Captivate your senses with this exquisite print inspired by the majestic Crepuscular rays cascading above the serene waters of Loch Lomond. This painting, a quintessential tribute to Abstract Impressionism, eloquently captures the ephemeral beauty of nature's light display with its bold, sweeping strokes and a vivid palette of oranges, yellows, and blues. Radiating from a central point, the sun's rays penetrate the sky and water, their reflections dissolving into a fluid mosaic of colour that blurs the line between reality and the artist's interpretation. The composition invites the viewer to experience the loch through an enchanting play of light and shadow, where the contours of the surrounding landscape gently yield to abstraction. The horizon, veiled in a harmonious blend of cool and warm tones, suggests distant hills shrouded in the mystique of twilight. The water, rendered with reflective brilliance, becomes a mirror to the sky's dazzling spectacle, simultaneously grounding the scene and elevating it beyond the tangible. This print, a celebration of the transient moments when sunlight and earth embrace, offers a captivating visual journey that will enhance any space with its dynamic energy and contemplative mood. Collectors and enthusiasts of the genre will find this piece a true connoisseur's choice, adding a touch of the highlands' sublime inspiration to their curated selections.
Alcohol ink and hand-embroidered with a variety of floss/yarns, beaded with tiny seed beads and metallic threads on canvas. This piece took around 120 hours to complete. The back is uncovered to reveal the hours of work embroidering this piece and it can be hung by 2 hooks with a string. Canvas size 30.5cm x 30.5cm x 1.5 cm / 12" x 12" x 0.5"
Newly discovered Byzantine mosaics show Amazons hunting, a rare scene in Amazon iconography, which usually depicts the warriors fighting battles. Here Queen Melanippe (whose name is written above her) attacks a lion with her lance. (Pasquale Sorrentino) I rather like the goofy-looking horse. From an article about Byzantine mosaics in the Jan/Feb 2010 issue of Archaeology.
About The Artwork This is definitely a Monet inspired painting...so soft and serene ...painterly and wonderful marks...nothing like a lily floating across the canvas... Original Created:2022 Subjects:Abstract Materials:Canvas Styles:AbstractAbstract ExpressionismFine ArtImpressionism Mediums:Acrylic Details & Dimensions Painting:Acrylic on Canvas Original:One-of-a-kind Artwork Size:30 W x 40 H x 2 D in Frame:Not Framed Ready to Hang:Yes Packaging:Ships in a Box Shipping & Returns Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments. Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines. Ships From:United States. Have additional questions? Please visit our help section or contact us.
Product description Iris Delight A poster of a beautiful Iris flower from the Candy Garden collection, in which art prints were made of jelly beans in a mosaic technique. This motif is printed on a poster with a flat surface, originally crafted with real jelly beans.19065-5
A challenge is whatever you want to make of it — start with the core rules of the challenge as your starting point — and see what direction you go! I love the wave of positive energy that flows thru the creative community during a good creative challenge. We see a lot of inspiring art & pe
I'm so happy and proud to have participated in this mosaic for Synergy 2010 "Collaborative Quilt" project. Laurie Mika came up with the fabulous idea, collected all the tiles and created the quilt. Isn't it cool? :) Think you know which polymer clay artist created which tile? Enter the contest and win. from www.npcg.org... Collaborative Tile Project Contest Laurie Mika and 37 artists created a terrific mosaic. Now we want to share the fun with you. From November 20th through December 20th you can enter the contest, with one entry per person.Our intrepid webmaster Barbara created a way for you to submit your match up of tile to artist. The winner will receive the Synergy2 exhibit catalogue and a 1 year IPCA membership. So be a part of the fun and send in your picks . We will see who matches them all correctly and announce the winner in December. If we have several with the right answers, we will resort to the random drawing from a hat to be fair.(one entry per person, please!) Good luck!! The contributing artists are: Janice Arbarnel Judy Dunn Laurie Mika Meisha Barbee Barb Fajardo Libby Mills Judy Belcher Tejae Floyde Geraldine Newfry Merrie Buschbaum Barb Forbes-Lyons Kathryn Ottman Heather Campbell Marla Frankenberg Julie Picarello Maureen Carlson Lindly Huanani Jana Roberts-Benzon Rachel Carren Suzanne Ivester Sarah Shriver Kim Cavendar Donna Kato Ponsawan Sila Susan Croscenzi Ronnie Kirsch Cindy Silas Robert Dancik Judy Kushkin Cynthia Tinapple Lorrene Davis Loretta Lam Cynthia Toops Dayle Doroshow Maggie Maggio Ronna Weltman Catherine Witherell
Les vacances sont finies, c'est le Premier cours de l'année avec Léa Stansal. Joie des retrouvailles, étude des encours de cet été et nouvelle broderie étaient au rendez vous. On est toutes reparties à fond avec des nouveautés et des projets plein...
