Planning the decor of your home with art needs to begin primarily with the finer schematics and design of the place. Art, comprising conventional and experimental paintings and sculptures, are ‘mood enhancers’ and absolute de-stressors from a connoisseur’s perspective. One needs to connect with the creative process at any level, abstract or otherwise, and it could elevate the mood to a more fulfilling experience.
Opines Kiran Bagade, Owner & Gallerist, Gallerie Pablo and art curator, “I, for one, believe in minimalism and a tasteful oil on canvas or acrylic on walls, where there would be play of light, without being in your face - not being obtrusive and merging with the flow.” It is usually considered a wise idea to invest in originals (rather than reproductions) of young upcoming artists.
Established names come with a hefty price tag. Again, the point to note is that while you consult with curators and gallery owners and perhaps artists themselves, it is important that you buy a piece that appeals to your sensibilities. The mantra is simple. It is a decor item that you will use in your home and will look at every day – make sure it’s what you like.
“Let your home speak for you. What works for you may not work for someone else. Often, people tend to let their architects / interior designers decide on the artwork that goes on their walls. The artworks you select must be what your inner self relates to – be they masters or upcoming artists. Take the opinion of your interior designer while selecting the painting, but let the final choice be yours,” says Pheroza Godrej, Owner, Cymroza Art Gallery. Before you start collecting art, get your basics right. “Ask yourself, ‘what is the mood of the space and what types of activity will take place in the space’?
“Once you have decided what you want to use the room for, you can choose a colour theme to suit the function of the room. This gives you the basis for choosing the right art for the space,” advises Jayant Vaitha, Director (Design), Synergy. He further goes on to suggest that the next step would be to choose a style: traditional/classic, modern/contemporary or fun/entertaining.
Just like wall colour, artwork can immediately change the mood and ambience of a room.
“Choosing a style depends on your taste. This allows you to inject your signature style into the interiors through artwork. Make a checklist of the artwork you already have that can be used to decorate your interior space,” he adds.
“You can give existing framed artwork a facelift by changing the frame and re-matting to give them a fresh new look.
“Take note that size and colour are the main aspects to consider when choosing art for your interior space. Work that is too large will overpower the space, while paintings that are too small will be devoured up in the space. You can also stay within your budget by shopping at resale stores for decorative pieces or scan clearance isles at discount stores, furniture stores, and superstores,” Vaitha explains
2011年9月29日星期四
2011年9月28日星期三
Landscapes By Karen Sperling
Continuing with the methods of using photographic images to create artistic paintings, Karen Sperling has released the second in her series of DVD's of Painting For Photographers. This time the topic is painting landscapes in which she shows you how to select and create works of art using landscape based photographs.
As with portraits, composing and creating a landscape photograph feels much easier to create to most people as compared topainting one. Most photographers feel that to paint from photographs, you must be an artist and have vast artistic skills. The goal of this DVD to show you that anyone who can create a photograph can also paint using photos. It is the same visual sense that drew you to photography can also help you turn your photographs into digital art work. The first three lessons are the bulk of this training with the rest a set of bonus features that take the topics that you have learned and put them to use with different subjects. The photos that are used in lessons two thru five are included on the DVD so you can work along with the training.
Art Lessons ," begins with a segment on some basic art theories that you should know about when working with landscapes. Here you will look at how some of the masters of landscapepainting approached their subjects. You begin with looking at the idea that when you paint landscapes, you paint with tones instead of details. Through the use of dramatic tones you can create dramatic paintings.
You will learn how to figure out what is the subject of yourpainting is so that you can work to apply the greatest contrast of light and dark to the subject area. You will see how to edit tones to get your point across. You will also learn about the color wheel to get the appropriate tones and color schemes to balance your image. You will also learn about color harmony to blend colors within the image.
Lesson 2, "Main 02 - OilPainting ," now takes a look at creating an oil painting from a photo using the art theories that are based on oil painting . First you start off with some basics on Corel Painter such as getting around in the program . You will see how to use the brushes as well as how to install custom brushes that are included on the DVD.
As with portraits, composing and creating a landscape photograph feels much easier to create to most people as compared to
Art Lessons ," begins with a segment on some basic art theories that you should know about when working with landscapes. Here you will look at how some of the masters of landscape
You will learn how to figure out what is the subject of your
Lesson 2, "Main 02 - Oil
2011年9月27日星期二
Rave scene alive in “Kids With Candy”
Art show Kids With Candy opened Friday with house and electro music booming with surrounding vivid portraits of today’s rave scene.
