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Los Angeles-based artist and actor Joseph Lee paints thickly layered portraits that mask the details and expressions of his subjects’ faces. His abstracted profiles sometimes reveal a subtle hint of an eye, nose, or ear between multi-colored brushstrokes, and are set against matte backgrounds to make each painting pop. Although the facial expressions are often hidden, the self-taught artist intends to bring emotions to each face through the turn of the head or the line of a jaw. More
I recognised it from the photo here of Le Corbusier, his wife Yvonne and Jean Badovici and which included the little signs written by Gray which said to one side “Defense de Rire” and to the other “Entrez Lentement”. Entrance to E1027. Text is Gray's Mural by LeCorbusier (1938)
This is the second of three postings on the work of Richard Diebenkorn and is looking specifically at his ‘Berkeley’ series. For an overview...
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
Troschke, Wolfgang 1947 Helmarthausen Untitled.1996. Mixed media on China. 26 x 21cm. Dated and signed at the bottom: 27.8.96 WTroschke. Framed. Provenance:Galerie Boisserée, Cologne (label).
Download this photo by Steve Johnson for free on Pexels
Richard Diebenkorn 1922-1993., Untitled (Ocean Park Series), 2017.72
Paisaje Espejismo , 2000, 28 1/2 x 23 3/4 in., Latin American Masters. photo: Francisco Kochen Estructura en gris y rojo , 1964, oil on can...
This year, it seems Pablo Picasso, one of the most popular artists of the 20th century and father of Cubism, has been everywhere. In September, the Musée National Picasso Paris will have its biggest-ever exhibition dedicated to the prolific artist. Perhaps it was Picasso himself who explained his enduring appeal: “I mix it up a lot, I shift a lot. When you see me, I’ve already changed, I’m already somewhere else. I am never in one place and that’s why I don’t have one style.” His ever-changing aesthetic and tendency for metamorphosis creates a body of work that is not only incredibly vast, but also shockingly diverse.
Como les ocurrió a otros muchos artistas de su generación, la movilización durante la Primera Guerra Mundial no sólo afectó profundamente el espíritu de...
Forget the dress, check out that soup-er mural! It's simply un-can-ny how much it resembles the work of Warhol. More condensed details on the fourth grade's latest masterpiece soon, but for now the h-Andy work of this dress will just have to be suffice. Or is the word "sufficient"? Eh, you say "tomato", I say "shut up, fool!" Because I'm rude like that. I dunno how you spent your weekend, because, as I mentioned, I'm rude and therefore forgot to ask, so lemme just tell you how I spent mine: Making a Campbell's Soup Can Dress in honor of our artist of the month, Andy Warhol. Oh! And did I mention that I almost committed sew-icide (death by sewing a nightmarishly impossible task)? Because I did. Seriously. Each one of those appliqued letters was at least ten years off my life. Which I don't suppose is possible being that there are 19. But whateves. Me and math have never gotten along. You might recall I'm on a bit of a mission to create an outfit for each of our artists of the month. Thus far, I've managed to sew up a Great Wave dress in honor of Hokusai and a splatter-tastic number for Pollock. And now I can add some Andy Warhol to my dress-terpiece wardrobe. Yippie! It only shaved 190 years off my life (and, yeah, it took me from initially mentioning that math problem until now to come up with the answer)! This whole mess, er, dress started when a sweet parent approached me about having the kids create posters for an upcoming canned food drive. I'd already had it in my head that our school's cafeteria needed a new mural and had mentioned such to Rebecca. With her big soon-to-be-an-amazing-art-teacher brain, she thought up the idea of the kids creating a class set of Andy can murals. And the rest is history (with details to come, pinkie swear and spit shake). Check it out: the Souper Dress is a screenprinted paper dress that was made and sold by Campbell’s Soup Company in the late 1960s. Obviously, the creation of this dress was inspired by the one and only Warhol. How I'd love to get my kitten mittens on this number...if only it wasn't selling for hundreds of dollars on that devil website known as ebay. While student teacher extraordinaire was busy workin' on that, I was plotting my outfit to accompany said lesson. Because if it's one thing I've got, it's priorities. And a serious lack of mathematical skillz. My mom happened to spot this dress on a recent thrift store jaunt and, knowing my can-plan, scooped it up for me. Can you believe it's perfectness? I swear this bad boy was just beggin to be Campbell's-soup-ized. To can-onize this dress (because after all the work, I'm declaring this thang a holy relic), I added a silver ban to the top and bottom. I didn't shorten the dress at all although in this side-by-side it appears that way. And, of course, I appliqued the crap outta the thing with all 19 of those letters. Not like I was counting or anything. Ahem. Now