a gander at your doggie's dishes. Supplant water and food bowls made of plastic and utilize treated steel all things being equal. Studies show BPA might be an endocrine disrupter, which means it can modify the body's hormonal framework. If you are searching best dog grooming in delhi contact to whoof whoof.

Change your floor cleaners "Consider what you use on your kitchen floor. You might need to go with something more characteristic," recommends Peterson. In spite of the fact that the floor may look clean to you, remember that a few dogs lick the floor when you drop food, and these cleaners might be unsafe to your dog. "The reality here," adds veterinarian Michael Fox, Ph.D., B. writer of more than 40 books and the partnered paper segment Animal Doctor, "is to return to fundamentals for cleaners, for example, white vinegar and heating pop."

Free your home of deodorizers Room cleansers, module deodorizers and cleaning supplies with scents can be hurtful — particularly to pets that may incidentally eat or lick such things. Deodorizers can contain changing measures of phthalates – exacerbates that the Centers for Disease Control found may cause malignancy, hormone variations from the norm and other medical conditions. Regular approaches to renew the air incorporate utilizing preparing soft drink to retain smells, taking the garbage out each day, and heating up a cut lemon.

Utilize sifted water Your family may incline toward drinking separated or filtered water instead of plain faucet water. Fox recommends that you might need to avoid potential risk for your pet. Utilizing a water channel will dispose of any chlorine or fluoride in the water.

Evade hurtful yard items Landscapists may utilize pesticides, deer anti-agents, manures and plant nourishments that are compound based and can be risky to your dog's wellbeing. A portion of these synthetics are known cancer-causing agents. She proposes working with exterior decorators or nursery store staff to discover more regular answers for basic yard issues. If you are searching best dog grooming in delhi contact to whoof whoof.

Risky Medications

Fox suggests searching out a comprehensive veterinarian in the event that you need to assist your pet with "going green." There is an accessible rundown on the American Holistic Veterinary Medical Association Web website.

Watch out for bug and tick prescriptions. The U.S. Ecological Protection Agency (EPA) is increasing its survey of these items, especially effective items applied to the skin, after late upswings in grumblings about antagonistic responses from pets. These responses range from skin aggravation to seizures, and in some uncommon cases, passing of the pet. Fox suggests characteristic enemy of bug and tick cures, including:

Brushing your dog consistently with a fine-toothed bug brush to eliminate ticks and insects

Vacuuming every day to eliminate eggs and hatchlings

Putting brewer's yeast and nutrient B complex enhancements in pet nourishments as a characteristic anti-agents

Utilizing regular effective anti-agents, for example, lemon and eucalyptus

Basic family unit items, from floor covering cleaners to bite toys, can likewise be unsafe for your dog. It's critical to search for unfavorable responses. "On the off chance that your dog out of nowhere begins tingling, scratching or gnawing its paws, you can play doggie investigator," Peterson says. "Ask yourself, 'Did I simply utilize another carpet cleaner or sprinkle something on the floor covering?' The item itself might be protected, however singular dogs may have a response to it.  If you looking for best pet grooming in delhi visit to our website

[modfa]

Welcome to “Modern Impressions” exhibition, featuring captivating art and images by:

Charles H. Carver, Carlos Ferreira, Carl Gethmann, Ted Shado, William H. Haney, François Carella, Daniel Shiel, Mariana Duarte, Grégoire A. Meyer, Nelson de Paula, Otto Laske, Randy Gaul.

In this new exhibition, we are happy to present to you a showcase of unique, creative art and photographic works by a select group of international talents. Each work will take you on a journey of exciting discovery and insight into the creative worlds of these twelve artists who dare to go beyond the ordinary.

Please enjoy the exhibition, and everyone is welcome to post messages and send inquiries to any of the artists presented. Please feel free to contact them individually if interested in acquiring any artwork from their specialized collections.

Charles H. Carver

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Charles H Carver is an award-winning digital artist. His work has been featured in the book Secrets of Award-Winning Digital Artists, Digital Fine Art Magazine, and has been shown in the United States, Australia, Europe and Russia through selection into an elite group of digital artists through International Digital Art Awards, Seybold Seminars Digital Art Awards and MacWorld Digital Art contests. His work investigates the spatial and color relationships that dynamically unfold in ‘cubist’, ‘deco-cubist’, and object-rich arrangements of form. Overt representations, figures and scenes are emergent features that first lend themselves to a dynamic perceptual space that requires unfolding over time, but achieves stability.

  Contact: Charles H. Carver

website: http://www.charlescarver.com anxiousbuddha@gmail.com

  Carlos Ferreira

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Carlos Paulo Costa Ferreira (aka OneOfTheClan) is a self-taught artist creating many different types of art. A gift perhaps some may call say. Carlos recalls that from age of ten he was able to sketch in pencil anything that he saw and copied it to the best of his ability. Unfortunately, his parents had other career plans for him and didn’t share his love of art, so when he graduated school he followed his father’s trade, in which he didn’t last very long.

From age 18, in the days of apartheid in South Africa, Carlos started out with fashion design, because, he said he had a liking for trendy clothing and punk fashion was his favoured trend. After three years he opened a little shop called “oneoftheclan” and concentrated on gothic type clothing. He decorated his shop with murals and started painting murals, becoming self-employed from there onwards.

Carlos would later venture into paint effect technique, which at the time was in-demand. He later ventured into manufacturing custom made objects in various materials. And, eventually, he went into the interior side of design and became an interior designer.

During this time, Carlos bought himself a computer to play games on, and one day he got hold of Corel Draw. He was fascinated by the art-making software and over some years he pursued it as a hobby. He would eventually master the use of the computer, and today he specializes in 3D modelling interior and architectural design.

As for digital art, Carlos believes it’s the future, although some people tend to disagree and debate whether traditional or digital. He says if – “the eyes see through to the hand then one can draw anything, but perfection comes from self-criticism and needs discipline to advance”. As for imagination, well, that one remains to him: “Imagination is voices one can see”.

Art, to Carlos, is a symbol that is and has been recorded in history and has many forms. IT allows freedom to express whatever issue or feelings in the same way a book is written.

Carlos says he has his my own philosophy on many issues, but, since he can’t do much about it, at least he can express it in a digital manipulated form of art. According to him, no brush can be as perfect as a machine, so, he stands to favour digital art. Although to be an artist, one still needs to go through the traditional side of its original format.

And so, ultimately, this is why he calls himself ‘oneoftheclan’ in the digital art world.

  Contact:

ferreira.carlos86@gmail.com

    Carl Gethmann 

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Carl enlisted in the U.S. Navy and served four years as a Radioman on a destroyer built in the last year of the Second World War. After his service ended, Carl married, attended a technical school, and began a 48-year career as a technical writer documenting computer hardware maintenance, software applications, and developing on-line help systems for major American corporations.

