Art Exhibition
Art Exhibition Navigate through our blog to view a wide variety of exhibitors showcasing hand made art.Use our unique technology to quickly and easily view the diverse work of artists around the world.Only the exhibitors with the highest quality standards are selected to participate in.
With a little practice to use a presentation can perfect the art. This was due to a combination of confidence, preparation and good oratory. You feel less nervous and more prepared. Some of the most important aspects of the law are: as a rule, what was said in the beginning and the end of her presentation with more clarity of his presentation will be recalled write. In his message, the core - the reason for the purchase of a product, the client and introduce your abstract - in. Ask yourself the following questions:
* introduce you to capture people's attention and explain the main purpose?
* You clearly define the presentation of the main points are?
* The point is a logical sequence?
* In general and the presentation of the flow?
* Are your visual aids (when they) to support each point?
* Your conclusion and not on what was said in the introduction is strong?
And is always ready for the beginning of a filing in advance so that you ready to try to allow sufficient time. You better plan, in spite of difficulties to the performance can give confidence. The more credibility you will.
You are aware of around you. Option in the team room size and Find out what is available. Chance, or anything that just do not leave the projector has a value, for example. This can help the flow of speech. It helps send a clear message - and why your product should be public - and throughout the presentation. Keep it simple. List all items you would like your presentation in all but the top five. If you try too much ground in his presentation to the people that you run the risk of misleading. Audience to know. First try to participate in the presentation.
Beginners or experts in the field? Your own level in the region need to intervene. Last-minute items and to sign it on the map do not. First, you a glass of water with the nerves and last minute preparation for what should be allowed sufficient time to make sure to come. Everyone dealing with nerves tense, last-minute nerves more experience with people to make too. Whatever you do not have to apologize and that you are upset. You know that something still has not addressed to the attention of the audience can use to attract. There's a calm nerves before presentation to a number of methods are Contemporary figurative fine artist Eric Armusik creates original oil paintings that are museum quality 21st Century realism masterpieces in the manner of the painter Caravaggio and his followers. Eric’s romantic, classical paintings fill the gaps between 17th Century Italian Baroque artists and his own original thematic interpretations of religion, mythology, history and his own life as a representational fine artist, portrait painter, a husband and a father. Each original oil painting draws from his experiences and art historical background in telling the stories for each painting. The parallels between reality and what subjects he paints showcases the accessibility and honest appeal of his paintings to novice and seasoned gallery art collectors alike.
A Brief History of Oil Painting
Oil painting as a painting medium, the usage of oil in combination with other pigments counts back to 1400. Prior to oil painting, painting in general dates its history back to the period of stone age, painting in that era was made with the usage of binders unlike oil painting mixed with some kind of pigments like egg in tempera paints.
The fifteenth century was seen as a transitional period in Europe, there was some sort of reality visualized in art. Art was changing from the decorative style and mythological during a middle age to a period of revival and rebirth with the beginning of renaissance. There was a realization among the artists, they were beginning to understand the mathematical laws behind the outlook and there was a scenario prevailing where the artist were interested in portraying more sincere and portrays that were more realistic in nature. They had initiated the usage of nature as a source of inspiration for their paintings.
Jan Van Eyck (1395-1441), a painter of the northern renaissance wanted to mimic nature and its scenic beauty along with his painting brush on the board. He wanted to paint every tiniest detail on his board to portray his paintings to be more scenic and livelier. Finally he realized that if he had to portray every tiny detail of painting to his fullest satisfaction, he had to improve on the technique of painting. Thus with this zeal to portray tiny detail of nature with clarity he became the inventor of oil painting. Initially Van Eyck and all painters during the period of renaissance did not buy ready made colors.
