Looking at František Kupka we see an intense channeling of occult vibrations and shimmering realities that asks viewers if they too have experienced their life this way.
Product Description Projection is a nice illustration depicting a woman. This minimalist motif can be combined with everything in one picture wall. Keywords: Woman, Illustration All our posters are printed on 240 g Multidesign Smooth White paper, which is a high quality uncoated paper from the Clairefontaine paper mill in France. The paper is archival quality, i.e. it does not yellow over time. All our posters are printed on paper bearing the FSC and EU Ecolabel environmental labels for responsible forestry.
Essam Marouf was born in Cairo in 1958, studied painting from 1976 at the Faculty of Fine Arts at Helwan University in Cairo and graduated in 1981 at the Mural Painting Section. From 1982 until 1985 Essam Marouf studied at Accademia di Belle Arti in Roma. He lives and works between Cairo and Amsterdam.
This quote print features words by Dylan Thomas that says "Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light." This poetry print is illustrated with an abstract watercolor background. *Prints do not come framed* 🌀This print is available in three standard sizes: 5x7, 8x10, 11x14. Please select a size on the top right of this page! 🌀 Prints are shipped in a sturdy cardboard sleeve to prevent bending. 🌀 Prints fit any standard frame or mat, although your order does not include a frame or mat. 🌀All prints are made using a combination of pigmented and archival inks on the highest quality matte archival paper. This will last you a very long time! 🌀 Please note that colors of each print may vary slightly on different monitors. 🌀Each print is made to order. This means there is a 3-5 day processing and printing period before your item is shipped. 🌀 Riverway Studios designs are completely unique and designed solely by the owner and may not be reproduced. For more: Love Poems: http://tinyurl.com/3ua2354f Life Poems: http://tinyurl.com/yc84m9t5 Ocean Quotes: http://tinyurl.com/mpe9dph3 Nature Poems: http://tinyurl.com/3evkec47 Poetry Sets: http://tinyurl.com/2pbxnj4z Zodiac Signs: http://tinyurl.com/mv7763u7
A retrospective at the Korea Society sheds light on the work of a painter who joined Korean influences and techniques with Abstract Expressionism.
Cristina Troufa talks to The Arty Teacher about her work and themes and gives advice to art students who are inspired by ther work.
Forays into visual journaling, stamping, scrapbooking and altered art of all persuasions.
By Jaleen Grove Cahén avoided rough work in order to preserve the spontaneity of the first attempt: "I do many sketches before starting a painting, but in my illustrations I rarely make such preliminary drawings. In fact, much to the dismay of art directors, my "roughs" are usually so sketchy that I can't make them out myself. What I do is to start my finished drawing with a hard pencil right on the board, then I ink in the final design and erase the pencil marks which made up the initial draft. Thus, by eliminating first roughs, I feel I am able to retain in the completed illustrations the full quality of the initial enthusiasm. As for media used, I mix my techniques as subject or purpose dictates…." It is interesting that of the very few sketches that are preserved, each shows a different style and medium. For “A Cage for the Birdman" Cahén coated his board with thick white paint, then drew over that with black ink. There is no white paint over the black... Maclean’s, 1954 ... to make white highlights Oscar literally carved away black ink in cross-contours to reveal the white beneath, shaping the forms as a sculptor would. "A Cage for the Birdman" also affords us an opportunity to examine Oscar Cahén’s formidable mastery of the art of spot colour printing. There are only four inks—cyan, magenta, yellow, and black—used to create secondary colours green, brown, purple, and orange. The fact that all four process colours were used indicates that Cahén could have submitted full colour art. Instead, he used flat spot colours to intentionally achieve a desired effect. The final illustration is not simply black and white art with some hues thrown in for fun—it is colour artwork, designed that way from the start and rendered using the ink and press as the “paint” and “brush.” Oscar Cahén developed his aesthetic repertoire through illustration in technical and iconographic ways, reflecting on the relationship between the verbal, the non-verbal, and the visual. He then switched hats and allowed that internalized knowledge to come out in a different way in abstract painting, as a member of the Toronto collective of abstract artists called Painters 11. Unlike for his illustrations, Cahén made rough drawings for his abstract paintings and reworked them over and over. Subjective Image Railroad Yard Expressing non-verbal feeling in the visual was always uppermost in Cahén’s intentions as an illustrator; abstraction simply stripped away the nameable, verbal layer to leave behind that lurking pure sense. Art theorist Meyer Schapiro has said that the New York abstract expressionists didn’t care about communicating with an audience. As an expert in visual communication, Cahén differed from them in that he knew quite well that even unfamiliar symbols were not devoid of meaning, and he asserted that his paintings were “a search for faith, and an escape from loneliness through communication.” New Liberty, 1949 We don’t know where this image appeared. If you do, contact The Cahén Archives. From oral histories and a few speeches that were luckily recorded, we know that Cahén had more influence on his peers in the graphic arts than almost any other Canadian