For the first three decades of his life, Carl had no interest in art – never even doodling as a youngster. Carl’s interest in art began in the 1960s because his wife was taking courses in art history at the Tyler School of Art and Chestnut Hill College. Since Carl was going to a lot of museums with her, he began to take an interest in art and got hooked. As it developed, Carl was most attracted to landscapes. During the late 60s and early 70s, Carl learned to paint and draw using exercises in how-to books and copying paintings and drawings from art books. Because Carl was interested in all types of media and had no real studio (Carl created most of his art in his mother-in-law’s garage – not exactly the best lighting) Carl dropped his painting efforts and switched over to a self-directed lifetime study of art history. Study was done exclusively by observing art in museums, online, and in art books.

Carl retired from technical writing in 2005. In 2009, Carl decided to try, once again, his hand at art and bought a number of graphics and paint programs to utilize his knowledge of computers and software. Other than Carl’s self-directed study of art, he has no formal art training, but does have a long history of teaching himself whatever he needed to learn. Carl spent the next two years learning various graphics programs and how to use a graphics tablet. Carl then entered his first open juried art competition in 2011 and his painting was accepted and displayed in the Reading Public Museum.

After finishing a number of paintings, Carl created his website http://www.CarlGethmannArt.com to showcase his artistic creations for friends. After receiving favorable responses from them, he decided to see if he could generate an art career. His work can be classified as contemporary realism/representational with a flair for being a colorist.

Carl’s favorite painters are JMW Turner, George Inness, Walter Launt Palmer, William Merritt Chase, John Singer Sargeant and Claude Lorrain. And his favorite schools of art are the Hudson River School; American Tonalists, Eastern and Californian impressionists; the French Barbizon School; English landscapists; and the Dutch land/seascapists.

The compositions are created using a digital computer, a digital drawing tablet, and several graphics programs as well as plug-ins for these programs. Drawing on many years experience as a computer hardware/software technical writer and decades of self-directed study of art in all its forms, Carl aims to illustrate that fine art can be created using modern digital technology that produces an art that goes beyond that possible with natural media.

Carl is a self-taught artist who explores contemporary realism/representational art employing new methods. The breathtakingly detailed compositions resonate with color and a sense of space that is larger than life, but avoids photo-realism. They represent a marriage of the old and the new that results in wholesome unaffected art that is refreshing to the eye while capturing the nuances and transparency of light and reflection.

Using color to provoke mood and emotion in the viewer, the art emphasizes the inherent beauty of nature, animals, and man-made objects to reinvigorate and elevate the subjects to a new stage of art leaving behind the centuries-old pleine air painting techniques and brushwork prevalent in this form of art. Carl’s primary concern is with the effect of light on the objects in the composition. A feature of many of the paintings that include trees is using a variety of colors to fill in the spaces formed by the intersection of branches to create a stained-glass effect that many viewers immediately recognize and comment on.

Once completed, the compositions are printed on aluminum panels by infusing the colored ink into a special coating on the panel. Because the image is infused into the surface and not on the aluminum panel itself, it takes on an almost magical luminescence, brilliance, and depth of color resulting in vibrancy not possible with natural media. A gloss finish ensures permanency greater than natural media, prevents scratching, and you can clean it with a damp cloth.

Only one copy of each composition is made available on a framed aluminum panel that is as unique as any natural media painting or drawing. Framed, mounted, and loose prints on a wide variety of media are available from Carl’s website.

Awards 2016 American Art Awards: Second, Third, and Fifth Place Awards – Digital Art Representational Category 2016 Fourth Place Award, Contemporary Art Gallery Online, June Water/Seascape Competition 2016 Special Merit Award, LightSpace&Time Gallery 6th Annual Landscape Juried Competition 2015 Special Merit Award, 5th Annual CityScapes Exhibit, LightSpace&Time Gallery, Jupiter, Florida 2015 Second and Third Place Awards Digital Representational Paintings, 2015 American Art Awards Online International Juried Exhibit, Los Angeles, CA 2015 Second Place Award, All Abstracts International Juried Exhibit, Contemporary Art Gallery Online, Annapolis, Maryland 2015 Award of Excellence, 4th BiAnnual Competition, Four Points Contemporary Gallery, Alief, Texas 2015 Special Recognition and Special Mention Awards, All Photography Exhibit, LightSpace&Time Gallery, Jupiter, Florida 2015 Most Nostalgic Award, Modern Farm 2015 Juried Exhibit, Studio B Gallery, Boyertown, PA 2015 Two Special Recognition Awards, 4th Annual Seasons Art Competition, LightSpace&Time Gallery, Jupiter, Florida 2014 Runner Up for Artist of the Year, artistinfo.co.uk online artist directory, United Kingdom 2014 Special Recognition Award, Open International Juried Exhibit, LightSpace&Time Gallery,Jupiter, Florida 2014 October Artist of the Month – Fusaro Online Gallery, Reading, PA 2014 Two Special Merit Awards – 4th Annual Juried SeaScape Exhibit, LightSpace&Time Gallery, Jupiter, Florida 2014 Special Merit Award – 14th Annual Juried Landscape Exhibit, LightSpace&Time Gallery, Jupiter, Florida

2013 Jurors’ First Place Award in Small Art – Big Impact Juried International Online Art Exhibit, Manhattan Arts International Online Gallery, New York City, NY. 2013 American Art Awards Online International Juried Exhibit, Los Angeles, CA – Four of the five paintings submitted won prizes: First Place award in the Realism – Landscape Category Second Place award in the Digital Art – Nonrepresentational Second Place award in the Digital Art- Representational Third Place award in the Floral – Realism Category 2013 Awarded Publishing Contract with Editions Limited at Art Comes Alive Exhibit 2013 Third Place Award in A Singular Creation’s International Online Art Competition 2012 American Art Awards Online International Juried Exhibit, Los Angeles, CA – All four paintings submitted won prizes: First Place award in the Fantasy Landscape Category Fifth Place award in the Fantasy Landscape Category Second Place award in the Impressionism-Landscape Category First Place award in the Romanticism Category 2012 Collective Exhibit, Studio B, Boyertown, PA. Two of my three paintings exhibited won awards as voted by attendees: I was voted the Sidewalk Sale People’s Choice Award and the Best in Show Award.