They grounded their pigment from natural sources like plants and minerals and in turn they added binder to form a paste with which they could paint. During the middle ages the binder which was used was egg and the end- product thus formed was tempera paint, this had the tendency to dry very quickly. This property of quick drying agent did not permit smooth transitions in shading. But smooth transitions were necessary to achieve as sense of reality which Van Eyck was attempting to portray. Thus he initiated the usage of oil instead of egg. The work with oil as a binder was much slower and accurate to the satisfaction levels. An oil binder permits to provide a glossier look. With this technique he was able to apply tiny detailing with the help of pointed brushes. Later the new technique of oil painting was appreciated and there was a general acceptance of oil painting to be used as a widely used suitable medium of painting. There are many other mediums of oil paintings available but we still adhere to the usage of oil painting invented by Van Eyck.
The art of portraiture approached its apex during the sixteenth century in Europe with the discovery of oil painting when the old masters developed and refined techniques that remain unsurpassed to this day. The ascendance of nonrepresentational art in the middle of the twentieth century displaced these venerable skills, especially in academic art circles. Fortunately for aspiring artists today who wish to learn the methods that allowed the Old Masters to achieve the luminous color and subtle tonalities so characteristic of their work, this knowledge has been preserved in hundreds of small traditional painting ateliers that persevered in the old ways in this country and throughout the world.
Coming out of this dedicated movement, Portrait Painting Atelier is an essential resource for an art community still recovering from a time when solid instruction in art technique was unavailable in our schools. Of particular value here is a demonstration of the Old Masters’ technique of layering paint over a toned-ground surface, a process that builds from the transparent dark areas to the more densely painted lights.
This method unifies the entire painting, creating a beautiful glow that illuminates skin tones and softly blends all the color tones. Readers will also find valuable instruction in paint mediums from classic oil-based to alkyd-based, the interactive principles of composition and photograph-based composition, and the anatomy of the human face and the key relationships among its features.
Thinking Man
Dublin-based Italian illustrator and cartoonist Mario Sughi mixes a concoction of bright palettes of line, pattern and paint, with content shades darker.
Matisse's Young Sailor (times two)
Henri Matisse's The Young Sailor (II) is surely the most shocking portrait of the 20th century. He painted in mid-1906, when his even-then rival Pablo Picasso was finishing up his tame-by-comparison self-portrait. The two paintings that Matisse and Picasso would volley back and forth starting the next year: Baltimore's Blue Nude, MoMA's Les Demoiselles, St. Louis' Bathers with a Turtle, get most of the attention, but Young Sailor is more stunning, fresher even, than any of them.
Leo Stein and Alfred Barr both passed along the same story about Young Sailor's creation: Along with the remarkable still-life Pink Onions were made in Collioure, during Fauve Summer, just after Matisse painted his first great self-portrait. The artist convinced a barely-willing sailor to pose, and made both a drawing and a painting. (It's not clear whether the sailor sat for both, or for just the drawing.) When Matisse got back to Paris later that year, he told his friends that both the still-life and the sailor were the work of a Collioure postman. "You're lying, Matisse," Jean Puy is supposed to have said. "You painted them yourself."
This is a long way of saying that the drawing that Matisse made for (or with) Young Sailor is on view now at the Metropolitan Museum of Art. The painting and the drawing are hung in a corner of the Gelman Collection. I had never seen them together before and the pairing is, well, surprising in a strange way: They're nearly identical. Sure, in the drawing the sailor's hat is at a slightly different angle, and so too a leg... but to find those differences you have to look really, really carefully.
PinkOnions.jpgPoint being
The art historical story about Pink Onions and Young Sailor -- obviously encouraged by Matisse himself -- is that he made them spontaneously, in a frenzy of fauve creation. Well, if the drawing at the Met was made as the prep-sketch for the painting, it's clear just how carefully Matisse planned this breakthrough canvas. He knew exactly what he was doing and he executed it carefully and purposefully. Only then did he get the cold shakes about how what he'd done was revolutionary. (Which would fit a Matisseian pattern laid out by biographer Hilary Spurling, a pattern that she dates back to about 1898.)
Anthony Lister at Lyons Wier Gallery, NYC
Australian born artist Anthony Lister is showing at the Lyons Wier Gallery in New York City from March 19 through to April 19.
