Vicente Romero Redondo Art
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Vicente Romero Redondo Art
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Inge Löök painting
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Inspired by the rich cultural traditions of his native region in the Mountain Province in the Philippines, Jordan Mang-osan has been practicing art since the age of 19. He is an Igorot from the Cordilleras and holds true to his roots by working with raw indigenous materials. His patience and skill are evident in this series of solar drawings. Mang-osan steadily holds a magnifying glass to create pyrographic etchings in wood.
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Mang-osan’s art has earned him numerous awards and he has been exhibiting his creations internationally since 1993. He is one of the founders and current president of the Chanum Foundation, which began in 1996, to create an artist village in the middle of Baguio City. It has become a hub for art, spreading it to larger audiences and a studio for budding artists all throughout the country.
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At first, this artist in Rome looks like he is just randomly spray painting on some paper. There seems to be no rhyme or reason to what he’s doing, but, by the end, it’s clear that his vision has been planned all along. The artist here is unknown, but there are similar artists creating remarkable artwork with spray paint in many major cities around the world.
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Charles Courtney Curran, *Lotus Lilies, 1888*
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Leonid Afremov --RAY CHARLES
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"When you are a strong woman, you will attract trouble. When a man feels threatened, there is always trouble."
— Barbara Taylor Bradford
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"Clouds come floating into my life, no longer to carry rain or usher storm, but to add color to my sunset sky."
— Rabindranath Tagore
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"A tree says: My strength is trust. I know nothing about my fathers, I know nothing about the thousand children that every year spring out of me. I live out the secret of my seed to the very end, and I care for nothing else. I trust that God is in me. I trust that my labor is holy. Out of this trust I live."
— Hermann Hesse
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Andrei Belichenko & Maria Boohtiyarova
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To act and risk, not to fear...
"Failure should be our teacher, not our undertaker. Failure is delay, not defeat. It is a temporary detour, not a dead end. Failure is something we can avoid only by saying nothing, doing nothing, and being nothing."
— Denis Waitley
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Charles Edward Perugini - 'Peonies' 1887 - Oil on Canvas
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"What good is the warmth of summer, without the cold of winter to give it sweetness."
— John Steinbeck
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'Friendly Company' by Robert Hagan
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Goodnight to friends around the world
See you soon
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"When you arise in the morning, think of what a precious privilege it is to be alive - to breathe, to think, to enjoy, to love."
~Marcus Aurelius
Artist: Vladimir Volegov
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Dylan’s The Drawn Blank Series, based on drawings made by Dylan while on the road from 1989 to 1992, take pride of place at Castle Fine Art in the Grand Arcade.
Eight limited edition graphics from the series, which was first released in 2008, will be unveiled.
Anna Bligh, Castle Galleries, Cambridge’s gallery manager, said: “It is an honour to have The Drawn Blank Series 2014 on display at Castle Galleries, Cambridge.
“Bob Dylan is notably one of the most influential icons of our time. The way in which he uses colour is incomparable to any other artist.
“He instantly breathes emotion and feeling into a painting, similar to how he can sing a song in a different style and change how the listener interprets it. We can’t wait to share this new collection with the area.”
Only 295 limited edition graphics of each painting have been created - and each of the works are certificated and personally signed by Bob Dylan. The prints are priced from £1,750.
The Drawn Blank Series 2014 is now on sale at Castle Galleries, Cambridge. For more information call 01223 307 402 or visit Limited edition & original art by leading artists - Castle Galleries
Reflections of the Heart by Pino Daeni
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Can You Identify These Famous Paintings?