Jennifer Takeda, 23, a drawing and painting major, opened her eclectic show to music that inspired her days in the rave scene growing up.
DJs Jake Liu and Mike Good were on hand spinning tunes that kept attendees entertained. Liu exclaimed that he “loved Jen’s art show.” With bright colors and animated subjects in her work, it was clear that many observers enjoyed her gallery as well.
Takeda explained that these paintings were “portraits of people in the rave scene and the candy bracelets signify the culture.” Raves that Takeda attended and drew creativity from were the Electric Daisy Carnival, Beyond Wonderland and Perish Parties at Vanguard.
“Her artwork was very expressive and intriguing,” said Good. Showcasing attention to detail and dazzling hues, Takeda displayed to the crowd how exciting the raves were.
“This is my story, a nocturnal adventure filled with dancing, lights and effervescent sounds,” Takeda cited in her artist statement. The congregated art crowd couldn’t help but admire her lust for the rave scene. She also talked about how raves have assembled bits and pieces of who she is today.
“In this place, I have made some of my best friends, worst enemies and everything in between. This collection illustrates my journey through this world and the people who have shaped it into what it is,” Takeda said.
The powerful and realistic paintings of people having fun amid the glowing lights and deep house beats is what enticed spectators to examine the vibrant images at Kids with Candy.
Some of Takeda’s favorite artists are Takashi Murakami, Banksy and Caravaggio. These three artists stimulate her originality to paint representations of people she encounters. Her art is reminiscent of an urbanized style, along with techniques of incorporating flat color as well as blending. The media used were oil paints and acrylics.
Stephanie Santos, another childhood friend of Takeda’s since junior high, said, “Her artwork is really detailed.” Takeda’s reproduction of lifelike portraits of rave participants were striking and impressive. As an accomplished artist, she portrayed the rave scene with exceptional precision.
Many spectators were taken on a journey to some of the biggest raves with an inside look by Takeda’s passion of lights and music. In her statement, Takeda summed up her gallery by stating that raves are a “place where peace, love, unity and respect reign supreme and for one night, we all can come together, be best friends and care for nothing but the fantastic moment we are immersed in.”
Jennifer Takeda, 23, a drawing and painting major, opened her eclectic show to music that inspired her days in the rave scene growing up.
DJs Jake Liu and Mike Good were on hand spinning tunes that kept attendees entertained. Liu exclaimed that he “loved Jen’s art show.” With bright colors and animated subjects in her work, it was clear that many observers enjoyed her gallery as well.
Takeda explained that these paintings were “portraits of people in the rave scene and the candy bracelets signify the culture.” Raves that Takeda attended and drew creativity from were the Electric Daisy Carnival, Beyond Wonderland and Perish Parties at Vanguard.
“Her artwork was very expressive and intriguing,” said Good. Showcasing attention to detail and dazzling hues, Takeda displayed to the crowd how exciting the raves were.
“This is my story, a nocturnal adventure filled with dancing, lights and effervescent sounds,” Takeda cited in her artist statement. The congregated art crowd couldn’t help but admire her lust for the rave scene. She also talked about how raves have assembled bits and pieces of who she is today.
“In this place, I have made some of my best friends, worst enemies and everything in between. This collection illustrates my journey through this world and the people who have shaped it into what it is,” Takeda said.
The powerful and realistic paintings of people having fun amid the glowing lights and deep house beats is what enticed spectators to examine the vibrant images at Kids with Candy.
Some of Takeda’s favorite artists are Takashi Murakami, Banksy and Caravaggio. These three artists stimulate her originality to paint representations of people she encounters. Her art is reminiscent of an urbanized style, along with techniques of incorporating flat color as well as blending. The media used were oil paints and acrylics.
Stephanie Santos, another childhood friend of Takeda’s since junior high, said, “Her artwork is really detailed.” Takeda’s reproduction of lifelike portraits of rave participants were striking and impressive. As an accomplished artist, she portrayed the rave scene with exceptional precision.
