The "Maker Creator Series" is my monthly series of candid conversations with artists, interior designers, architects and creators I admire, and have the opportunity of meeting through my business. Today, we’re chatting with Peggy Rubens-Dahl, FRESH ARCHITECT
I am an artist and painter from Germany and mainly paint the moon in shades of indigo. Why? As probably many of you, I have always admired the beauty of the moon and been hugely inspired by it. Mahatma Gandhi put it beautifully: “When I admire the wonders of a sunset or the beauty of the moon, my soul expands in the worship of the creator.
The blog of Anahata Katkin. Artist, designer and co founder of PAPAYA! & PAPAYA! Living Boutique. A boho bulletin for visual juju and the persuit of creative nectar.
Check out Dulwich Picture Gallery's retrospective on the life and work of Tove Jansson the creator of the Moomin characters and books.
Explore Ronnie Biccard's 921 photos on Flickr!
By Armand Cabrera Walter Hunt Everett was born on August 20 1880. He spent his childhood on a farm in Haddonfield, New Jersey. In his teens he attended The Pennsylvania School of Industrial Art. Sometime later he attended the Drexel Institute and studied under Howard Pyle. He began getting professional work in his early twenties. Everett worked for The Saturday Evening Post, Scribner’s Monthly, Women’s Home Companion, McCall’s, Collier’s,Ladies Home Journal, and illustrated a number of books. He provided color frontispieces for the eighteen volume set of The Works of Louise Muhlbach. Everett also taught briefly at the Spring Garden Institute and The School of Industrial Art from 1911 to 1915 but quit when he felt teaching was too confining. Everett’s early work shows the influence of Pyle and other successful illustrators of the day like E.A. Abbey. The designs while strong are simple and the color is subdued. As he matured his work became more personal. He developed an intricate sense of design and color and he incorporated more figures in his work. His later work becomes more focused on flat planes of painted color and even more sophisticated designs. His brushwork is bold and free but never sloppy or haphazard. Although he was in demand as an illustrator through the 1920’s and early 1930’s, his temperamental nature and perfectionism caused him to miss deadlines. In a fit one day he burned most of his life’s work and very few originals survive. He was married briefly but his wife left him when he continually failed to pay bills and rent on time. He ended up moving in with a brother in Pennsylvania sometime in the 1930’s and spent the end of his life painting for the pure joy it gave him. Walter Hunt Everett died in 1946 at the age of 66. Bibliography Walter Everett Forgotten Master Step by Step Graphics Volume 4 Number 1 Benjamin and Jane Sperry Eisenstat 200 Years of American Illustration Henry C. Pitz The Illustrator in America (3 volumes) 1900-1960, 1880-1980, 1860-2000 Walt Read I want to thank Kev Ferarra for some of the Everett pictures and information in this article. Other Articles on the web about Walter Everett http://www.schoonoverstudios.com/howard-pyle-a-students/pyle-students-bios.html?start=22 http://illustrationart.blogspot.com/2008/07/walter-everett-1880-1946.html http://todaysinspiration.blogspot.com/2011/11/walter-h-everett-man-preoccupied-with.html http://gregnewbold.blogspot.com/2011/11/more-walter-everett.html