Exhibitions

2016 Featured Artist at Gallery Zella, Bryson City, NC 2016 Contemporary Art Gallery Online All Paintings Juried Competition 2015 22nd Bi-annual International Exhibit, 2015 Spring/Summer, American Juried Art Salon (AJAS), Texas 2015 Layers of Language Exhibit, Studio B, Boyertown, PA 2015 Mi Amor Exhibit, Deska Gallery, Phoenixville, PA

2014 Colors International Juried Exhibit, Contemporary Art Gallery Online, Annapolis, Maryland 2014 Reflections, The Baum School of Art, Allentown, PA 2014 Botanicals Exhibit, Contemporary Art Gallery Online, Annapolis, Maryland 2014 20th Annual Juried International Show, American Juried Art Salon (AJAS), Texas 2014 Anything Goes II Juried Exhibit, Exhibitions Without Walls 2014 Agony & Ecstasy Juried Exhibit, Studio B, Boyertown, PA 2014 The Farm Juried Exhibit, Studio B, Boyertown, PA 2013 Solo Exhibit Haut Chocolate Café, West Reading, PA 2013 Art’s Up Summer Exhibit, Studio B, Boyertown, PA 2013 Art Comes Alive Juried Exhibit, ADC Gallery, Cincinnati, OH 2013 Spring Arts Festival Show, Reading Public Museum, Reading, PA 2013 Solo Exhibit ArtPlus Gallery, West Reading, PA

2012 Studio B Members Exhibit at the North Hall of Montgomery County Community College, Pottstown, PA. 2012 Solo Exhibit at the Muhlenburg Art Center, Temple, PA 2012 Solo exhibit at the GoggleWorks Center for the Arts, Reading, PA 2012 Solo Exhibit, Judy’s on Cherry, Reading, PA 2011 Berks Arts Council International Open Juried Exhibit at the Reading Public Museum

  Ted Shado

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Ted Shado is a Canadian artist, born in Windsor, Ontario and currently resides in Toronto, Ontario, Canada.  He has over 40 years of creating art and has displayed his art in many exhibits across Canada and online. He was formally trained at the University of Windsor (B.F.A) with further education in Architecture at Ryerson University, and Teaching Degree B.Ed. at the University of Toronto.

Ted creates for the art aficionado and for galleries online. He creates abstract digital art and photographs of reality. His artwork is displayed offline at the Denison Gallery, Toronto.

His artwork is available for purchase at: art.com , and at the Denison Gallery, Toronto, Canada.

He has love for all things art and has discovered singing (opera) and acting

Think about art & enjoy.

  Exhibits

currently showing at http://www.tedshado.com and http://www.art.com and various other websites on the World Wide Web since 1998. at Denison Art Gallery, Toronto, Canada. 34th Annual Western Ontario Exhibition, (juried) May 3rd to June 2nd, 1974, London, Ontario 14th Annual Toronto Outdoor Art Exhibition, July 1975, Toronto, Ontario Group Show, Oui Gallery, 1975, Windsor, Ontario Inter-Continental Museum of Erotic Art, 1975, Toronto, Ontario Canadian Arts and Crafts Exhibition, July to August 1975, Toronto, Ontario One Man Show, St. Vladimir Institute, February 22nd to March 6th, 1976, Toronto, Ontario Image 76, Ontario Society of Artists, (juried) First Canadian Place, December, 1976, Toronto, Ontario Image 77, Ontario Society of Artists, (juried) Toronto, Kitchener-Waterloo, Oakville and Cobourg, December 1977 to March 1978 5th Annual International Exhibition of Miniature Art, (juried) Del Bello Gallery 1990, Toronto, Ontario (alias DbA) 10th Annual International Exhibition of Miniature Art, (juried) Del Bello Gallery 1995, Toronto, Ontario (alias DbA) Summer’s End Group Show, Del Bello Gallery, August 30th – September 10th 1996, Toronto, Ontario Website Showplace, current work, http://www.tedshado.com, started 1998 Consignment Exhibition, Ciparis/Lennox Gallery, 1999-2000, Toronto, Ontario, (alias DbA) Group Show, Michelangelo Art Gallery, April 1st – April 15th 2000, Toronto, Ontario (alias DbA) Permanent Collection Show, The Academy of Spherical Arts, January 2000 – February 2001, Toronto, Ontario, (alias DbA) Current exhibition at http://www.tedshado.com, sales thru http://www.art.com , Denison Gallery Toronto, Canada

Grants

Ontario Arts Council; for one man show, 1976, February 22nd to March 6th 1976, Toronto, Ontario

Collections

The Estate of Egidio Del Bello, Toronto, Ontario Oui Gallery, Windsor, Ontario University of Windsor Art Gallery, Windsor, Ontario Otis Tamasauskas, Kingston, Ontario J. Shanfield, Windsor, Ontario Senator Peter Stollery, Ottawa, Ontario The Estate of The Right Honorable Pierre Elliot Trudeau, Montreal, Quebec

  Contact:

email- ted@tedshado.com

website – tedshado.com

    William H. Haney

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Artists Statement

“I have always been attracted to the anatomies of humans, animals, machine and biological habitats. When I draw, it is first highly analytical with the purpose of dissecting the underlying substrates that gives various objects their structures. Simultaneously, I fall upon anatomical similarities, intriguing coat-patterns, and kinematic movement. Areoles, spines, molecules, linchpins, cogs and intercellular scaffolds become metaphorical. My creative challenge is to use these discovered relationships in creating a new choreography reassembled into dynamic visual architectures. If I am successful in my final digital assembly, the viewer becomes curious about the metamorphosis before them and becomes a welcomed engaged participant.”

  I. EDUCATION:I. EDUCATION:

Post Graduate work: Carnegie-Mellon University. Pittsburgh, PA.MFA, University of Georgia, Athens, GA. BFA, University of Tampa, Tampa, FL.

II. ACADEMIC EXPERIENCE:

Seton Hall University, Professor of Art and Design, College of Communication and The Arts, 2000-present University of Pennsylvania, Visiting Lecturer, PENN DESIGN, Department of Fine Arts, 2002-2004 The College of New Jersey, Assistant Professor of Art School of Art and Communications, 1999-2000 Carnegie-Mellon University, Associate Professor of Art, College of Fine Arts, 1976-1986

III. COURSES OF INSTRUCTION:

Advanced Drawing and Anatomy, Web Design , Drawing as Design, Advanced GraphicDesign and Advertising, Digital Art and Design I, II, Digital Illustration, Digital Painting, Digital Imaging.

IV. SOLO EXHIBITIONS/GROUP INVITATIONAL EXHIBITIONS:

Seton Hall University, Faculty Group Exhibition, South Orange , N.J. The College of New Jersey, Department of Art, Faculty Group Exhibition Snugg Harbor Museum, “4 from Carnegie-Mellon University,” New York, NY Alex Rosenberg Gallery, “4 from Carnegie-Mellon University,” New York, NY Scarfone Gallery, One-Person Exhibition, Tampa, FL Duquesne University, Invitational Exhibition, Pittsburgh, PA, Butler Institute of American Art, Youngstown, Ohio Carnegie Museum of Art, Pittsburgh, PA University of Sherbrooke, Quebec, Canada Art in the United Embassies Program, Department of State Westmoreland County Museum of Art, Allentown, PA Southern Alleghenies Museum of Art, Painting InvitationalHewlett Gallery, One-Person Exhibition, Pittsburgh, PA United States International Communications Agency, American Art Series, Ankara,Turkey Tennessee Museum of Contemporary Art, Nashville, TN, Scottsdale Center for the Arts, Scottsdale, AZ Corcoran Gallery of Art, Invitational, Washington, DC Community Arts Gallery, Invitational, Detroit, MI Georgia Museum of Art Group Exhibition, University of Georgia Visual Arts Gallery, “Group Invitation,” University of Georgia,