illustrator up to at least 1960. In art director Stan Furnival’s estimation: "There isn’t any doubt that he was the greatest single force in Canadian illustration since Jefferys. He revitalized the whole business of illustration in Canada and encouraged a lot of good people to stay here and work here. He brought an academic art training to his illustrations—which, combined with a sense of freedom and vitality, radically changed a tight slick Americanized attitude almost overnight." We don’t know where this image appeared. If you do, contact The Cahén Archives. Original art for a Maclean’s cover Tom Hodgson, a Painters 11 member and friend of Oscar’s, wrote: "Oscar Cahén was the major impact in two areas, advertising and painting... Nothing even close to his impact has happened since... for many people, Oscar was their beginning." * The first exhibition of Oscar Cahén’s illustration since his lifetime will be shown in New York at Illustration House in October 2011 (opening night Oct. 1). With Roger Reed, I have written a full colour catalogue with an essay and over 60 images. In this series of posts about Cahén, I will introduce him and feature some artwork that will not appear in the show, catalogue, or websites. The tearsheets and originals here are from Oscar Cahén’s estate, courtesy of his son Michael Cahén at The Cahén Archives ~ Jaleen Grove
In anticipation for the upcoming beautiful.bizarre curated exhibition 'Bitter | Sweet', opening this Saturday 18March at 19 Karen Contemporary Artspace, we reached out to Alexandra Levasseur one of the contributing artists. Currently living and working in Montreal, Canada, Alexandra has created work that whispers intimate and beautiful secrets. Creeping rose vines twist around glaciers and glittering stalactites. A girl dreams while an arrow on fire burns bright, piercing her heart. Pastel swaths of impasto paint surround and penetrate these beings, deeply pensive in their solitude, Alexandra's work is a gorgeous illusory and allegorical world, close enough to pour over with the eyes but deep enough to become lost within. Read on for a sneak peak at Alexandra's gorgeous contributions to the show, and a deeper look at an artist's process. https://youtu.be/YrMJnZnRAp0 Time lapse video of
I've been finding all sorts of inspiration in the most unlikely places this month. I've included a bevy of images below, all of which have been cut out, or saved in my inspiration file. What will I use them for? I'm not sure. They may make their way into my writing, onto a painting, or into a conver
everything that rises must converge 2016 - 2018 Acrylic, Resin, Glitter, Oil, Glue, Paper, Insulation, Concrete, Found Plastic Fragments, House Paint, Spray Paint, Ephemera 50.5 x 34.5 x 7.25 inches Invoking the body through evoking atemporal delicacies - honey, syrup, and cake as unitive of past, present, and future - Laura Soto's work might be looked at as both an extension, as well as antithetical, to the ideas of Romanticism. We return to subjectivity, but not the individual; rather, an animism of a communal body - the ocean from which our subjective power rises. BIOGRAPHY Laura Soto b. 1991 • San Diego, California Biola University BS, Studio Art • La Mirada, CA Laura Soto is a mixed media sculptor living and working in Southern California. She has shown at Leiminspace in Chinatown, Los Angeles (This Never Happened, 2015 & Few and Far Between, 2016), in 2016 she contributed to MaRS Gallery's Obscured and Objectified gallery shop, Corrupted Ceramics group show with Galleria Salvatore Lanteri, and MAS Attack at the Torrance Art Museum. Her most recent exhibition was ExtraTerrestrial with Galleria Salvatore Lanteri May 20 – June 24th 2017. She explores the vulnerability and poetics of material through a variety of processes. Her practice centers mainly on large forms built of fiber that transform under the weight of media amassed. These wall hanging pieces play with the tension between painting and sculpture, inviting the viewer closer.
A new exhibition at Tate Britain explores the tradition of the female nude.
Inspired by horror films and the Ashmolean Museum's collection, the artist has created seven works for Oxford's inaugural NOW Program.
James Jean’s fantastical acrylic paintings and digital works are absorbing, even if viewers aren’t offered a specific storyline for each work. In his latest works, the artist packs even more abstraction, hues, and icons into these tales. Often, his paintings offer surreal interplay between humans and the animal world. Jean was last featured on HiFructose.com here.
Find our more about the exhibition Cecily Brown at Beverly Hills. Installation views, works, editorial content, press, and more.
Flickr is nothing without you, our community. We want to make sure this community continues to thrive, grow, and inspire, so we've made some big changes.
BORDALO II: Garbage, the new street art aesthetic
The heated comment thread on HTMLGIANT that came up when Michael Jacobson’s new book, The Giant’s Fence, was mentioned, raises a great point about how we approach language. Jacobson advocates a form of writing that he calls “asemic writing”—that is, writing with no semantic content. No one stares at a canvas of abstract art expecting to “read” a message. But when a book of asemic writing is presented, some people gripe and blow it off as a gimmick because there is nothing
65 Original Artworks curated by India Balyejusa, Mediterranean Revival. Original Art Collection created on 1/20/2023.
official artist of Cirque du Soleil
J’aime l’œuvre d’Hope Gangloff. J’ai d’abord été conquise par la qualité graphique de son travail : ses portraits sont vibrants, imparfaits, acérés, d’une intensité qui ne peut nous laisser indifférent.