Capturing the vibrant essence of Nairn Beach during the height of summer, this exquisite print is a symphony of colour and movement. The pristine sands of the beach stretch across the canvas in shades of soft pink and warm cream, leading the eye gently to the azure embrace of the sea beyond, where different hues of blue dance and merge to create a captivating maritime mosaic. In the foreground, wild grasses and dune flowers sway with an invisible breeze, their forms rendered with energetic brushstrokes that infuse the scene with life. The colour palette is rich with splashes of tangerine, emerald, and sunflower yellow, evoking the wild and untamed beauty of Scotland's natural flora in summertime. Above, the sky is a delicate tapestry of lilac-tinted clouds interspersed with patches of serene blue, hinting at the warmth and tranquillity of a long summer's day. The distant horizon is graced by silhouettes of coastal landforms, adding depth and a sense of the great expanses that characterise the Scottish coastline. This contemporary interpretation of Nairn Beach offers a fresh and dynamic perspective, inviting the viewer to experience the raw beauty of Scotland's summertime glory. It's an artwork that encapsulates the spirit of this beloved locale, making it an ideal addition to any space that celebrates nature, vitality, and the enchantment of the Scottish landscape.
Primrose moon (1st Image) - New Edition, etching and aquatint, edition Size : 90 - Unframed. Other images show other works available by this artist. Phil Greenwood was born in 1943 in Dolgellau, North Wales and now lives in Kent. Educated at Harrow and Hornsey Colleges of Art, he initially lectured in printmaking for a short time and since 1971 has been a professional artist/printmaker. Since the early 1960s he has exhibited extensively throughout the UK and abroad, both in one man shows and many major exhibitions. He is a regular exhibitor at the Royal Academy and the Bankside Gallery, home of the prestigious Royal Society of Painters-Etchers. He has also exhibited work at the British Embassy in Brussels; La Jeune Gravure Contemporaine, Paris; British Council Gallery, Athens; the Victoria and Albert Museum and Tate Gallery, London; Galerie Deux Tetes, Canada; Royal Glasgow Institute of Fine Arts; Portfolio Gallery, Auckland, New Zealand; and more recently he has held major exhibitions in Tokyo and Osaka, the USA and CCA Galleries in London. His work is in many private and public collections, including a vast number of museums, education authorities and universities, such as the Tate Gallery, Arts Council, British Council, Greenwich Museum, Edinburgh Education Authority, Liverpool University and Loughborough College of Education. A landscape artist he works mainly on copper plates usually using only two plates and two or three colours to achieve a great range of tone and colour by the depth of the etch and by overprinting and fusing one colour with another. His images do not always relate to a specific place - he develops and works with an amalgamation of ideas recalled. The atmosphere exemplified by the landscape is the important factor. Phil Greenwood was invited to become an Associate of the Royal Society of Painters-Etchers in 1972 and elected a Fellow in 1982.
Cottagecore Aesthetic Painting -"Pomegranate" fruits and trees were popular symbols in ancient Asian and Mediterranean art. It is customary to have it on New Year's Eve or Thanksgiving tables, with the belief that it will bring abundance to the home. As a symbol in ancient art it is generally used to denote fertility and abundance, a meaning which holds true in traditions throughout the Orient. The connection that the pomegranate bears to fertility and abundance is derived from the fact that it has many sweet and beautiful seeds that are contained within the fruit itself. Aside from being a source of healthy sweet juice, the pomegranate was useful by textile & felt artists for color purposes. The dye makers would produce a red color dye from the pomegranate’s flowers and the tannin within its rind was used for tanning leather hides. Tannin is also a useful compound that is frequently used in natural medicine with a variety of applications. Needle felted merino wool, with nuno-felted silk inclusions, hand-dyed silk tops, sari silk waste, mohair tops, viscose tops, Harris tweed threads, curly locks, spun silk threads, and hand-dyed silk carrier rods. For all of these reasons, the pomegranate design and fruit itself is always highly prized. Predominantly for its aesthetic look, medicinal properties and practical uses (Schneider). When used as a symbol in art from these regions it can thus be interpreted as representing fertility, healthy and plentiful bounty. Turkish Pomegranate- Original Felt Art Painting, Abstract Painting, Needle Felt Art, Wool Painting, Felt Picture, Embroidery Wall Artwork Abstract Home Decor, Felt Art which enriched with silk embroidery evil eye bead / amulet motifs of Turkish / Asian ancient kilim /rug & head scarfs. Perfect gift or home wall art decor for Easter. ❤️ DIMENSIONS -- 16.5 x 20 inches ( 50 x 42 cm) ❤️ NEEDLE FELT WALL ARTWORK -- Felt painting enriched with Tussah silk, Mulberry silk, multicolor beads and embroidery details. Brings a sophisticate touch into your home and office with its unique dimensional texture and strong colors. ❤️ INSPIRATIONAL NEEDLE FELT PAINTING -- Unique piece, perfect as decoration in any room of the house as well as in a stairwell. ❤️ MATERIALS -- Natural felt, Angora and Merino wool, Tussah silk & Mulberry silk yarns. ❤️ FRAME /HANGING -- My all artworks send without any frame within bubble envelope for easy & safe shipping. Please make sure to get it framed so it will remain the beauty for years. But I prefer to use with a simple frame without any glass. You can also use the felt painting by attaching it on a canvas with double-sided tape. ❤️ WONDERFUL CHRISTMASS GIFT -- The texture of felt and rich color creates warm and luxury feelings. Looks great in the bedroom, living room and even in the nursery! Perfect for anyone who are both stylish and artful. Great for birthdays, other special occasions and holidays; Christmas, New Year, etc. An original and unique gift to be incorporated into your décor or that of a loved one. ❤️ DELIVERY -- By UPS Courier Service. Shipment cost is free. ❤️ CARE INSTRUCTION -- You can always clean and remove dust by shaking in the open air. Only if it is necessity, you may hand-wash in cold water with very gentle movements. Please do not use any detergent & soap. Please lay it flat and leave it to dry. Do not dry clean. you can iron by covering it with a clean & slight wet cheesecloth or similar thin cotton fabric. Just keep in your mind that, you can use "hairspray" to keep the felt fibers smooth and intact or to prevent the fibers from spreading around. On the other hand, the most effective and care-free solution for a long time is a glass frame which will be kept it appropriately from all environmental effect Please contact me with any questions! I'm always happy to help! Thanks for visiting my shop!