Many spectators were taken on a journey to some of the biggest raves with an inside look by Takeda’s passion of lights and music. In her statement, Takeda summed up her gallery by stating that raves are a “place where peace, love, unity and respect reign supreme and for one night, we all can come together, be best friends and care for nothing but the fantastic moment we are immersed in.”
2011年9月26日星期一
Tuscany, A Tasting in Three Parts
Inside the entrance to the castle proper at Castello Vicchiomaggio there is a small reproduction of “La Giaconda”—the Mona Lisa. Asked why it hangs there, proprietor and winemaker John Matta smiles and says, “Look out the door, then look at the background scenery on the painting. They’re the same.” According to local lore, he says, Leonardo da Vinci was a guest at the castle while painting the masterpiece.
Well, the scenery does look somewhat the same, although it has undoubtedly changed in the 500 or so years since Leonardo painted his most famous work. But the story, appealing even if apocryphal, underscores how tradition hangs like the grapes on the vines themselves at this historic property.
The property on top of the breathtakingly scenic vine-covered hill (and there are lots of them in Tuscany) in Greve in Chianti dates back to at least the 5th century. Matta jokes that none of the workers have started arriving in Mercedes or BMWs, so he is pretty sure no one is stealing Etruscan artifacts uncovered whole planting and selling them off to collectors. The estate was a storied fortress during the myriad feuds of the Renaissance. Today there is still the elegant house (which takes in paying guests) with its own church (available for weddings) and, of course, the vineyards and winery on the 150-hectare estate.
Wine has been produced at Castello Vicchiomaggio as long as can be documented, and John and Paola Matta, who acquired the estate in 1964, hew to the ancient traditions of the place. In adherence to the strict production code of Chianti Classico, only emergency irrigation is permitted. Sangiovese is the primary grape, of course, but merlot and cabernet sauvignon, as well as small batches of other varieties, are also grown. Replanting takes place on a regular basis. Cultivation is meticulous, Matta says, which makes for lesser yields but more concentrated flavors. Picking on the 32 hectares devoted to grapes (the rest is used for olives) is done by hand.
Such detail pays off. The wines have won numerous awards in Italy and abroad, and so has John Matta himself. Four times Matta, who is British-born of an Italian family, has been named Italian Winemaker of the Year at the International Wine and Spirit competition.
A sumptuous lunch was the palette for our palates, as we tasted several of Matta’s best wines and enjoyed Tuscan hospitality. (I can never get enough of pasta alla cinghiale, the region’s ubiquitous wild boar ragù sauce.) As a general observation, the wines have a depth of elegance and grace lacking in many of the Tuscan wines that make it to our shores.
But even after we left Castello Vicchiomaggio and our palates waded through a thicket of Chiantis and Brunellos and super Tuscans throughout our brief trip, it was one of Matta’s wines that everyone in our group seemed to favor and return to again and again while relaxing in the evening. His 2008 Castello Vicchiomaggio “La Prima” Chianti Classico Riserva is quintessentially, traditionally Tuscan. I think Leonardo would be proud.
Olivier Paul-Moradini—just call him Olivier, it is easier—is easy to hate: he has rock star-looks and an impossibly beautiful hillside property in Tuscany’s maritime Maremme region that turns out wines of great depth and charm. Olivier also possesses great charm, so, no one can really hate him. And we were privileged to be the first group to visit Volpaiole.
Olivier is not of a winemaking family. He is a Belgian whose job was, of all things, as a European Union bureaucrat. He worked to improve a European-wide emergency call system, establishing 112 as Europe’s emergency phone number, just like 911 in the United States.
But on visits to Tuscany, Olivier fell in love with the wines of a tiny mom-and-pop winery, Volpaiole. Located on the coast of Tyrrhenian Sea, the island of Napolean’s exile, Elba, is visible from the hilltop winery. Olivier returned time and again, befriending the owners Armin and Liliana. In 2007, the couple said they wanted to retire and offered Olivier the opportunity to buy Volpaiole, which means “Fox’s Corner.” He jumped at the chance.
When I say “tiny” I am not kidding. The vineyards are a shade over one hectare, although some new plantings were planned to perhaps double that. Sangiovese, cabernet sauvignon, and merlot are cultivated, along with some cabernet franc.
Olivier and his winemaker Luca D’Atomma like to keep things green. Grapes are handpicked, and the skins and stalks are recycled back into the soil.