A lot of my favorite artists are painters that never really give up using the pencil (line). Painterly paintings are good but so are paintings that look like drawings. I guess I like painterly drawings or linear paintings. I like painterly paintings and linear drawings too ;-)
Hanal Art Describes Several Art
Hanal art describes several art form developed primarily for aesthetics and/or idea rather than utility. Painting is a structure of visual appearance and is one of the main forms within the visual arts. General instruments include graphite pencils, wax color pencils, Pen and ink, inked brushes, crayons, chalk, pastels, markers, stylus, Charcoals or various metals like silverpoint.
Decorating any home, apartment or office space is no easy task, especially if you have an eye for detail. It is even harder to decorate well when you realize how much it matters to decorate your space in ways that reflect you. I have recently been busy redecorating my office. It was very important for me that my office reflect who I am and that it be a comfortable environment for writing in.
Sistine Chapel Panorama
When I was in Rome a few years ago two things were at the top of my “must see” list. One was the Galleria Borghese and its wonderful collection (see my posts on Titian and Bernini), the other was the Vatican Museum and, in particular, the Sistine Chapel and Michelangelo’s stunning frescos.
Following the advice of a guidebook we arrived at the Vatican early and worked through the museum quickly, not pausing to linger over the other works (not easy to do), and got to the chapel before it filled up with its usual shoulder to shoulder carpet of bent neck tourists. By being among the first to arrive in the chapel we were able to walk around the space freely, viewing perhaps the most astonishingly adorned interior space in the world at our leisure.
(We then got back in line and went through the museum again, a process with which my companions were less than pleased. The museum is arranged in a kind of single file, one way march through the rooms, almost like a Disney attraction, and is not conducive to wandering freely.)
Even viewing the Sistine Chapel without the crowds has its limitations, though; the bent-neck viewing angle is only comfortable for a short time, and management doesn’t encourage you to bring in chaise lounges and binoculars.
For the next best thing to that experience, you can visit the Vatican’s “Virtual Visit of the Sistine Chapel“, a VR interactive that drops you into the middle of the chapel (empty of visitors), and allows you to pan around, and of course up, thorugh the entire space, and zoom in on any section.
While this may not be the best way to view individual elements (for that, visit the Web Gallery of Art, and their section on the ceiling frescoes), it’s a fascinating way to get a feeling for the space and the relative size of the images on the ceiling and walls.
As I did when actually there, I focused on the prophets and sibyls, which I think are some of the most beautiful of Michelangelo’s painted figures; in particular the Libyan Sibyl, above, for which his preparatory drawings are absolutely beautiful, and among my favorites in the history of art.
When viewing the panorama (which is in Flash), you may find it helpful to try the two different modes of motion provided by the “Change Mouse Mode” Button (the “M” next to the plus and minus at lower left).
Unfortunately, I found the rest of the Sistine Chapel section of the Vatican Museum’s online collections less rewarding, and difficult to navigate (despite the hand of God pointing to the top level navigation elements).
Art of Painting is not the only way to paint; but...
After a bit of diversion, we come back to Art of Painting. Over the next few entries, I hope to share and offer enlightenment on this philosophy of painting. Art of Painting is specific in its goals of continually learning and growing. Rules and formulas are minimal. Every situation, every scene being painted is unique. The goal is to “see” and understand the relationship of color, value and temperature present in that scene.
Sky is not just blue, apple not just any red. It is the relationship held between the apple and the sky and the tree etc. How they relate to each other, how they harmonize like voices in a choir. Hopefully working together; like musical notes in a melody; which come together to form a symphony. The entire relationship of color depends one on another – their relationship and harmony.
This is painting and the art there of – Art of Painting. There are no rules but the eye needs to be trained to see these relationships and sometimes subtle harmony.Art of Painting is, in my opinion, the highest level to be attained as an artist. Not that great poetry is any lesser. Not that a masterfully played violin sonata is lesser. Speaking about the visual arts, the image created based on Art of Painting philosophy is the acme of the journey.