This is the second of three postings on the work of Richard Diebenkorn and is looking specifically at his ‘Berkeley’ series. For an overview of his work and biographical notes see the previous blog post. Richard Diebenkorn's Berkeley series were executed in a twenty-month period between 1953 and 1955. Apart from being my personal favourites of his work, mainly because they’re colourful semi-abstracted landscapes, these paintings give the viewer an excellent opportunity to examine the work of a major artist in the process of his stylistic development. With this series Diebenkorn achieved his first widespread, formal recognition as an important figure in the Abstract Expressionist movement. When Diebenkorn returned to Berkeley in 1953, after completing his graduate degree at the University of New Mexico in Albuquerque and teaching for a year at the University of Illinois, he began the Berkeley series, which was to number over forty paintings. The Berkeley series shows Diebenkorn's absorption of New York Abstract Expressionism which he adapted to his own Western environment and personal idiom. It is important to recognize however, that Diebenkorn belongs to the first generation of Abstract Expressionists along with such Bay Area artists as Hassel Smith and Frank Lobdell. His work in Berkeley represents a fully formed achievement contemporary with that in New York that announced the arrival of the American avant-garde on the world scene. The early Berkeley pictures, such as Berkeley #8 (1954) are, like the previous works done while still in Albuquerque, cut by horizontal lines or bands of colour suggesting a hilly landscape. Their colours are also reminiscent of the pinks and browns of the earlier New Mexico paintings. 1954 Berkeley #8 Berkeley #23 and #39 have an increased variety of colour and calligraphic vitality. The grid-like sections of heavily stroked paint are separated by fragments of line drawing, giving the effect of an aerial landscape ending in a narrow strip of sky. Some of the last paintings in the series return to the desert landscape colours arranged in a more ordered formality. 1955 Berkeley #23 All of the Berkeley pictures are executed with bold brushwork. By scraping and scratching at the colours in these pictures, Diebenkorn achieved a stronger linear element than previously seen in his work. Large blocks of colour seem to tumble together, but the compositions are held firm by diagonal, horizontal, or vertical stripes of darker colour which originate at the sides of the canvases and move directly into the centre of the composition or frame it at the edges. The results are luscious pictures in which spontaneity is tempered by the logic of the structural elements. Diebenkorn's approach to the Abstract Expressionist style differs markedly from that of his New York contemporaries. His line is restrained compared, for example, to the compulsive, energetic line of Franz Kline; Diebenkorn's canvases are composed of flat, brushed, horizontal colour patches, whereas in the works of Jackson Pollock colours were dripped and poured. Diebenkorn's colour sense is distinctly Californian: warm earth colours dominate as opposed to the blacks, grays and whites that generally characterize the New York school. The Berkeley series pictures were immediately exhibited on both West and East coasts: three were sent to the Third Sao Paulo Biennale in 1955. Following this series Diebenkorn painted a group of still lifes, another of figurative works, and numerous cityscapes. In 1969, after moving to Southern California, he began the Ocean Park series which will feature in the next blog post coming up. 1953 Berkeley #1 1953 Berkeley #3 1953 Berkeley #5 1953-54 Berkeley #7 1954 Berkeley #12 1954 Berkeley #13 1954 Berkeley #19 1954 Berkeley #20 1954 Berkeley #22 1954 Berkeley #23 1954 Berkeley #26 1955 Berkeley #32 1955 Berkeley #39 1953 Berkeley #44 1955 Berkeley #46 1955 Berkeley #47 1955 Berkeley #52 1955 Berkeley #54 1955 Berkeley #57 1955/56 Berkeley #58 1953 Berkeley #59
Venezuelan artist Maria Guadarrama is the creator of a comic strip called "The Unspoken Truth." But these are not just funny pictures, there is true life philosophy hidden in them.
A global platform for emerging talent, i-D celebrates fashion, culture, individuality and youth.
Una gota es una anomalía. Una mancha en un lienzo es una anomalía. El trazo plasmado por las manos del artista lo es también, pero... ¿qué es una anomalía?
Explore raffaele pagani's 15104 photos on Flickr!