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Louvre Museum / Via npr.org
- “Self Portrait” - Artemisia Gentileschi
- “The Duchess of Urbino” - Piero della Francesca
- “Mona Lisa” - Leonardo da Vinci
- “The Birth of Venus” - Sandro Botticelli
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Uffizi Gallery / Via uffizi.org
- “Judith and Holofernes” - Artemisia Gentileschi
- “Montefeltro Altarpiece” - Piero della Francesca
- “The Birth of Venus” - Sandro Botticelli
- “The Duchess of Urbino” - Piero della Francesca
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The Rijksmuseum / Via metmuseum.org
- “Cook in front of the Stove” - Pieter Aertsen
- “The Duchess of Urbino” - Piero della Francesca
- “The Milkmaid” - Johannes Vermeer
- “The Aperitif” - Emile-Pierre Metzmacher
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The National Gallery / Via nationalgallery.org.uk
- “The Arnolfini Wedding” - Jan van Eyck
- “Before the Wedding” - Firs Sergeevich Zhuravlev
- “The Jewish Bride” - Rembrandt van Rijn
- “Portrait of a Man and a Woman at a Casement” - Fra Filippo Lippi
Rich or poor, it doesn't matter much, in the end, we're all the same ...
"On the highest throne in the world, we still sit only on our own bottom."
— Michel de Montaigne
Photo Source: New York City Skyline
Photograph by Jim Richardson, National Geographic | New York City Skyline | Jim Richardson
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"Like water, be gentle and strong. Be gentle enough to follow the natural paths of the earth, and strong enough to rise up and reshape the world."
— Brenda Peterson
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Bruce Riley is a talented Chicago-based artist who creates beautifully psychedelic paintings of poured paint and dripping resin. His artworks contain a blinding myriad of details and structures that form surreal creatures or psychedelic mandalas.
Riley says that most of his creations are the result of pure improvisation and experimentation. “You can’t have any other intent but moving. You can’t worry about it, you can’t stop, you can’t choke. It’s obvious when it works. It’s obvious when it fails,” poetically explains the Riley. “The paintings aren’t about specific things, they’re all about kind of the same thing. And I’m not really trying to define any ideas, I just let it flow.”
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Scott Prior (American, 1949) lives and works in Northampton, Massachusetts, where he has been a resident since 1971. Born in Exeter, New Hampshire, he received a BFA in printmaking from the University of Massachusetts in 1971. He has artwork in the Boston Museum of Fine Arts, the DeCordova Museum, the Danforth Museum, the Rose Art Museum and other major public and private collections. He has shown extensively in one-person and group shows in the United States and abroad. In 2001 he had a mid-career retrospective at the DeCordova Museum. Scott Prior is represented by the Nancy Hoffman Gallery in New York City and the Alpha Gallery in Boston.
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Paul Hedley Art
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Mikhail Satarov (1963)
Winter
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Hot pool in the cold Alps
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Herbert Menzies Marshall (1841-1913)
A winter's evening on the Embankment with the Houses of Parliament beyond
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If you’re bored at the office and don’t know what to do (besides work, ugh), Chris Limbrick and Francesco Fragomeni have got you covered. These two (clearly very busy) workers at Squarespace in NY spend their free time recreating famous paintings using whatever they find in their office for a project they’ve called “Fools Do Art.”
There are two simple rules they follow – only use stuff found in the office, and any editing must be done on their smart phones. Given those limitations, they’ve done an amazing job!
“The Girl with the Pearl Earring” by Johannes Vermeer, 1665
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“Mona Lisa” by Leonardo da Vinci, 1503-1506
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“The Son of Man” by Rene Magritte, 1964
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Constantin Korovin
Moonlit Night. Winter 1913
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Our first painting of 2015 as part of our Great British Art series is by William Turner – this one is called Fisherman at Sea and it’s a beautiful and moody portrait of Britain’s maritime history. It also happens to be Turner’s first painting exchibited at the Royal Academy in 1796.
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About the painting:
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The first oil painting Turner exhibited at the Royal Academy, this is a moonlit scene in the tradition of Horace Vernet, Philip de Loutherbourg and Joseph Wright of Derby. These painters were largely responsible for fuelling the 18th-century vogue for nocturnal subjects. The sense of the overwhelming power of nature is a key theme of the Sublime. The potency of the moonlight contrasts with the delicate vulnerability of the flickering lantern, emphasising nature’s power over mankind and the fishermen’s fate in particular. The jagged silhouettes on the left are the treacherous rocks called ‘the Needles’ off the Isle of Wight.