This is why I have devoted myself to the craft, my painting. It is why I teach – it is why I have the need to paint! It is because I have too. It is my gift, my passion.So again, this is not the only way to paint. If you are looking for a hobby please look else where…if you are looking for a way to learn paint with rules and formulas: i.e. “to make color of apple, use one part this and mix with two parts that” please, please look else where.
I will not even be able to teach you to “paint” but I can teach you how to “see” as my teacher did for me and his teacher before him and so on.So if you have the desire to be a painter…to be an artist…please continue. The journey really has no destination. As with life, the goal is the journey. That’s the musing for today, and sooner than later look for more thoughts to ponder and ideas to consider as the journey continue.
Modern Art – Oil Paintings Today.
Oil painting is an astonishing art form and even today there are many artists who work fabulously on oil paints. But now there are far more sophisticated tools to provide oil paintings like water miscible oil paints.
These paints can be thinned and cleaned up with water instead of using the turpentine. Earlier turpentine was employed as a cleaner in oil paintings. These water miscible oil paints scale back the deep odour of noxious chemicals.
Those days artist coated a mixed mix on the canvas before they started painting, this was done to offer protection to the canvas from the noxious nature of the paints. But now all of these safety measures are less needed.
Lavradio Street - Lapa
This 18th Century street in downtown Rio de Janeiro experiences a renaissance nowadays.It is located in Rio’s historical and commercial center. From the end of the 19th Century, the city’s elite made its home in Lapa district, where baronesses and counts mixed with Rio’s bohemian population. The city’s best cabarets and theatres were located there.
As I´ve been working on extra large formats,(I´ll post it soon) I´ve decided to approach this theme with small studies for a change.Maybe I´ll paint some of them larger in the future... I like to alternate between large and smalishes, each one has its own charm.
It was an overcast day and I decided to stop at this corner where nowadays is the headquarter of Brazilian Fine Art Society.The next day I headed to the last block of Rua do Lavradio. Lined with tastefully decorated restaurants, nightclubs, antique stores and a neighborhood barbershop, it was restored and entirely pedestrianized. It was difficult not to be distracted by the turn of the century streetlights, and several other embelishments of this part of the street.I intended to edit , simplify and focus on the play of light on the colorful old buildings.
Stillness in Art
A recent inquiry regarding the idea of stillness in a work of art got my thinking juices flowing. For me, stillness is when we allow ourselves those moments to be connected to our higher self, or a higher place or source. This connection allows us to leave the realm of physical, material, emotional and instead flow into the universal vastness of “God” (or our own concept of the nonphysical). When we have this connection to our true source, it feels like stillness as we are in a timeless non-physical realm.
True stillness in a work of art comes from the artist and their process – when both are also connected to this higher source. Stillness in a work of art will rarely, if at all, come from a process that is overly mental, overly emotional and too thought out or controlled/contrived. That means there are no real tools, techniques or formulas that would allow this powerful connection to come through the work. Instead, overly mental processes, pinched off from source, create a blocked type of static. A painting is 2 D which by itself encourages a stillness, a time away from the normal reality viewing of our physical world, and propels the viewer into an alternate reality. This is a 2-way street. Artists can make the best work possible, and yet unless the viewer allows a certain amount of time and focus for viewing it, could miss out on all the rich potential in a work of art. So the stillness in a painting requires the connection of the artist in process as well as the viewer.
What a crazy painting project
Expectations
I want to create paintings that reflect the beauty and strong ties I feel to the area, where I and seven generations of family before me grew up.While I have been contemplating this amazing project and opportunity, I have been thinking both about how far I have come artistically, and about how much has truly changed in the town “that friendliness built.”