Paul Cézanne 1878-80 Self-Portrait oil on canvas 60.3 x 46.9 cm Paul Cézanne (1839 – 1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th century conception of artistic endeavor to a new and radically different world of art in the 20th century. Cézanne’s often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne’s intense study of his subjects. Cézanne can be said to form a bridge between late 19th century Impressionism and the early 20th century’s new line of artistic enquiry, Cubism. Both Matisse and Picasso are said to have remarked that Cézanne “is the father of us all.” For full biographical notes on Cézanne see part 1. For earlier works see parts 1 - 7 also. This is part 8 of a 14-part post on the works of Paul Cézanne: Paul Cézanne 1883-87 Cherries and Peaches oil on canvas 50 x 61 cm Los Angeles County Museum, CA Paul Cézanne 1883-87 Self-Portrait oil on canvas 44 x 36 cm Ny Carlsberg Glyptotek, Copenhagen Paul Cézanne 1883-87c Still Life: Plate and Fruit oil on canvas 38.4 x 46.4 cm Private Collection Paul Cézanne 1883-87c Still Life with Commode oil on canvas 73.3 x 92.2 cm Neue Pinakothek, Munich Paul Cézanne 1883-87c Flower Pots watercolour Musée du Louvre, Paris Paul Cézanne 1883c Houses in Provence: The Riaux Valley near L'Estaque oil on canvas 65 x 81.3 cm National Gallery of Art, Washington, DC Paul Cézanne 1883c Man Standing, Arms Extended oil on canvas 33 x 24 cm Private Collection Paul Cézanne 1883c Portrait of Madame Cezanne oil on canvas Private Collection Paul Cézanne 1883c Studies of Three Figures, Including a Self-Portrait graphite and black chalk 48.5 x 32 cm Museum Boijmans Van Beuningen, Rotterdam Paul Cézanne 1883c View of the Bay of Marseille with the Village oil on canvas 65.9 x 81.3 cm Philadelphia Museum of Art, PA Paul Cézanne 1884 Trees graphite and watercolour Paul Cézanne 1884-86 Farmhouse and Chestnut Trees at the Jas de Bouffan oil on canvas 91.8 x 72.9 cm Norton Simon Museum, Pasadena, CA Paul Cézanne 1884-90c The Aquaduct oil on canvas 91 x 72 cm Pushkin Museum of Fine Arts, Moscow Paul Cézanne 1885 A Pot of Geraniums graphite and watercolour on paper Private Collection Paul Cézanne 1885 A Turn in the Road at La Roche-Guyon oil on canvas Smith College Museum of Art, Northampton, MA Paul Cézanne 1885 Bather Entering the Water graphite and watercolour on paper Private Collection Paul Cézanne 1885 Fruits graphite and watercolour on paper Private Collection Paul Cézanne 1885 In the Woods oil on canvas Private Collection Paul Cézanne 1885 Medan: Chateau and Village watercolour Private Collection Paul Cézanne 1885 Study of an Apple watercolour on paper Private Collection Paul Cézanne 1885 The Oak graphite and watercolour Paul Cézanne 1885-86 Bare Trees at the Jas de Bouffan oil on canvas 60.3 x 73 cm The National Museum of Western Art, Tokyo Paul Cézanne 1885-86 Gardanne oil on canvas 80 x 64.1 cm Metropolitan Museum of Art, New York Paul Cézanne 1885-86 House with Red Roof oil on canvas 73 x 92 cm Private Collection Paul Cézanne 1885-86 Portrait of Madame Cézanne oil on canvas 46 x 38 cm Musée Granet, Aix-en-Provence, France Paul Cézanne 1885-86 The Village of Gardanne oil on canvas 92 x 74.5 cm Brooklyn Museum, New York Paul Cézanne1885-86 Trees and Houses Near the Jas de Bouffan oil on canvas 67.9 x 92.1 cm Metropolitan Museum of Art, New York Paul Cézanne 1885-86 Woman with an Ermine ( after El Greco - see below ) oil on canvas 53 x 49 cm Private Collection El Greco "Lady in a Fur Wrap" 1577-78c oil on canvas 62 x 50 cm Pollok House, Glasgow, UK Paul Cézanne 1885-86c Farmstead