“Coffee is definitely the same as art, it revives our dying soul.”
-Gerome Nicolas Dela Pena
Have you ever even thought about using nice, warm, aromatic coffee in your mug to paint a painting? Pornchai Lerthammasiri did. As an accomplished watercolor artist, Pornchai wanted to do something new – more challenging. Coffee was his choice.
The technique he talks about sounds easy, all you need is just coffee mixed with water, a brush and watercolor paper. Not at all, according to Pornchai, it took him 6 years to master the right texture of coffee and water. If too much coffee I used, the texture will be too elastic to paint with and cause unwanted glittering flakes on the paper. Furthermore, it did not dry easily and the coffee could peel off from the paper or become molded. After extensive experimentation, I can prove that my paintings will stay in the same condition even after 6 years now.”
http://youtu.be/QHslG8rbl3E
"I would like my audience to see something new and creative, something close to their daily lives that can be applied to art. It is like giving others a sample of the challenge. Who knows? After seeing my coffee paintings, some people may decide to use wine to paint (laugh)."
For all the artists out there, this is a new challenge for you guys! Coffee as an art is definitely one way to revive our dying soul. Here is one video showing how it can be done!
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Miroslaw Szeib's paint.
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Alexander Averin ~ In The Rose Garden
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This is the Moss Garden found in the beautiful Carnarvon Gorge National Park QLD. This feature, at 3.6km from the camping area, is situated in Violet Gorge, a side gorge in the Hellhole Gorge complex. A waterfall tumbles over a large rock overhang into an icy pool. The rock walls are dripping with water and support a prolific growth of ferns, mosses, liverworts and homworts. These small delicate plants fall easily. A beautiful delicate ecosystem that is preserved for future generations.
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Vincent van Gogh (1853-1890)
Country Road 1890
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Granddaughter of French dealer whose collection was confiscated by Nazis opens New York gallery
Marianne Rosenberg says she plans to continue the family legacy of working with contemporary artists, as well as show the Modern art her ancestor promoted
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Pablo Picasso, Invitation, 1919
The granddaughter of one of the world’s leading dealers of Modern and Impressionist art, whose collection was looted by the Nazis, is launching her own gallery on New York’s Upper East Side.
Marianne Rosenberg, a partner at Squire Sanders law firm in New York, has signed a lease on a space measuring around 1,500 sq. ft in the ground floor of a townhouse on East 66th Street between Madison and Fifth Avenue, in what was formerly the home of the Dickinson Gallery. The gallery, Rosenberg & Co, is scheduled to open on 7 March and will focus on the secondary Modern market, and also work with contemporary artists.
The first exhibition, “Inspired by History”, will include a range of works referring to the family’s personal history and cultural influence. “My family established their businesses in Paris in the early 20th century and thereafter forged exclusive relationships with artists such as Pablo Picasso—whom my grandfather Paul Rosenberg represented for over two decades—Braque, Matisse, many prominent Cubist artists, Giacomo Manzù, Peter Kinley, just to name a few,” Marianne Rosenberg says. “The inaugural exhibition will celebrate the works and artists from those early periods onwards to the 1980s, and will showcase pieces that are directly part of the history.” The exhibition runs until 25 April.
Many of the paintings, sculptures and works on paper in the exhibition will be for sale, except those with sentimental value for the family such as Still Life with Knife, Glass, and Fruit, 1919, a drawing that the artist Juan Gris dedicated to Léonce Rosenberg, Marianne’s great-uncle, or an invitation to her grandfather’s gallery, which was designed by Pablo Picasso in 1919.
Marianne’s grandfather Paul Rosenberg was part of an art-dealing dynasty that included his father, Alexandre, and brother, Léonce. He was known for promoting Modern art after the First World War.
But, with the Second World War on the horizon in the 1930s, Paul made plans to relocate his collection and leave Paris. He opened a gallery in New York in 1940, but was unsuccessful in getting his entire collection to safety: the Nazis confiscated around 400 works for Hitler’s planned Führermuseum in Austria. The family has been tireless in its efforts to find the missing works, and it is estimated that they have recouped around 340 pieces. None of the works in the show are among those confiscated by the Nazis.