A Persian pattern print from a collection of lithographs called 'L'ornement Polychrome' by French artist Albert Racinet, available to order as a premium giclée art print with a wide range of framing options.
Louise O'Hara is a professional mixed media artist. Her work explores the richness of light, the colour and the texture that she sees around. Often
Sandhi Schimmel Gold creates amazingly detailed mosaic art from tiny pieces of discarded menu items, junk mail postcards, business cards, old greeting cards, cruise itineraries, gallery openings…
Le sud de la France a bouleversé la palette des peintres. La preuve par quatre toiles de l'exposition Le Grand Atelier du Midi, à Marseille et à Aix-en-Provence.
Captured in a symphony of geometric splendour, this evocative print immortalises the tranquil beauty of Nairn Beach as the day's final light bathes the world in a warm, golden haze. Angular shapes tessellate to create an abstract vista, where land, sea, and sky converge in a mosaic of burnished oranges, fiery reds, and cool blues. Gentle gradients within each segmented form suggest the ebb and flow of the tide, whilst the sun, a beacon of pure light, casts its reflection across the water's surface, fragmented yet mesmerising. Three solitary sailboats drift serenely, their sails simplified to clean lines and crisp forms that counterpose the complex convergence of planes in their surroundings. The distant hills roll softly beneath the vibrant horizon, serving as a harmonious counterpoint to the dynamic foreground. Basking in the glory of the sunset, this print evokes emotion through its geometric abstraction, inviting viewers to experience Scotland's coastal grandeur through a cubist lens. Whether hung in a space that seeks calm or amongst a gallery of modern artistry, this piece is sure to captivate and inspire discussion, as it showcases the unique confluence of nature's beauty and avant-garde artistic expression.
Időutazás rovatunkban ma Frantisek Drtikol Tágra nyílt szemek című kiállításának anyagából vál...
COLLEEN WALLACE NUNGARRAYI (NUNGARI) TITLE: DREAMTIME SISTERS ACRYLIC ON CANVAS 42CM X 73CM COLLEEN HAS SIGNED THE PAINTING AND A PHOTO WILL BE PROVIDED REF#CW230 DOB: 1973. Santa Teresa (Ltyentye Apurte) Northern Territory Known as: Colleen Wallace Ningarrayi, also spelled Ningari or Nungarrayi Language: Eastern Arrernte Dreaming’s: Awelye (Women’s Dreaming) Bush seeds, Bush Yam (Arlatyeye) & Dreamtime Sisters Colleen is the stepdaughter of the well-known artist Kathleen Wallace Kemarre, sister of Gabrielle Wallace and granddaughter of the famous artist Kenny Tilmouth Panangka. Colleen began painting in 1990. She is a versatile artist who began painting stories about her Country. She is well-known for her highly sought-after stories of the Dreamtime Sister’s which are ancestral spirits. Colleen uses vibrant, colourful, intricate dot works to tell her dreaming which is a blend of traditional and contemporary. She lives with her husband Colin Bird Jungala (Ada Bird Petyarre’s son) who is also an accomplished artist, and their children in Mulga Bore, the Utopia region. Her works have been exhibited in Australia and Internationally. This painting was purchased directly from Colleen a gallery certificate of authenticity will be provided with the sale.