I never really go about anything the right way or even the easy way, so if you are gonna embark on your very own Warhol number, might I suggest you go to a legit DIY blog. However, if you are up for a challenge of sew-icidal proportions then, welcome to the Thunderdome, friend! Grab your Xanax and let's hop to it! I began by laying my dress out and placing a sheet of tissue paper on top of that. I kinda love lettering so planning the size of the letters and penciling them in was fun for me...in a I-like-to-pick-at-my-hang-nails fun kinda way. After that, I chose the fabric for my letters and ironed some fabric stiffener to the back. Wait, there's another name for that, right? Because "fabric stiffener" just can't be right. That makes it sound like I showed the fabric some dirty pictures of sewing machines and thread and it got all hot and bothered. And that's just weird. Wait, what were we talking about? Lemme start again, sorry... Iron some stuff on the back of the fabric that will beef it up (heehee), pin tissue paper to fabric and cut. Wow, I managed to get all that out in one sentence when it took me an entire paragraph above. Because I thought the pins would create puckers in the fabric when sewing, I tacked the letters down with Stitch Witchery which is that roll of stuff on the left. And then the appliqueing commenced. Which, as you can see, is just a zigzag stitch really close together. I struggled with turning the curves of the letters which shoulda been a harbinger (the one SAT vocabulary word I actually remember) of what was to come with those curvy swirly "Cambell's" letters. Speaking of...I actually contemplated felting these letters in place knowing they were to be a beast. But I opted to first give it a shot applique-wise and then resort to felting if needed. Are there any pro-applique'ers out there? Because one look at this photo and you can see I'm strugglin'. Pushing all the fabric of the dress through the machine was not my cup of tea. Do the Real Housewives of Applique-town have a certain machine with a longer sewing machine arm, a flatter presser foot and a built-in margarita maker, perhaps? When it was all said and done, I was pretty happy with my goofy dress. Which provoked mucho commentary when I hit the grocery store after school. Here's just a pinch of the convo I engaged in at the checkout counter: Checkout Clerk: Oh! I love your dress! Did you make it?! Me: Um, yeah. I did. CC: Oh my goodness {Calling to the other checkout clerks:} Hey, guys, come over here and see this dress! She made it! Awkward Checkout Clerk: Neat. {Looking in my cart} You aren't buying any soup? That seems weird. Me: Yeah, well. I'm trying to cut back. ACC: That's too bad. {Checkin' my dress out again} I hear it's "Mmmm...mmm...good." Can I help you out with your groceries? Me: {Trying to suppress my freaked'outed'ness}NO! I mean, no. Thanks. Stay tuned for the post on how the fantastic fourth grade created these murals. Until then, finish that soup! AND stay away from Awkward Checkout Clerks. Toodles!
African clash vector seamless pattern in ethnic tribal style. Can be printed and used as wrapping paper, wallpaper, textile, fabric, apparel, etc.
10 Original Artworks curated by Katherine Henning, Artist: Bruno Varatojo. Original Art Collection created on 5/11/2016.
Abstract landscape paintings
The Acrobat, 1930 by Pablo Picasso. King & McGaw has an extensive collection of art prints by established and emerging artists, which are all framed by hand in the UK.
This art print is printed and supplied to FramedArt.com by one of our top publishers. When you select this framed Levitate art, glass is added to the front of the print to protect it from finger prints and splashes. Next, the frame is carefully built around the print based on your selected frame and mat configurations. A backing is then added to the back of all Lisa Kowalski framed art for an extra form of protection. Add a high quality, protective, stylish frame to your artwork for the perfect finishing touch.
"Melting Soul," is a fusion of vintage charm with a dash of futuristic flair. It's a blend of history and tomorrow, dressed in a way that defies convention and celebrates uniqueness. This character has a mission – to melt the minds of the deliberately cruel, while lifting up and elevating those it believes in. It's a mentor, a guardian, a steadfast supporter, this character's essence radiates positivity. "Melting Soul" invites you to be the mentor, the supporter, and the positive force. An original hand-painted mixed media abstract face. Unframed (frame for illustration purposes only) Dimensions: A3 size (29.7cm x 42cm) Surface: Mixed media artboard
James Ormsby was born in 1957, of Ngati Maniapoto, Waikato, Te Arawa and Katimana (Scottish) descent. He graduated with a MFA from The Royal Melbourne Institute of Technology University, Australia, in 2001. He has participated in both local and international group exhibitions since 1998, and has been exhibiting in solo shows since 2001. Ormsby focuses on ... Read more
À une époque, il était recommandé d'avoir l'haleine fraîche et les pectoraux musclés. Aujourd'hui aussi.