“By opening Rosenberg & Co. I have a great opportunity to honour my family’s heritage and their legacy in the history of art dealers,” Marianne Rosenberg says. “I look forward to beginning a new chapter in my family’s tradition of supporting contemporary artists.”
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Happy Lovers (c. 1760-65) by Jean-Honoré Fragonard, is one of about 800 objects that American art collector Norton Simon purchased from Joseph Duveen. Over the years, Simon sold most of the collection off, but about 130 objects remain at the Norton Simon Museum in California.
British art dealer Joseph Duveen once said, rather astutely: "Europe has a great deal of art, and America has a great deal of money."
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French sculptor Claude Michel (called Clodion) made this terracotta sculpture, Bacchante Supported by Bacchus and a Faun, in 1795.
Starting in the late 1800s, in London first, later New York, the Duveen family sold precious European Old Master paintings, sculptures, tapestries, furniture, to rich American collectors. For the first half of the 20th century, Duveen was arguably the world's greatest art dealer and some of the greatest works of art in America got here thanks to the Duveens.
American mega-millionaire Norton Simon (whose businesses included Hunt-Wesson Foods, Canada Dry and Avis) started collecting art in 1954. In the 1960s, the business mogul bought up the House of Duveen lock, stock and barrel. In Southern California, an exhibition at Pasadena's Norton Simon Museum tracks the Duveen-Simon connection. It was an ambitious act of commerce — and, maybe, love.
Early on, Simon bought art to decorate his new home. No Old Masters for him; he was primarily buying work made in the 19th century, says curator Carol Togneri. "He was not comfortable purchasing religious pictures, certainly, or pictures from early centuries," she says.
Instead, he bought works by the Impressionists, Renoir and his pals. Then, in 1957, a small painting from the early 16th century broadened Simon's collecting eye. Bust Portrait of a Courtesan, attributed to Giorgione, shows a bosomy redhead, with a slightly disdainful look and a nice outfit.
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There was — and still is — debate as to whether Bust Portrait of a Courtesan (circa 1509) really is a Giorgione.
"I think of her as being incredibly dreamy," says Togneri. "She looks like she is caught up in some sort of thought. For me, I think this is the ultimate in terms of beauty, but also mystery. We don't know who she is."
Simon began negotiations for the picture. He dealt with Edward Fowles, then owner of the Duveen Brothers gallery in Manhattan. It took him five years. He brought the painting home, lived with it a while, returned it, took it again. There was — and still is — debate as to whether the painting really is a Giorgione.
"Simon said if he was going to spend $190,000 on a picture he wanted to make sure he was comfortable with it and the attribution," Togneri says.
Finally he bought it, and 17 other Old Masters — Rubens, Botticelli, Fra Angelico, plus, eventually the entire kit and kaboodle and the Duveen building and library in New York — for $4 million. In the end, Simon got almost 800 art objects from Duveen. Over the years he sold off most of them. Today, in Pasadena, only about 130 are left.
"It became a game for him," says Togneri. "I don't want to denigrate his love of art, but he had this zeal to find the best for the cheapest amount of money."
Simon was a canny art-handling businessman — much like the Duveens. They operated in the highly competitive 19th and 20th century art worlds, where dealers gave code names to people and paintings.
"There was a lot of espionage," says Nicholas Penny, director of the National Gallery in London. "A lot of maids and butlers being paid by rival dealers. Duveen himself had a lots and lots of servants in his pay."
Duveen wanted to know what people were thinking about buying "so he would pay their butlers to give him information," Togneri says.
Duveen's discoveries, persuasiveness and taste covered the walls of wealthy American homes with marvelous works of art. Later, those works became the cornerstones of American museums.
"Consider how much of what you see today in the National Gallery of Art in Washington, actually had either been handled or directly supplied by Duveen."