In the cradle of Huxley's Last Request C4, one is captivated by the supple interplay of midnight and ink blacks enmeshed with softer gradients of gray, suggesting the serene balance of shadow and light. Tinges of delicate luster in the form of subtle purples and earthy browns complement the darkness, offering a depth to this visual experience that beckons the keen eye. Anna Judd's masterful application of oil paint, embracing a lineage of meticulous craftsmanship, yields a minimalist abstract art piece that allows the beholder to explore the layered complexity beneath its surfaced simplicity. A collector's eye might envision this Scale accompanied by its contiguous Scales, C2, C3. Such an assemblage forms a fluid mosaic across any space, promising a museum-quality art installation that entices contemplation and echoes the rhythms of nature. The nebulous blends segue into each other, fostering a luxurious art tableau that could grace contemporary interiors, where sleek design meets artisan-crafted sophistication. The potential for this piece, especially as a fine art print on a grand scale, is one of transformation - a portal into a realm of deep introspection, alluring as a designer's favorite.Regarding its placement, Huxley's Last Request C4 is versatile, thriving within neutral or boldly colored settings and harmonizing elegantly with organic textures or minimalist decor. This vibrant art anchors its surroundings, forming a brilliant, rich, and vivid focal point, while enriching the narratives of those who encounter it. Its resonance in collective or private spaces is unparalleled, offering an oasis of visual art where memories, sensations, and the unspoken converge at the viewer's gaze, inviting a silent dialogue with the soul.
"Memories From Hotel Fahey" by Ruth Ohol won Second Place in the Pieced category at Houston 2022.
Reggie Laurent: Contemporary Artist Reggie Laurent is a self-taught artist living in Georgia. He creates very intricate abstract shape paintings. I saw his paintings online and I was immediately…
Monir Shahroudy Farmanfarmaian, Sunrise, 2015 [The Third Line, Dubai]
Stanka Kordic's exquisite and ethereal oil paintings of females gracefully blur the line between figurative art and absolute abstraction.
Waterslide Ceramic Decal Serie Rousseau: Jaguar Attack Size: 10x10cm (3.94 x 3.94 inch) Firing temperature: 760-850 ºC (1400-1562 ºF) This decal can be applied to, or used in combination with, ceramics, pottery, ceramic tiles, glass, fused glass, stained glass and mosaics. It can be overglazed (after firing), fused on top or in between layers of glass, painted with vitreous paints and/or enamels. For best result when used with glass, use a white opalescent glass, like Spectrum 200S or 200SF for fusing. Stained Glass Elements is a professional glass studio with over 30 years experience. Specialized in stained glass, glass painting, screen printing on glass, glass fusing , glass-etching and restoration . From small suncatchers to large stained glass windows . Custom orders are welcome! Ask for the possibilities. For stained glass artists, glass studios, tiffany crafters we offer a variety of semi-finished products such as kiln-fired glass paintings , ornaments on glass, glass patterns, motifs on glass. Ready to be implemented in your glass and/or Tiffany work. A glass painting or ornament is an eye-catcher and provides a work of art a unique look. Experience with manydifferent styles including : Art Nouveau ( Jugendstil ), Art Deco, Neo-Gothic, Victorian, Arts & Crafts, Prairie School, Amsterdam School, Abstract, Pop Surrealism. Henri Rousseau Ceramic decal jaguar attack waterslide transfer for ceramics tiles glassfusing enameling firing temperature 1400-1562 ºF
Immerse yourself in the fractured beauty of Nairn Beach as captured at the tranquil moment of sunset, with this distinctive cubist-inspired print that weaves together the Scottish shoreline in bold, geometric abstraction. Bask in the warmth emanating from the golden hues of the horizon, where a spectacular sun dips into the cool, serene blues of the sea, delineating a dazzling dance of light across the water's surface. In this vivid representation, the coastline comes alive through a spectrum of amber, sand, and ochre, intersected by the rhythmic lines of the beach's ripples, reflecting the last light of day in a symphony of shadows. Angular forms piece together the landscape, offering a modernist homage to the natural world's undulating textures and patterns. The eye is drawn to the silhouettes of sailboats drifting gently in the distance, their sails simplified into elegant triangular shapes that punctuate the seascape with movement. This print invites contemplation, whisking the observer away to the peaceful Scottish shores. It is an escape to a fragmented maritime mosaic, where sea and sky converge in a striking tableau that encapsulates both the calmness and the complexity of Nairn Beach's enchanting sunset. Add this piece to your collection and let your space be illuminated by the reflective calm and geometric charm of Scotland's coastline at dusk.