VI. AWARDS Special Merit Award, Patterns, Textures and Forms” International Juried Online Art Competition, Light Space and Time Gallery, 2017 Gold Award, “M.E.D. Medical Education Dynamics”, Poster”, Category: Poster Design, 47th Creativity International Design Awards, 2017 Silver Award, “M.E.D. Medical Education Dynamics”, Category: Digital Illustration, Creative Davids International, 2017 Forth Place, Renoartio National Digital Art Competition, “In- Seine-Net II”, 2017 Manifest 12th International Drawing Annual(INDA12):“Flying Scull revisited II”:Manifest is a Non Profit Creative Research Gallery, 2017 Second Place, Renoartio National Digital Art Competition, “In- Seine-Net II”, 2017 Best of Show, 1st Place, Studio 24 Art-Competition, Emotion & Energy of Color 4, “Siamese Twins” , 2017 Gold Award, “M.E.D Medical Education Dynamics”, Category: Poster Design, MARCOM and The Association of Marketing and Communication Professionals (AMCP), 2016 Platinum Award, “Biofilm Formation and Eradication Education Poster”,, Category: Illustration/Graphic Design/Infographic, MARCOM and The Association of Marketing and Communication Professionals (AMCP), 2016 Bronze Award “Biofilm Formation and Eradication Education Poster”, Category: Poster Design, 46th Creativity International Design Awards, 2016 Bronze Award “The Curse of Rigoletto”, Category: Poster Design, 46th Creativity International Design Awards, 2016

  Contact: WILLIAM H. HANEY

225 Del Rocco Court • Raritan • N J • 08869

CELL: 908-369-9700 • E-MAIL: wmhaney50@gmail.com

  François Carella

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  Francesco is a freelance French photographer, born December 6th, 1971 in Albertville in the Alps.

His Italian father, art lovers, held a store of Fine Arts, and was involved in an artistic and painting association. Francesco grew up with this influence, and like all children, loved to draw, paint…Creating is a way to get back our kid heart.

His mother then encouraged to pursue studies in what he likes (the best way to channel him), Applied Arts. Francesco develops his first photographs in the bathroom improvised in redlight darkroom. His first experience in the creative department of a small printing business and will put him on the path, but the company needs to close. An experience in an advertising studio photographers makes him abandon photography… for a while.

He earns his life with little jobs, both mover, packer, delivery boy, and mason.This succession of occupations allows him to become impregnated with human meets . He is pleased to have had the chance to work with the « Compagnons du Devoir » (Builder companionof Duty) during the renovation of Grenoble Cathedral. The technique and the love for building art of these artisans forced his admiration.

After that, he gets motivation to work again in creation and trained in new technologies. Thus he began his experience as a graphic designer in Paris. He spends 3 years there and used to walk the streets, subway, wich are real human center, in ordert to make pictures. Francesco houses in the Saint Denis Street , place of mixity.

Francesco works as graphic designer since20 years, and is working on his own since 2005 via the freelance studio Carella & Co. He developed the photographic activity, conducting business reportage, portraits, covering sport events including boxing.

What makes him vibrate is to meet. Go to the others, sharing a single moment, that’s his idea of happiness in photography. Wandering the streets, prowling, stopping, and taking time to discover an emotion behind a glance. Being able to lose himself, also embracing solitude and let his three friends do: instinct, heart and luck.

He dedicate also in painting, Francesco whose real name is François uses it as his artist name, his father called him also Ciccio.

Francesco focuses on social documentaries, he is currently completing a one-year work in portraiture of young people from the suburbs into the world of boxing : BeurNoir

Contact:

You can see his portfolio on: http://www.cicciophoto.com

He can be contacted at: francesco.cicciophoto.com

    Daniel Shiel

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Artist Statement

My photographic work explores the rich textures and patterns evident in everyday objects both natural and artificial; details often unseen or overlooked at first glance. The collected images provide the ‘materials’ or ‘pallets’ with which I explore and develop themes associated with the past, decay, absence, destruction and loss.

My professional training and career as an archaeologist is fundamental to and puts into context my photographic work. However, I can trace my preoccupations back to childhood holidays in Wales and Cornwall; walking in landscapes scarred by past mining and the ruins of agricultural change. For me these events have produced palpable sensations that have remained with me as I continue to walk, explore and look.

I have recently viewed my work in the context of psycho-geographical adventures into marginal and semi-abandoned areas. They often lie between or at the edge of the urban environment and the countryside.

I observe a world and, recording it, observe myself and my response to it; I’m present but feel an invisible observer. The locations require the absence of people, I’m looking for an atmosphere acutely affected by the knowledge that people have been present in the past, recently or will shortly return. So I exist in a space between these moments, observing absence.

Nowhere have these experiences been as rewarding as when, living in Dublin, I explored the lanes and passages running behind the terraces of the city’s inner suburbs. Here, city noise and activity are reduced to a background hum; buildings and settings are of human scale. The history of any city is the accumulated aspirations, decisions, actions and conflicts. This is not just the history of great events but the mundane details that appear to be of very little significance. They accumulate unnoticed but have a story to tell.

The landscapes and objects I photograph have ‘minor histories’; from their creation to destruction, from usefulness to supersession and final abandonment. A process delayed by repair and recycling; acts further enriching their ‘history’ and increasing the complexity of their appearance.

Using photographic collage I attempt to define and express the uncertain sensations and the often quite magical response I experience during my explorations. I extract specific details from photographic images, isolating them from their original context. These provide ‘materials’ or ‘pallets’ which I combine into fresh and unfamiliar landscapes that emphasise the essence or perspectives I experience. The resulting structures may have a surrealist quality; become remote landscapes and settings of questionable and unsettling perspective and narrative.

  Exhibitions

2015 Saltaire Peace & Crafts Fair, Saltaire, UK 2015 Imagined Urbanscapes, Solo Exhibition, The Brewery, Kendal, UK 2015 Hebden Bridge Art Fair, ArtBound event, UK 2015 Wirksworth Festival, Deryshire, UK 2015 Reassemblages, Joint Exhibition, The Station, Richmond, UK 2015 Great North Art Show, Ripon, UK 2015 Tra-Digital Exhibition, Halifax, UK 2015 Kirkstall Art Trail, Kirkstall, UK 2015 Saltaire Open Houses, Saltaire, UK 2014 Assemblages: Experienced and Imagined, Joint Exhibition, The Station, Richmond, UK 2014 Open Up North, The Brewery, Kendal, UK 2014 Same But Different Art Fair, Temple Newsam Walled Gardens, Leeds, UK. 2013 Best Shots, Photographic Competition & Exhibition, Prize Winner, The Station, Richmond, UK 2013 Aesthetica Art Prize, Longlisted & St Mary’s York, UK. 2013 Borders @ Gallery 23, arteriagallery23, Lancaster, UK 2012 Salon 2012, South Square Gallery, Thornton, UK 2012 £40 Show, Cupola Gallery, Sheffield, UK 2012 Calderdale Open Art Exhibition, Prize Winner, Smith Art Gallery, Brighouse, UK 2012 Another Spot on the Wall, The Station, Richmond, UK 2012 Art In The Pen, Skipton, UK 2012 Artweek, Mountfield, Holmfirth, UK 2012 Artweek, Civic Hall, Holmfirth, UK 2012 Derbyshire Open Studios, Whitehouse Farm, Staffordshire, 2012 Saltaire Open Houses, Saltaire, UK 2012 America: North and South, Mill Bridge Gallery, Skipton, UK 2011 Northern Freeze, Mill Bridge Gallery, Skipton, UK 2011 Opening Exhibition, Mill Bridge Gallery, Skipton, UK 2011 Art In The Pen, Skipton, UK 2011 Artweek,Civic Hall, Holmfirth UK 2011 Saltaire Open Houses, Saltaire, UK 2011 Copy/Paste – 2D Art, Shine Business Centre, Leeds, UK 2011 Joint Exhibition, The Butterfly Rooms, Saltaire, UK 2009 RegalArt09, Espai D’Art Miquela Nicolau, Felanitx, Mallorca 2009 Paper, Gallery Zipp, Sante Fe, New Mexico, USA 2009 SuperMassiveBlackHole Magazine, Issue 1, Ireland 2008 Art Nadal08, Espai D’Art Miquela Nicolau, Felanitx, Mallorca 2008 Saltaire Open Houses, Saltaire, UK