- Nicholas Penny, director of the National Gallery in London
"The best way to go about thinking about this is just to consider how much of what you see today in the National Gallery of Art in Washington, actually had either been handled or directly supplied by Duveen," says Penny. "Mellon, Kress and Widener: those were the founding collections. Above all, [Andrew] Mellon who paid for the building and gave it to the American people. If you go onto the National Gallery of Art website and sort the items out by Duveen — which I recently tried to do — I stopped at 100 pages. The National Gallery of Art in Washington is in large part there thanks to Duveen."
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The empty frame from which thieves cut Rembrandt's The Storm on the Sea of Galilee remains on display at the Isabella Stewart Gardner Museum in Boston. The painting was one of 13 works stolen from the museum in 1990.
Boston's Isabella Stewart Gardner Museum houses a world-class art collection. But in the last two decades it's been better known for the art that isn't there — half a billion dollars' worth of masterpieces that disappeared from its walls 25 years ago.
That robbery — which included the loss of three Rembrandts, a Vermeer, a Manet and sketches by Degas — has haunted Boston, law enforcement and the art world ever since. Boston Globe reporter Stephen Kurkjian has spent the last two decades investigating the heist. He's the author of the book Master Thieves: The Boston Gangsters Who Pulled Off the World's Greatest Art Heist. He tells NPR's Renee Montagne how it happened:
"Two men dressed in police uniforms rang the bell to the employees' entrance of the Isabella Stewart Gardner Museum," he says. "They showed up on the monitor screen of one of the two night watchmen who were on duty that night. ... They said, 'We're here to investigate a disturbance,' so he buzzed them in."
Rick Abath was the security guard who buzzed the "policemen" in. At the time of the robbery, he had just dropped out of Berklee College of Music. "I was playing in a band and working night shift at the museum," Abath told our colleagues at StoryCorps. "I was just this hippie guy who wasn't hurting anything, wasn't on anybody's radar, and the next day I was on everybody's radar for the largest art heist in history."
Kurkjian talks with Montagne about how the heist happened, and why thieves would want to steal art so priceless it can't even be resold.
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This is a review that some would say is about art in its rawest form. And they would be correct. Others would say it's about art in its purest form. And they would also be correct.
What this is, is a review of an exhibit of paintings by Tyler Bell currently on display at Small World Coffee on Witherspoon Street in Princeton, titled "Sunday Drive-Places and Places By Tyler Bell."
Tyler is autistic. He is also an artist. His art is not what we're used to seeing in museums, on gallery walls, in coffee shops across America. It is not representational. It is often not even what we might call abstract. But what it is, is the art spirit deep within this 22-year-old painter breaking through the barriers of autism and manifesting itself on canvas in bold colors and shapes.
Because Tyler is verbally handicapped, his mother, Liz Bell, tells his story. She speaks of him being diagnosed at age 3 and how she and her husband, Peter Bell, have endeavored to keep Tyler "immersed in the real world."
A quote attributed to Johann Wofgang von Goethe, "If you treat an individual as if he were what he ought to be and could be, he will become all that he is capable of becoming" seems to be one that guided Tyler's parents in his upbringing.
The paintings on display in this exhibit are all bold both in design and color and are windows through which we're offered glimpses into Tyler's imagination. He often paints plein air with Lambertville artist Gary Giordano and many of the paintings on display are Tyler's interpretations of specific sites in Lambertville: A laundromat, a church, the 5 & 10.
"Yellow Building With Chimney" is the Laundromat. There's a "House With a Green Roof" and "Blue Green House With Black Roof." And the painting from which the exhibit draws its title is a grey car with black windows and jazzy white spoke wheels.
The faces part of the exhibit is comprised of portraits about which Liz Bell points out, "the eyes are always blue, the lips are always red. It's just what comes through in his art."
On exhibit are "Yellow Face," "Hispanic Woman," and "Blue Ribbons" which was taken from a picture of a classic princess.
"Girl In Green Shirt," in this exhibit is his portrait of Catherine Haggerty, a middle school teacher in Jersey City who worked along with Tyler in designing the motif and painting "Star, The Wishing Ox" that was part of the Hopewell Valley Stampede and was on display throughout the summer on Pennington-Rocky Hill Road.
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