'Swooping and Swirling' Linoleum Block Print, Edition 10, 35 1/4 x 23 1/4 Inches, is one of a series of 8 related prints in this size in varying shades of blue. Sold individually or as sets of 2, 3, 4, 5, 6, 7 or 8. There is also a separate edition available ( 10 each) of small, 11 5/8 Inches x 11 5/8 Inches, linoleum block prints which are in fact the 6 detail squares of 'Chittering and Chattering,' each printed in yet a different shade of blue. Sold individually or as sets of 2, 3, 4, 5 or 6. These prints are all unframed. Lisa Houck is a highly established Boston artist with a large following devoted to her exceptional paintings, watercolors, mosaics, prints and public art projects. At times reminiscent of Folk and Aborigine art as well as Matisse, inspired as well by James Audubon and Hokusai, Houck is as known for her gorgeous and elegant color as a sensibility both playful and quite serious that is uniquely her own. Among the many large public art commissions the artist has completed for interior and exterior sites in Boston and nationwide in mosaic and mural format are permanent installations for The Dana Farber Cancer Institute, Children's Hospitals in Boston and Waltham, The Frieda Garcia Park, Fort Point Channel, The Cambridge Senior Center, and 4 libraries in Broward County, Florida. LISA HOUCK Education and Professional Affiliations: Tufts University/School of the Museum of Fine Arts, Boston, MA: M.F.A. 1989. Rhode Island School of Design, Providence, RI: B.F.A. 1975. Boston Printmakers SELECTED SOLO EXHIBITIONS: Beth Urdang Gallery, Boston, MA 2017 Cambridge Arts Council, Gallery 344, “A Long Walk with No Destination”, Cambridge, MA 2016 Beth Urdang Gallery, Wellesley, MA 2015 Patricia Carega Gallery: “White Line Woodcuts,” Center Sandwich, NH 2014 Rivers School, Weston, MA 2008 Bentley College: “All About the Square,” Waltham, MA 2003. Barton-Ryan Gallery: “Improbable Botanicals and Landscapes,” Boston, MA 2000. Randall Beck Gallery: Boston, MA 1993, 1991. Barbara Singer Fine Art: Cambridge, MA 1991. Coyote Gallery: Cambridge, MA 1989. Tufts University: “MFA Thesis Exhibition,” Cohen Arts Center, Medford, MA 1988. Modestino Gallery: Cambridge, MA 1987, 1986. New England School of Art and Design: Boston, MA 1986. Mott House: “The Comet and Other Phenomena,” Washington, DC 1986. SELECTED GROUP EXHIBITIONS: Arsenal Center for the Arts, “Big Print”, Watertown, MA 2016 FPAC Gallery, Fort Point Channel, “Mosaic Muse”, Boston, MA 2016 Art of Mosaic: Piecing it Together, Fuller Craft Museum, Brockton, MA 2013 National Mosaic Exhibit on Cape Cod, 2011 Fancy Plants: Bentley University, 2010 Contemporary Mosaics: Attleboro Arts Museum, 2010 Boston Children’s Museum: “I See Trees,” 2009. Somerville Museum: “Art of Mosaic,” 2009. Milton Academy: “Design/Build,” 2009. Danforth Museum: Members Show, 2007 Boston Printmakers: North American Print Biennial, 2005. Peabody Essex Museum: “In Nature’s Company,” Salem, MA 2004. Cambridge Art Association: “Hot Colors,” (Best in Show Award), Cambridge, MA 2002. Tufts University: “Alumni Exhibition,” Aidekman Gallery, Medford, MA 2001. Acacia Gallery: Gloucester, MA 2000. Wiggin Gallery: “Women in Watercolor,” Boston Public Library, Boston, MA 2000. New Art Center: “Lasting Impressions: Looking at the Land,” Newton, MA 1997. Bernard Toale Gallery: “The Pet Show,” Boston, MA 1996. Albers Gallery: Memphis, TN 1994, 1992,1991. Pritam & Eames: East Hampton, NY 1992. Boston Center for the Arts: Boston, MA 1989. DeCordova Museum: “Explorations in Handmade Paper,” Lincoln, MA 1989. Fuller Museum of Art: “RISD Alumni in Boston,” Brockton, MA 1989. St. Botolph Club: Boston, MA 1988. Danforth Museum: “Symmetry and Pattern in Art and Nature,” Framingham, MA 1986. Brunnier Museum: “Images of the Universe,” Ames, IA 1986. New England School of Art and Design: “A Celebration of the Return of Halley’s Comet,” Boston, MA 1985. Rose Art Museum: “Boston Printmakers,” Waltham, MA 1985. Fuller Museum of Art: “Triennial Exhibition,” Brockton, MA 1983. Cambridge Arts Council: “Lofty Views and Heightened Perspectives,” Cambridge, MA 1983. The Boston Company The Boston Public Library Brigham and Women’s Hospital Brunnier Museum, Ames, IA Coopers & Lybrand Fidelity Investments Fogg Art Museum Goodwin Procter Harvard Business School Harvard Community Health Plan SELECTED PUBLIC COLLECTIONS, NUMEROUS PRIVATE COLLECTIONS: Museum of Fine Arts, Boston Fogg Art Museum Boston Athenaeum The Boston Company