  Contact:

http://www.danielshiel.com

  Mariana Duarte

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Mariana Duarte is a visual artist based in Porto Alegre, Brazil. She was born in 1984 and is currently studying BA Visual Arts at Federal University of Rio Grande do Sul (UFRGS), Porto Alegre, Brazil. Also, she works in a research group into Digital Image and Video, coordinated by Dr. Sandra Terezinha Rey, at the same university. During her BA course she studied one year at Leeds Beckett University (Leeds, UK), from 2013 to 2014, as part of her sandwich undergraduate experience, and was over this time abroad that she got in touch with digital media. Mariana Duarte main work comprehends digital photography and its developments. Currently she is also involved in a particular research into Glitch Art, applying softwares to corrupt the digital photography data and modify the resulting image, such as hexadecimal, text and audio editors as well as Processing to create databent images. Last important group exhibition is No Tempo dos Alquimistas, Museum of Art of Rio Grande do Sul (MARGS), Porto Alegre, Brazil.

About Glitch Art, Mariana says:

“Glitch Art is the aesthetic exploration of “digital error” to produce works of art (picture, video, installation, audio, and other media). An important feature is the exploratory and experimental process that Glitch artists use in their creations, in which errors, accidents and their appearance of uncertainty are used as tools in the creative process and are allowed to pass freely, and that should not be ignored nor seen as something negative. These errors and accidents should be understood as aesthetics of digital art.The Databending is the technique of inducing these errors using software to corrupt the original digital files, causing changes in reading the data of these files, however with virtually no control of the results.”

“By using text editor (WordPad effect) and audio editor (sonification) it is possible to “open” an image document and corrupt it. At this point the Glitch Art can generate a physically kinesthetic image.”

“Through the inserter phrases in the code generated by the act of opening the image in a text editor or hex editor it is possible to corrupt the image file originating a new image that expresses the written sentences with colour, distortion and movement, now hidden in the image. The image could also be corrupted and rearranged by inserting audio voice in the waves generated by reading the document image by an audio editor, so that the sound of the voice becomes visible in the image.”

“I also like using the software Processing to cause (randomly) rearrangement of images pixels.”

Academic Formation (2012 – ) BA Visual Arts – Universidade Federal do Rio grande do Sul (UFRGS), Porto Alegre, Brazil. (2012 – 2013) Scientific Research (UFRGS – CNPq) – Printmaking – O Fascínio do Traço: expressões do múltiplo – Coordinator: Maristela Salvatori. (2013 – 2014) BA Graphic Arts and Design (CNPq) – Leeds Beckett University, Leeds, United Kingdom. (2015 – 2016) Scientific Research (UFRGS – CNPq) – Digital Image – Desdobramentos da Paisagem – Coordinator: Sandra Terezinha Rey.

Group Exhibitions 2012. Registro geral. Espaço Cultural Albano Hartz. Novo Hamburgo. Brazil 2012. Andanças. Galera Mascate. Porto Alegre. Brazil 2015. No Tempo dos 

  Contact:

Address: Avenida Diário de Notícias, 1555, 1402 T1. CEP 90810-080 Porto Alegre/RS Brazil.

e-mail: marizinhaduarte@hotmail.com

website: http://marianaduarteia.wix.com/marianaduarte

Phone: home +55(51)30244196 mobile: +55(51)96758720

    Grégoire A. Meyer

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  London-based award-winning artist Grégoire A. Meyer creates flawless digital illustrations that evoke emotionally thoughtful reactions.

He captures the essence of fleeting moments, like a splash of water or a disintegrating face, and freezes them in time in ephemeral objects that appear almost tangible.

The works are distortions of the human form and create a complex relationship between fact and fiction. Through expert digital techniques, Meyer constructs fragmented bodies and faces made out of shiny, reflective metallic.

He uses extremely dramatic lights and shadows to create the illusion of a realistic object that only exists within the digital platform. Viewers are invited to inspect the surface, to look through the hollow forms, and to investigate the reflections bouncing off of the glossy metal in a discovery of the many layers within each composition, both on and below the surface.

  About the art work:

A profound spiritual lesson from tree symbolism comes from the roots. They serve as anchors, gripping tightly into the Mother (Earth). They form a symbiotic union with the earth, drawing from her various nutrients and water. Tree roots can span for miraculous lengths – like branches – ever reaching out for more. This is metaphoric of our own inner root systems of beliefs and spirituality. We must dig deep, and be firmly rooted in a structured system of beneficent beliefs. It’s the only way we are insured upward mobility.

A vital observation about roots is they are unseen. They remain (mostly) underground. In much the same way, our spiritual progress will be hidden from view to the common eye. Our growth and power occurs beneath superficial layers. Moreover, our belief systems are much like root systems of a tree – they are sacred, tacit and they anchor us in our lives.

  Contact:

Website: www/facebook.com/z3rogravity

Email: z3rogravity7@gmail.com

    Nelson de Paula

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Artist Statement

“I’m a gatherer of dreams, shooting daily to my network by abyssal depths on the border of Unconsciousness. I dont separate the wheat from the chaff. I believe that the most spectacular diamonds are often embedded in the remains of shellfish and fungi of the mind.”

Nelson d. Paula is a Brazilian artist, who was a member of the surrealist group of São Paulo. He was born in São Paulo, in 1950. Philosopher, poet, essayist, visual artist, since 60’s years works on different fronts, with participation in Biennials of São Paulo and with several solo exhibitions. He has many books published, including:

“The Plasma”

“Collage: A Phenomenology Testimony”

“The host of Isis”

“Voices From Bellow”

“Project to A Fundamentalist Revolution”

From the end of the Decade of 90s, he went on to dedicate himself exclusively to digital media, both for your collages, and for the development of e-books of poetry and philosophy.