I have spent a time reflecting on change and growth, and despite all that obvious transformation, it is in fact what has remained constant that I continue to gravitate toward most: the sunsets my Great Grandfather Fred appreciated as he sat on the back porch after a grueling day on the farm (that is now the Lowe’s property); the refreshing cool my Grandmother Rusty, as a little girl, enjoyed as she splashed in the river; and the trails my Mother Laurie tromped through as she gathered up bouquets of purple Foxglove and the yellow blossoms of the Oregon grape. Change is important and constant, but it is what stays the same, those things that were beautiful then… and still retain the same appeal and potential to excite us today, which delights most.
What I propose is a series of paintings that are a reflection on atmosphere and light: the early morning moisture in the air, the thin veil of clouds resting atop Peterson’s Butte, the dust kicked up during hay season that turns the setting sun ablaze in warm hues and glowing contrasts…
The artwork would reflect the feeling I had as a child, blissfully floating down the Santiam River by inner tube, or fishing off its banks, with the warm summer light reflecting off the subtle rapids and the water-worn stones just beneath its surface.
I want my paintings to capture the magic and wander I felt as I discovered the forested trails in the hills surrounding town, and as I breathed the damp air with its very cognitive feeling of being enveloped in lush green life, and the sweet musk of decomposition as old stumps give rise to saplings and innumerable ferns. I want to capture the filtered dappled light making its way to the path just before leading me in, bidding me to explore the next bend just over the moss covered log.
The Library Art Project paintings have the potential to be the best I have ever created. I plan for them to read like four chapters that tell the story of the town that shaped me and ignited my lifelong appreciation for both natural and agricultural beauty, for winding water ways, softly rolling fields, and gray blue hills fading into the distance, which frames it all.
“We look at the picture. We walk in the picture. We ramble through the picture. We live in the picture. All are desirable, but the last two are held in the greatest respect.” (Kuo His)
Artwork, style, emotional impact
I have always felt that a painting’s job was to feel like a painting, to do the things that only paintings can... Paintings work best when not strictly adhering to the scene at hand, but when they capture the essence of the place and subject.
My tools are the canvas and oil paint, and using these two simple materials I strive to create the illusion of a third dimension. It has always been my goal to help the illusionary dimension feel real and beckon people to travel into it, to draw them as a place that is welcoming, that has certain nostalgia-like sense of a place they know well but are now seeing anew.
“Response [of viewers] is triggered by the design, drawing, form, color, etc. presented by the artist, but also draws on their own experiences and imagination.” (Ken Campbell)
My style has developed as a unique hybrid of elements from the artists and paintings I love. When people talk about my art they use word like “impressionistic” or “painterly,” which comes from my years studying the French impressionists and my deep fondness for the early California Impressionist painters. I love artwork that feels spontaneous yet controlled, like a thoughtful acknowledgement to what is being seen and felt.
People also use words like “relaxing,” “nostalgic,” and “timeless” to describe my pieces. This may indeed reflect my focus to overcome a deep seated fear of having my art feel dated or trendy. Years ago I began to ask myself what was the art that drew me in, which styles did I connect with most, and I noticed it wasn’t about an era or a movement... The art I like is about light and shadow, about atmosphere, and about conveying the special feeling of being in a certain place at a given time of day.
My art has been described as “story-like” or “illustrative,” and that one is easy to answer, I studied illustration and many of my favorite artists are the classic illustrators - artists such as Maxfield Parish and N.C. Wyeth, painters who created stunning images that get people excited about the story’s potential.
Reference photos
I have been fortunate to meet the local photographer Nick Boren. He has photographed the Lebanon area extensively for many years, and upon learning about my opportunity, has opened up his vast collection for me to work with. I have included 7 of his photographs and 5 of my own for you to get a better idea of subject matter images we could choose from. (I have numbered the backs in priority order to indicate which ones I prefer, but I would absolutely be happy to work with any of them as references.)
Conclusion
My paintings for the Lebanon Library project are going to be my thoughtful reaction to what I have been so lucky to have experienced first hand, while growing up surrounded by all of Lebanon’s potential and beauty.“The vision of the artist is the vision to see and the ability to tell the world something that he or she unconsciously thinks about nature.” (Hawthorne)
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