in Normandy oil on canvas 47 x 65.7 cm Albertina, Vienna Paul Cézanne 1885-86c Mont Sainte-Victoire Seen from Gardanne oil on canvas Private Collection Paul Cézanne 1885-86c Orchard oil on canvas Honolulu Museum of Art Paul Cézanne 1885-86c Portrait of the Artist's Son pencil on paper 50.2 x 31.7 cm Paul Cézanne 1885-87 Chestnut Trees at the Jas de Bouffan in Winter oil on canvas 73 x 92 cm Institute of Arts, Minneapolis Paul Cézanne 1885-87 Five Bathers Kunstmuseum Basel, Switzerland Paul Cézanne 1885-87 Jules Peyron oil on canvas 46.4 x 38.1 cm Harvard Art Museums / Fogg Museum, Cambridge, MA Paul Cézanne 1885-87 Landscape at Midday oil on canvas 63 x 94 cm Private Collection Paul Cézanne 1885-87 Landscape with Poplars oil on canvas 71 x 58 cm The National Gallery, London Paul Cézanne 1885-87 Mont Sainte-Victoire graphite and watercolour on laid paper 32.7 x 50.5 cm © The Samuel Courtauld Trust, The Courtauld Gallery, London Paul Cézanne 1885-87 Mont Sainte-Victoire oil on canvas 55 x 65 cm Scottish National Gallery, Edinburgh Paul Cézanne 1885-87 Portrait of Madame Cézanne oil on canvas 46 x 38.3 cm Philadelphia Museum of Art, PA Paul Cézanne 1885-87c The Green Pitcher graphite and watercolour on paper Musée d'Orsay, Paris Paul Cézanne 1885-87c The Jas de Bouffan oil on canvas Private Collection Paul Cézanne 1885-88 In the Plain of Bellevue oil on canvas Wallraf-Richartz Museum, Cologne Paul Cézanne 1885-88c Rose Bush graphite and watercolour on paper 39.3 x 30 cm Private Collection Paul Cézanne 1885-90 A Path by the Lake oil on canvas 92 x 75 cm Rijksmuseum Kröller-Müller, Otterlo Paul Cézanne 1885-90 Armchair graphite, watercolour and gouache on paper 32.3 x 33.7 cm © The Samuel Courtauld Trust, The Courtauld Gallery, London Paul Cézanne 1885-90 Bathsheba oil on canvas 21.4 x 20 cm Private Collection Paul Cézanne 1885-90 Bathsheba oil on canvas 29.5 x 24.5 cm Musée Granet, Aix-en-Provence, France Paul Cézanne 1885-90 Bathsheba oil on canvas 32.1 x 23.5 cm Private Collection Paul Cézanne 1885-90 House on a River oil on canvas 51.4 x 62.3 cm Art Institute of Chicago, IL Paul Cézanne 1885-90 Portrait of Madame Cézanne oil on canvas 47 x 39 cm Musée d'Orsay, Paris Paul Cézanne 1885-90 Portrait of the Artist's Son, Paul oil on canvas 65.3 x 54 cm National Gallery of Art, Washington, DC Paul Cézanne 1885-90c Peasant Family oil on canvas 46 x 38 cm Private Collection
Drawing, watercolor, acrylic and oil painting supplies I always must have in my studio. They are all great quality and affordable.
Jill conceived the idea for her books while commuting on the Underground.
While we love a good gallery wall and grouping, a large, powerful piece of art that can stand alone and occupy a whole wall can be so moving. As the above…
I came across the works of a Montréal based artist by the name of Dominique Fortin whose artworks were striking enough for me to decide to write about them here.. They’re magical, mystical &a…
Mads Madsen is 25 years old and lives in Denmark where he's pursuing a Master's degree in the Classics (ancient Greece and Rome). However, his fascination with history doesn't end there.
Claude Monet, 1906
Collab wall with Morten Andersen at Underdog in London Bridge. Show opens Oct 6th at 6pm
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Tito seems to have concentrated mostly on painting genre scenes of everyday Italian life such as his The Palmist
austrian artist mario dilitz is the creator of a series of highly detailed wooden sculptures whose lifelike facial expressions expose the human condition.