The Boston Public Library Brigham and Women’s Hospital Fidelity Investments Goodwin Procter Harvard Business School Harvard Community Health Plan Brunnier Museum, Ames, IA Coopers & Lybrand Herman Miller Lahey Clinic Massachusetts General Hospital Massachusetts Mutual Corporation Montgomery Watson Harza Neiman Marcus New England Medical Center State Street Bank and Trust Valley Hospital, NJ GRANTS/PROJECTS: Herman Miller Lahey Clinic Massachusetts General Hospital Massachusetts Mutual Corporation Montgomery Watson Harza Museum of Fine Arts, Boston Neiman Marcus New England Medical Center State Street Bank and Trust Valley Hospital, NJ “City Square with Reflecting Pool,” 6’ X 6’ mosaic for Iron Street Park in Boston. Located on the corner of A Street and Iron Street in Boston, commissioned for this new park in Boston by a private client in 2014. Children’s Hospital, Waltham, MA: eleven-panel, oil-on-wood painting for the lobby, 2005. Grant from Massachusetts Cultural Council, 2005. For a ceramics program in the public schools, sponsored by the Dedham Cultural Council. John Hancock Financial Services: Frieda Garcia Park. Commission to create two mosaic murals incorporating children’s art from the community, 2004. Murals are 8’ X 10’ and 8’ x 22’. Broward County Cultural Affairs Office/Public Art Department, Florida: Public Art Commission to create paintings and printed materials for four libraries in Broward County, 2003. Dana Farber Cancer Institute/Jimmy Fund Clinic, Boston, MA: eight panel mosaic for the reception area. Architect: Miller, Dyer, Spears, 2003. Massachusetts Port Authority, Logan International Airport, Terminal E, Boston, MA: Six digital reproductions of paintings. Project Coordinator: Urban Arts Institute, 2001. ”The Rare Tropical Cod,” part of the Cavalcade of Cod, a school of 5’5” fiberglass fish sculptures which were displayed throughout the city of Boston in the fall of 2000. Sponsored by Boston’s B2K Committee. Poster and button and display banners for First Night Boston, 1998. Grant from the City of Cambridge to create murals for the Cambridge Senior Center, 1995. Administered by the Cambridge Arts Council. Fellowship in the Visual Arts, Massachusetts Cultural Council, 1994. Administered by the New England Foundation for the Arts. Grant from Arts on the Line, Cambridge, MA for temporary art in the subway including a 36-foot painting for the Kendall Square subway station, Cambridge, MA 1988. Grant from the Cambridge Arts Council for a mural for the Cambridge River Festival, installed in Inman Square, 1987. Poster for the Haystack Mountain School of Crafts, 1987. PUBLICATIONS: Providence Journal, “Artists Put a Modern Face on Mosaics”, by Bill Van Siclen, May 2010 Ceramics Monthly, “Up Front,” volume 56, January 2008 Harvard Review 32, Spring 2007 Boston Athenaeum, Annual Report, 2006 Making and Decorating Stylish Screens: Cover Art, by Katherine Duncan Aimone, Lark Books, 2003. Cambridge Center for Adult Education: Catalog Cover, Spring, 2000. Paper Art: “Working From Pulp,” by Michael G. LaFosse, Quarry Books, 1998. Arts Media: “Lasting Impressions: Looking at the Land,” Mary Behrens, June, 1997. Boston Globe: “Perspectives,” Christine Temin, April 9, 1997. American Craft: “Commissions,” August/September, 1996. Art Plan: “Cambridge’s Multi-Purpose Senior Center,” Cambridge Arts Council, 1996. Boston Phoenix: “The Weekend,” November 2, 1990. Art New England: “Lisa Houck: A Long Walk to View Some Petroglyphs,” Meredith Fife Day, July/August 1989. Boston Sunday Globe: “A Happy Case of Life Imitating Art,” Anthony Tommasini, January 8, 1989. Boston Globe, Calendar: “Exhibits: Other Dimensions,”: Critic’s Tip, Christine Temin, April 21, 1988. Boston Globe, Calendar: “Exhibits: Views From the West,” Critic’s Tip, Christine Temin, October 22, 1987. Art New England: “Lisa Houck, Kendall Square Station,” Abstracts, Thomas Frick, October 1987. Boston Globe, Calendar: “Exhibits: Bright Universe,” Critic’ Tip, Robert Taylor, June 18, 1987. Boston Globe: “Perspectives,” Christine Temin, November 27, 1986. Boston Globe, Calendar: “Exhibits: Cosmic Happenings,” Critic’s Tip, Robert Taylor, May 8, 1986. bright blue/green print of a swooping bird on Somerset Velvet Antique paper (off white), one of a series of 4 bird prints by Lisa Houck sold individually or as a set of 2, 3, or 4. Each measures 36 x 24 inches, each blue varies slightly from print to print. The others in the series are more intense in color.