He published many of these e-books in Brazilian and international sites such as Amazon, Bookess, Bubok, Saraiva. His works are in dozens of sites around the world, continuing a search for new worlds and possibilities.

    Contact:

npmc@uol.com.br

  Otto Laske

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Artist Statement

I am an experimental artist whose esthetics are shaped by digital imagination deriving from my history of using software for art making since 1970 (initially in music). My visual portfolios comprise paintings, graphics, photography, and animation. My work is abstract in the sense that I invent shapes, colors, textures and visual perspectives without reference to representational concerns. My topic is the mind’s working itself. I consciously share my creative process with the computer to a degree I determine depending on the particular work I am focused on. I work with a large variety of tools which include: self-defined paint brushes, spontaneous and algorithmic drawing, image manipulation, texture synthesis, and animation tools.

Otto Laske was born in Silesia, then Germany, just before the outbreak of World War II. He emigrated to the US at age 30, after studying philosophy at the Frankfurt School, Frankfurt, Germany, and music composition in Darmstadt, Germany. He continued music studies at New England Conservatory, Boston, MA, USA, and at the Institute for Sonology, Utrecht, The Netherlands. Otto’s “mother art” is poetry, and he is a published poet. After 45 years of composing concert music, Otto became a visual artist. His musical, poetical, and visual work is slated to become part of the Texas State University School of Music “Otto Laske Archive”.

Otto’s work has been exhibited nationally (e.g., the Beaumont Art League, Beaumont, TX; the Meta-Integral Foundation, Sonoma, CA) and locally (e.g., Rockport Art Association, Rocky Neck Art Colony, Centennial Gallery, Peabody, all MA). In 2014, Otto curated Pixel Revolution for Rocky Neck Art Association, in which he presented prints of animation stills of internationally known animators (including his own work). Otto is a member of Rockport Art Association and Museum, the RAA Experimental Group, and Rocky Neck Art Colony, Rockport and Gloucester, MA, USA.

Contact:

http://www.ottolaske.com/gallery.html

https://www.saatchiart.com/account/collection/888704

Randy Gaul

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RANDY GAUL Visual Development Artist

2009-Present- CICADA PRINCESS, RIO, DESPICABLE ME, THE SORCERERS APPRENTICE, HEMINGWAY AND GELLHORN, PARADISE LOST, THE MOON AND THE SUN, MADAGASCAR 3, PEABODY AND SHERMAN, PENGUINS OF MADAGASCAR-Concept Designer, Storyboard Artist, Visual Development Artist, Matte Painter and Production Designer.

2003-2009-Art Director and concept artist for IceBlink Studios. Projects included, POLAR EXPRESS, MONSTER HOUSE, WAR OF THE WORLDS, BEOWOLF, CHRISTMAS CAROL and ROBOTA.

2009-2014-Art Director, Concept Designer, Matte Painter for Disney, Dreamworks, Blue Sky, Digital Domain and Lucas Film.

RECENT- MADAGASCAR 3, PEABODY AND SHERMAN, LEGEND OF TEMBO, RIO, DESPICABLE ME, CLOUD ATLAS, and many more.

2002 GANGS OF NEW YORK-Matte Painter

2001-2002 DREAMCATCHER – Concept Designer/Art Director

2001-2002 THE INCREDIBLE HULK -Concept Designer

2001 SIGNS – Concept/Creature Designer

STAR WARS: EPISODE II “Attack of the Clones”– Concept Designer

2001 IMPOSTOR – Concept Designer

2001 HARRY POTTER AND THE SORCERER’S STONE – Concept Designer

2001 A.I. ARTIFICIAL INTELLIGENCE – Concept Designer

2001 THE MUMMY RETURNS – Concept Designer

SPACE COWBOYS – Concept Designer

2000 THE PERFECT STORM – Concept Designer

2000 THE ADVENTURES OF ROCKY AND BULLWINKLE – Concept Designer

2000 MISSION TO MARS – Concept Designer

1999 GALAXY QUEST – Concept Designer

1999 WILD WILD WEST – Concept Designer

THE MUMMY – Concept Designer

1999 END OF DAYS – Concept Designer

2009-Present

Current productions include Rio, a Blue Sky production. I provided visual development for characters and environments. Zeke the Odd, an original, all digital, animated feature

Written by myself, and Bill Bloom, currently in development.

Other current projects include design and development for feature and commercial work at Lightstream Animation, Hoytyboy Productions, Eveo, Polygon, Six Foot Two Productions, Element FX, Slash FX, Bonfire, Netsuke, Artefacto Producciones, HBO, Disney, Eucalypto Productions, Legendary Pictures, Blue Sky Studios, Spooky Cool Labs. Some of the work includes character design, environmental design, matt paintings as well as general look and feel.

Film history- End of Days, Mummy, Star Wars Episode 2,Artificial Intelligence, Gangs of New York, Dream Catcher, Hunted, Rise of the Lychans, Mirror, Mirror, Moon and Sun, Polar Express, Beowulf, Monster House, Robota, War of the Worlds, Hemingway and Gellhorn, Rio, Legend of Tembo, Lost Patrol, Madagacsar 3, Peabody and Sherman, Penguins of Madagascar, Cicada Princess, Crickets, Sorcerers Apprentice, Where the Wild Things Are, It’s a Dogs World, Odies, Signs, Huberts Brain, Spy Kids, Disney’s Trucks, Go South, The Hulk, Cloud Atlas, Imposter, Space Cowboys, Mission to Mars, Galaxy Quest, The Adventures of Rocky and Bullwinkle, The Perfect Storm,Dreamcatcher, O-Apostolo and Zeke the Odd, the Next Great Maker

FrFreelancelients include:

Spectrum Magazine, New Amsterdam Entertainment, Electronic Arts, Disney Interactive, Disney Imagineering, Pitch Productions, Lightstream Productions, Special Agent productions, Rivet Games, Matte World Digital, Obscura Digital,Tippett Studios, Curious Pictures, Bonfire Labs, Zynga, Spooky Cool Labs, Reliance Media, Eveo,Panthera Productions etc.

All references are available upon request.

  Contact:

visdev@comcast.net

https://zerply.com/randygaul

http://www.randygaul.com/randygaul/default.asp

  Modern Impressions – an exhibition of Art and Photography Welcome to "Modern Impressions" exhibition, featuring captivating art and images by: Charles H. Carver, Carlos Ferreira, Carl Gethmann, Ted Shado, William H.

[kecobe]

The Olive Grove John Singer Sargent (American; 1856–1925) ca. 1910 Oil on canvas Indianapolis Museum of Art, Indianapolis, Indiana

[theartoffrinton-blog]

David Stone: The A12 at Night

In the USA there has long been a sense of yearning excitement around the idea of the open road. From the historic search for new frontiers and the rapid and relentless push West, to the romance of the highway epitomised in Kerouac’s On the Road and the near mythic status of Route 66, to the mix of myth and nostalgia reimagined by Pixar for a new generation in their animation Cars. The road, subject or subtext to countless films and popular songs, has a central role in the American imagination and by cinematic proxy our imaginations too.

But the road has never meant the same in this country or induced the same sense of poetry. In the USA there is a romance and filmic quality to standing on a caged freeway bridge in the violet and yellow early evening heat, a glow of sky reflecting in the storm drains, traffic streaming north to San Francisco, taillights fading south to Los Angeles; a romance that an over-bridge above the M25 at Dartford or, in this case, the A12 at Colchester does not seem to have. As a nation we imagine we are about rootedness, about finding our true home. We imagine our better life if only we lived in a village.

The artist David Stone, a self confessed modern realist, has seen through both of these myths that surround modern living. He says ‘I regard myself as a landscapist, but interpret that as recording the landscape I live in rather than the classic countryside view’. Consequently he finds himself engaged by the places and by the ways most of us actually live, the edge of town, the scrappy and the half-built, bin day on the new housing estate, cars crawling by on a damp ring road, the glow of sodium street lights. To David these are the things of the modern landscape. They are our real experience of living in towns, or rather on the new built edge of towns.

In this corner of Essex we are all familiar with the A12. It is our arterial route in and out. It takes someone of David’s sensitivity and perception to also see it as a metaphor for something much darker and more intense. After mourning the death of a friend David began to see the image of the road at night as being a meaningful equivalent to each of our journeys into the dark, the unknown. The glow and flare of headlights, the fading red trail of distant traffic or delivery lorries gliding up a slip road to a service station become with sensitivity and skill deeply resonant and poetic. These beautifully executed small scale paintings bear meaning much larger than their size. They reclaim the ordinary and the mundane, the things we don’t like to think about, the things that make up a lot of our everyday life and forge them into powerful metaphors for our inner, perplexing and complex lives. What once we did pilgrimage to try to encounter David sees nightly in the ghost realms of the A12.

The A12 at Night; Paintings by David Stone is at Oasis Café, 2 Connaught Avenue, Frinton until 22nd December. 

MEET THE ARTIST come along to the open afternoon on Saturday 2nd December from 2 - 4pm, enjoy tea and cake and meet the artist.

Information about future exhibitions at www.frintonfree.com/art

[cma-american-painting-sculpture]

An October Day in the White Mountains, John Frederick Kensett , 1854, Cleveland Museum of Art: American Painting and Sculpture

Trained as an engraver, Kensett shifted to landscape paintings as a young man. In the summer of 1850, when he was 39, Kensett toured the White Mountains in New Hampshire and sketched this view of Mount Chocurua with the Saco River winding beneath it. Shortly afterward, he created this painting of the scene, which he exhibited at the National Academy of Design in 1855. Unlike earlier American landscapists, such as Thomas Cole, who reveled in stormy skies and rocky chasms, Kensett's paintings, such as this one, tend to be peaceful in feeling. Kensett was particularly interested in the subtle changes of color and clarity that occur as objects recede into the distance, an effect known as "atmospheric perspective." Size: Framed: 107.6 x 152.1 x 12.7 cm (42 3/8 x 59 7/8 x 5 in.); Unframed: 79.8 x 123.5 cm (31 7/16 x 48 5/8 in.) Medium: oil on canvas

https://clevelandart.org/art/1967.5

[bearslikebookstoo]

Thomas Hardy references a few artists in Far From the Madding Crowd and seems particularly influenced by those in the Dutch Golden age. The Golden age, which spanned the 17th century, paralleled the Baroque movement going on around much of Europe but favored realistic details over idealistic styling. In this time, many believed there was a hierarchy to paintings, listed here in descending order:

history paintings

portrait paintings

genre paintings

landscape paintings

still life paintings

The Dutch Golden Age saw numerous paintings produced in the “lower” groups. It is fitting that Hardy, who spends much of the novel describing the natural world surrounding his characters and developing his land of Wessex, would mostly reference the landscape artists of this time.

“but the grey, after years of sun and rain, had been scorched and washed out of the more prominent locks, leaving them of a reddish-brown, as if the blue component of the grey had faded, like the indigo from the same kind of colour in Turner’s pictures.”

J M W Turner (1775 – 1851) is an English Romanticist landscape painter. Like Hardy, he had a beginning in architecture. Turner is called “the painter of light” and is well known for his maritime scenes. He is also credited with elevating landscape paintings to the same status of historical paintings in his time. Despite the fact that more durable pigments existed at the time, Turner used paint materials that looked pleasing when freshly applied but faded very quickly, which Hardy may have been alluding to in the quote above.

Goldau and Fishermen at Sea

“The beauty her features might have lacked in form was amply made up for by perfection of hue, which at this winter-time was the softened ruddiness on a surface of high rotundity that we meet with in a Terburg or a Gerard Douw; and, like the presentations of those great colourists, it was a face which kept well back from the boundary between comeliness and the ideal.”

Gerard Terburg (also ter Borch) (1617 – 81) is a Dutch painter in Dutch Golden age known for his genre scenes and work with cloth textures. Gerard Douw (also Gerrit Dou) (1613 – 75) is another Dutch painter who lived in the Dutch Golden age. He was a pupil of the renowned Rembrandt and is known for his genre scenes and use of trompe l’oeil and strong chiaroscuro to create 3D forms. (For non-art people like myself, trompe l’oeil is French for “deceive the eye” and refers to creating the optical illusion that the subjects painted exist in 3D by using perspective. Chiaroscuro refers to the technique of using strong contrasts between light and dark tones to create 3D forms via highlights and shadows).

Lady at her Toilette (Terburg) and Girl Chopping Onions (Douw).

“The rain had quite ceased, and the sun was shining through the green, brown, and yellow leaves, now sparkling and varnished by the raindrops to the brightness of similar effects in the landscapes of Ruysdael and Hobbema, and full of all those infinite beauties that arise from the union of water and colour with high lights.”

Jacob van Ruisdael (Ruysdael) (1628 – 82) and Meyndert Hobbema (also Meindert) (1639 – 1709) are both Dutch landscape painters in the Golden age. Hobbema was actually a pupil of Ruisdael, who was considered the landscapist of his time. Ruisdael comes from a family of painters (his father, uncle, and cousin were painters as well). Nearly 700 paintings have been attributed to Ruisdael (though it is difficult to be sure when he and his family all signed using their last names), and his works went on to influence many following movements including the American Hudson River School. Both Ruisdael and Hobbema are known for their extraordinarily detailed portrayals of natural forms.

Landscape with Dune and Small Waterfall (Ruisdael) and Marshy Wood (Hobbema)

“The strange luminous semi-opacities of fine autumn afternoons and eves intensified into Rembrandt effects; the few yellow sunbeams which came through holes and divisions in the canvas, and spirted like jets of gold-dust across the dusky blue atmosphere of haze pervading the tent, until they alighted on inner surfaces of cloth opposite, and shone like little lamps suspended there.”

Rembrandt (1606 – 1669) (also a Dutch painter in the golden age) is the most well known artist that Hardy references. Unlike the other painters on this list, Rembrandt’s works span across all types of paintings, not only landscapes. Known for his use of chiaroscuro, he is sometimes called the King of Shadows.