One of the first women to make her mark on public spaces across the world, Niki de Saint Phalle was a French sculptor, painter, and filmmaker. She is the featured artist for November, in my Woman Artist Series. From sculptures in Jerusalem to fountains in Paris, to totems in a California park, the works were her way of taking possession and re-owning the male-dominated public space. NIKI de SAINT PHALLE Here are 10 things to know about Niki de Saint Phalle, along with some of her artwork and images of Saint Phalle herself: 1. Catherine Marie-Agnes Fal de Saint Phalle was born on October 29, 1930 near Paris. Her father, Count Andre Marie Fal de Saint Phalle, was a French banker, and her mother was an American, Jeanne Jacqueline Harper. Before World War II broke out in Europe, the family moved from France to the United States, to seek safer ground. Saint Phalle's French family had business ties in New York and relocated there, where her father became manager of the American branch of the Saint Phalle family's bank. Saint Phalle attended the prestigious Brearley School in New York City, a girls' prep school, between 1942 and 1944, but was dismissed for painting fig leaves red on the school's statuary. She went on to attend Oldfields School in Glencoe, Maryland, where she graduated in 1947. It was there, she said later, that she became a feminist. "They inculcated in us that women can and must accomplish great things." During her teenage years, Saint Phalle was a fashion model. At the age of 18, she appeared on the cover of Life; and later, on the covers of French Vogue, Harper's Bazaar, and Elle. 2. While rejecting the conservative values of her family, Saint Phalle married at 19 -- eloping with author and musician, Harry Matthews, whom she had known since the age of 12, through her father -- and moved to Cambridge, Massachusetts. While her husband studied music at Harvard University, Saint Phalle began to paint -- experimenting with different media and styles. Saint Phalle's self-taught artistic pursuits, were rejected by members of the Saint Phalle clan. They reportedly took a dim view of her artistic activities. The couple's first child, Laura, was born in April, 1951, when Saint Phalle was 21. She had her second child, Philip, at 25. The family moved to Paris in 1952. After becoming a mother, she found herself living the same bourgeois lifestyle that she had attempted to reject. This internal conflict, as well as reminiscences of her rape by her father when she was only 11, caused her to suffer a serious nervous breakdown. She was treated with electroshock therapy and insulin, for what was diagnosed as schizophrenia. As a gentler form of therapy, she was also urged to pursue her painting, which she did, on a full-time basis during her convalescence. While in Paris on a modeling assignment, Saint Phalle was introduced to the American painter, Hugh Weiss, who became her friend and mentor. He encouraged her to continue painting in her self-taught style. 3. After moving to Majorca, Spain, with her family, Saint Phalle gleaned ideas everywhere. Saint Phalle read the works of Proust and visited Madrid and Barcelona, where she became deeply affected by the fantastic structures of the architect Antoni Gaudi. Gaudi's influence opened many previously unimagined possibilities for Saint Phalle -- especially with regard to the use of unusual materials as structural elements in sculpture and architecture. Saint Phalle was particularly struck by Gaudi's "Park Guell", which persuaded her to create her own garden-based artwork, that would combine both artistic and natural elements. That definitely set her course -- to one day create a sculpture park. Saint Phalle continued to paint, particularly after she and her family moved back to Paris. Her first art exhibition was held in 1956 in Switzerland, where she displayed her naive style of oil painting. She then took up collage work, her first reliefs -- that often featured various humble objects, such as plastic toys and knitting needles, embedded in them. Sometime during the early 1960's, she left her first husband. 4. From 1960 to 1963, Saint Phalle caused a stir with her spectacular, experimental "shooting" paintings. These famous Tirs (Shoot) pieces -- considered scandalous at the time -- drip like Pollock's, but were executed by Saint Phalle by shooting a rifle at balloons of colorful paint mounted on white canvases. These pieces of art were created with polythene bags of paints, sometimes in human forms, covered in white plaster. Standing before her canvases, she would first plaster on small pots and bags of paint, and then shoot at them mercilessly with a shotgun, to open the bags of paint, which splattered color onto the relief when they burst. Saint Phalle was a picture of total concentration as she completed her works of art, often surrounded by spectators. For Saint Phalle, shooting with a shotgun or pistol at these modeled plaster reliefs was a release of her feelings and aggressions. "I fired at men, at society with its injustices, and at myself." She was considered an "action artist", rebelling against set conventions. Her "shootings" catapulted Saint Phalle into the limelight of the international art scene, and won her acceptance among the French Nouveaux Realistes group of artists. 5. Seemingly out of nowhere, came Saint Phalle's signature works -- her Nanas -- large, playful, balloon like figures of women, with their arms outstretched, and colorfully decorated from head to toe with gaily-painted flowers, hearts, and other folk motifs. Saint Phalle created these Nanas, her best-known works, in the mid-1960's. Nana is French slang for "broad" or "woman". They are often credited as redefining the depiction of women in sculpture. Some of these vast, curvaceous sculptured bodies towered more than 5 meters (or 15 feet) high. She finally found a highly individual style to express her ideas about being a woman in society. The Nana figures embody self-aware femininity and joie de vivre. These were, in effect, an alternative art to her shooting paintings. Saint Phalle said that she "wanted these good, bounteous, happy mothers to take over the world". The first of these freely posed forms-- made of papier-mâché, yarn, and cloth -- were exhibited in Paris in September, 1965. They eventually were made of polyester. The Nanas' forms may be French, but their attitudes are American. They seem to say -- break all the rules, be confident, be arrogant, and throw your weight around. These rotund girls dressed in bold primary colors twirl on their toes and look like they're having a grand old time. Her larger-than-life Nanas soon conquered the hearts of the public. They seemed to make the world a little more cheerful and colorful. 