Philosopher in Meditation and Landscape with a Stone Bridge

Artists in Far From the Madding Crowd Thomas Hardy references a few artists in Far From the Madding Crowd and seems particularly influenced by those in the Dutch Golden age.

[aic-american]

Blasted Tree, Jasper Francis Cropsey, 1850, Art Institute of Chicago: American Art

Like his fellow Hudson River School landscapists, Jasper Cropsey sketched in nature and then combined motifs he had observed into his compositions in his New York studio. In the late 1840s and early 1850s he traveled frequently to the Catskills, where he produced this oil sketch. Here, the gnarled trunk and branches of the weather-beaten tree offered the artist interesting variations of color, tone, and line. Cropsey often included such old trees in his paintings in emulation of Thomas Cole, whom he greatly admired. In Cropsey’s work, as in that of Cole, the subject introduces a sense of time and history into the scene, as well as conveying the sublime power of nature. Gift of Jamee J. and Marshall Field Size: 43.2 × 35.6 cm (17 × 14 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/129639/

[caveartfair]

6 Things You Didn’t Know about Francis Picabia, Dadaist Master

With a career that sprang out of Impressionism, matured in Dada, and concluded far outside the art world establishment, French artist Francis Picabia is admittedly difficult to pin down. Perhaps that is why it’s been so long since his last major U.S. retrospective—the current show at New York’s Museum of Modern Art is the first since 1970. So, who is this stunningly multifarious artist? Here are six things you probably didn’t know about Picabia.

At 15 years old, Picabia replaced his family’s art collection with his own convincing copies.  

Portrait of Francis Picabia, published in Guillaume Apollinaire, Les Peintres cubistes, 1913.

According to the artist, Picabia exchanged the works (which were, depending on the retelling, owned by either his father or his uncle) one by one and then sold the originals to fund his stamp collection. His family was none the wiser that young Picabia’s forgeries now hung on their walls. “When no one had noticed, I discovered my vocation,” he recalled. Although the episode could be interpreted as a simple teenage prank (and the artist was no stranger to jokes and hijinks throughout his career), Picabia’s self-proclaimed origin story may have greater significance to his eventual practice. “Fraudulence, he came to realize,” Gordon Hughes writes in the MoMA exhibition catalogue, “is not something passed through en route to hard-earned authenticity but part and parcel of the very structure of modernism itself.”

He owned 127 cars over the course of his life.

Première recontre [First Meeting], 1925. Francis Picabia Moderna Musee, Stockholm

Idylle (Idyll), 1925-1927. Francis Picabia "Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction" at The Museum of Modern Art, New York

Picabia was born into wealth, with a father descended from Spanish nobility and a mother who hailed from the Parisian bourgeois. His personal fortune made him an exception among avant garde artists in the 20th century. He was by far the richest Dadaist and spent his money freely on yachts, cars (he bought his first of 127 by 1900), and gambling. Wealth allowed Picabia to pursue art full-time from the very start, encouraged by his family. It also granted him the freedom to explore styles and approaches without the onus of actually needing to sell the art—a boon for an artist whose work was so aggressively ahead of its time that it frequently ruffled the feathers of critics and buyers.

Although he’s best known for his Dada works, Picabia began his career as a celebrated Impressionist.

Left: Francis Picabia, Notre Dame, The Effect Of Sunlight, 1906. © Francis Picabia. Right: Francis Picabia, Adam et Ève (Adam and Eve), 1911. Image courtesy of MoMA, New York.

After meeting the two sons of Impressionist painter Camille Pissarro in 1902, Picabia began to experiment with the style. By 1905, he was accomplished enough to sign a three-year contract with a dealer and to display his airy canvases at salons in Paris and beyond. Hailed by wildly enthusiastic critics as a “master landscapist” and a “young artist who perfectly merits his success,” Picabia was even honored by the French government when it purchased one of his works for a public collection. Despite his success, Picabia never truly embraced the Impressionist technique of en plein air (to Pissarro’s horror). Instead, he copied photographic postcards and, in some cases, even replicated earlier works by major Impressionists—his paintings of haystacks and Notre Dame’s facade practically shout “Monet.”

Some historians credit him with the first abstract painting.

Haschich (Hashish), 1948. Francis Picabia "Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction" at The Museum of Modern Art, New York

Udnie (Jeune fille américaine; danse) (Udnie [Young American Girl; Dance]), 1913. Francis Picabia "Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction" at The Museum of Modern Art, New York

In a move that would become his signature, Picabia gave up a thriving career in Impressionism when he abruptly broke contract with his dealer in March 1909. Later that summer, he created the watercolor Caoutchouc (Rubber), which has been hailed by some researchers as the first abstract painting. (The distinction has also been handed to Wassily Kandinsky and Hilma af Klint.) Whatever the case, Picabia is unquestionably a progenitor of abstraction. When he abandoned Impressionism, he turned to Cubism to create works like La source (The spring) (1912). Critics found the work’s red-hued, fragmented planes distasteful, with one noting that they “evoke encrusted linoleum.” Picabia’s work also predicted several movements that would arrive after his death—he has been credited with creating early prototypes of conceptual art, pop art, appropriation art, and so-called “bad painting.”  

He didn’t stop with Cubism—Picabia was also one of the founding fathers of Dada.

Ici, C'est Ici Stieglitz Foit et Amour, 1915. Francis Picabia Bowdoin College Museum of Art

Tableau Rastadada (Rastadada Painting), 1920. Francis Picabia "Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction" at The Museum of Modern Art, New York

Picabia’s career is notoriously difficult to categorize, perhaps best defined simply by its breadth. As ARTnews put it in 1928: “Picabia is the grasshopper of contemporary art, leaping lightly from ism to ism and having a very gay time of it.” By 1915, he had sprung from Cubism to Dadaism, where he would work with close friends Marcel Duchamp and Tristan Tzara (the movement’s founder). He left painting behind for several years, instead experimenting with prints, drawings, and various Dada publications. His work during this period included a series of “mechanomorphs,” his term for portraits of friends and family as machine components. But, as he was wont to do, Picabia split with the movement in 1921.

Several of his later works ended up on the walls of North African brothels.

Portrait of Viviane Romance, . Francis Picabia Private Collection

Femmes au bull-dog (Women with Bulldog), 1941. Francis Picabia "Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction" at The Museum of Modern Art, New York

As World War II loomed on the horizon, Picabia began to paint canvases of women that lifted imagery from movie posters and 1930s soft-core pornography. The figures—kitschy, often nude, and all white—bear an unsettling resemblance to work by artists approved by the Third Reich, historians have noted. Perhaps unsurprisingly, then, several of these works ended up in the hands of an Algerian merchant who sold them to North African brothels serving Nazis and Italian Fascists during the occupation.

—Abigail Cain

from Artsy News

[kecobe]

The Lido Paul H. Tilton (American; active 1885–95) 1894 Oil on canvas Isabella Stewart Gardner Museum, Boston, Massachusetts