6. Through the wild group of artists, the New Realists (Nouveaux Realistes) in Paris, Saint Phalle met the Swiss artist Jean Tinguely in 1960, whom she lived with and later married, in 1971. Tinguely, a fellow artist and sculptor, helped Saint Phalle in her efforts. They participated in many Happenings throughout Europe. Their numerous collaborations include the beautiful and whimsical Beaubourg Fountain near Paris' Pompidou Center, on the Place Igor Stravinsky -- with sculptures by both Niki and Jean Tinguely. Saint Phalle and Tinguely were together until his death in the 1990's. 7. In the mid-1960's, Saint Phalle and Tinguely collaborated on another installation -- this time a huge Nana figure. The sculpture was Hon (the Swedish word for "she"). This architectural sculpture was like a cathedral. This 92-foot-long (28 meters), 20-foot-high hollow sculpture of a woman lying on her back was placed on the floor of Stockholm's Moderna Museet. Visitors entered the figure -- which contained a bar, aquarium, planetarium, music rooms, and a movie theater -- through a door between her splayed legs. 8. Saint Phalle worked on her biggest project, the Tarot Garden, inspired by Gaudi's Park Guell in Barcelona, until her death. She started the project in the early 1970's -- when she decided to create and build a sculpture garden. The Tarot Garden in the hills of Tuscany features a series of monumental sculptures based on the 22 symbols of the tarot cards -- gigantic figures and towers covered in mirrors, ceramics, and stones. The artist's highly individual style would make the whole place a singular work of art. In 1983, the first completed figure -- the Empress, in the center of the garden -- became her home and studio for seven years while she worked there. Eventually, after decades of work, the Giardino die Tarocchi (the Tarot Garden) in Garavicchio, Tuscany, opened in May of 1998. 9. Niki de Saint Phalle's role as an artist and a provocateur defined her. She had a unique, yet often dismissed place in 20th century art. In so many ways, she was a pioneer of avant-garde. She once said, "I always admired people who went all out." She did just that. When she was 62, Saint Phalle published her memoir, Mon Secret, in which she revealed that her father had sexually abused her for several years, beginning when she was 11 years old. After that, her strikingly varied body of work took on new meaning, with a more cohesive narrative. She overtly tackled American issues, such as gun control and civil rights in the 60's in her artworks. She was one of the earliest champions of Aids awareness. 10. Saint Phalle was half French, half American, and bilingual. Although she was born in France, she spent decades in New York and California -- where she lived out her final years. Her Tarot Garden in Tuscany opened in 1998, but by then, Saint Phalle had already retreated to the milder climate of California. Her lungs had been seriously damaged by working with polyesters. Niki de Saint Phalle died on May 21, 2002, in San Diego, California, of pulmonary emphysema -- at the age of 71.
Bathed in a visual symphony of majestic purples and subtle undertones of crimson, Bumbling in Foxholes E4 whispers of tranquillity. The hues interlace, forming harmonies that resonate with a sense of serene depth, as if every brushless stroke had captured the very essence of twilight's final exhalations. One can perceive the intimate relationship between the hues - the inky blacks grounding the vibrancy, while fleeting moments of alabaster offer a stark yet elegant contrast. Skip the transient fads of the art world, for the timeless allure of a collectible art piece that embraces both minimalist and vibrant art concepts lies here.Adjacent to E4, the Scales E2 and E3 extend the visual journey, inviting collectors to immerse themselves in a continuous narrative of hues and forms. A constructed mosaic of textures beckons the discerning eye to consider these pieces for a gallery wall, offering an original and luxurious statement piece. The simplicity of Bumbling in Foxholes E4 anchors the trio, promising a seamless flow of artistic innovation - an artisan-crafted collection worthy of a premier art patron's attention.The allure intensifies when imagining Bumbling in Foxholes E4 in capacious dimensions, the opportunity for grandeur subtly implied. Ideal for drawing rooms accented with rich purples or minimalist office decor, the work converses with its surroundings, enhancing spaces with its interpretive palette. In this canvas, one may find echoes of landscapes or the depths of introspection, its purple abstract art tones and deep black accents enriching the visual and emotional landscape - an art therapy of sorts, transforming environments into sanctuaries for art education and appreciation.
In this week begins international exhibition of contemprary art in Bologna. I would like to open this event with Julian Schnabel paintings....
Le musée de Beyrouth a désormais son livre de référence
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Everyone liked the color charts I test printed for Basilisk so much, I felt compelled made a nice version! Great for anyone that has an interest in Risograph printing, historical pigments, or weird m…
The Pictorial Metaphysics of the Icon Abstraction vs. Naturalism Reconsidered Part I By Fr. Silouan Justiniano The Icon is not simply a representation, a portrait. In later times only has the bodi…