As for the production facility—well, that can truly be called a garage operation. There are a couple of tanks, and maybe a dozen larger and small oak barrels about in a space that really looks like it once was a large garage. (There is also a small olive press producing simply stunning olive oil. Unfortunately, production is so miniscule that it does not reach these shores. Sigh.)
Well, the scenery does look somewhat the same, although it has undoubtedly changed in the 500 or so years since Leonardo painted his most famous work. But the story, appealing even if apocryphal, underscores how tradition hangs like the grapes on the vines themselves at this historic property.
The property on top of the breathtakingly scenic vine-covered hill (and there are lots of them in Tuscany) in Greve in Chianti dates back to at least the 5th century. Matta jokes that none of the workers have started arriving in Mercedes or BMWs, so he is pretty sure no one is stealing Etruscan artifacts uncovered whole planting and selling them off to collectors. The estate was a storied fortress during the myriad feuds of the Renaissance. Today there is still the elegant house (which takes in paying guests) with its own church (available for weddings) and, of course, the vineyards and winery on the 150-hectare estate.
Wine has been produced at Castello Vicchiomaggio as long as can be documented, and John and Paola Matta, who acquired the estate in 1964, hew to the ancient traditions of the place. In adherence to the strict production code of Chianti Classico, only emergency irrigation is permitted. Sangiovese is the primary grape, of course, but merlot and cabernet sauvignon, as well as small batches of other varieties, are also grown. Replanting takes place on a regular basis. Cultivation is meticulous, Matta says, which makes for lesser yields but more concentrated flavors. Picking on the 32 hectares devoted to grapes (the rest is used for olives) is done by hand.
Such detail pays off. The wines have won numerous awards in Italy and abroad, and so has John Matta himself. Four times Matta, who is British-born of an Italian family, has been named Italian Winemaker of the Year at the International Wine and Spirit competition.
A sumptuous lunch was the palette for our palates, as we tasted several of Matta’s best wines and enjoyed Tuscan hospitality. (I can never get enough of pasta alla cinghiale, the region’s ubiquitous wild boar ragù sauce.) As a general observation, the wines have a depth of elegance and grace lacking in many of the Tuscan wines that make it to our shores.
But even after we left Castello Vicchiomaggio and our palates waded through a thicket of Chiantis and Brunellos and super Tuscans throughout our brief trip, it was one of Matta’s wines that everyone in our group seemed to favor and return to again and again while relaxing in the evening. His 2008 Castello Vicchiomaggio “La Prima” Chianti Classico Riserva is quintessentially, traditionally Tuscan. I think Leonardo would be proud.
Olivier Paul-Moradini—just call him Olivier, it is easier—is easy to hate: he has rock star-looks and an impossibly beautiful hillside property in Tuscany’s maritime Maremme region that turns out wines of great depth and charm. Olivier also possesses great charm, so, no one can really hate him. And we were privileged to be the first group to visit Volpaiole.
Olivier is not of a winemaking family. He is a Belgian whose job was, of all things, as a European Union bureaucrat. He worked to improve a European-wide emergency call system, establishing 112 as Europe’s emergency phone number, just like 911 in the United States.
But on visits to Tuscany, Olivier fell in love with the wines of a tiny mom-and-pop winery, Volpaiole. Located on the coast of Tyrrhenian Sea, the island of Napolean’s exile, Elba, is visible from the hilltop winery. Olivier returned time and again, befriending the owners Armin and Liliana. In 2007, the couple said they wanted to retire and offered Olivier the opportunity to buy Volpaiole, which means “Fox’s Corner.” He jumped at the chance.
When I say “tiny” I am not kidding. The vineyards are a shade over one hectare, although some new plantings were planned to perhaps double that. Sangiovese, cabernet sauvignon, and merlot are cultivated, along with some cabernet franc.
Olivier and his winemaker Luca D’Atomma like to keep things green. Grapes are handpicked, and the skins and stalks are recycled back into the soil.
As for the production facility—well, that can truly be called a garage operation. There are a couple of tanks, and maybe a dozen larger and small oak barrels about in a space that really looks like it once was a large garage. (There is also a small olive press producing simply stunning olive oil. Unfortunately, production is so miniscule that it does not reach these shores. Sigh.)
2011年9月25日星期日
Boulder's Goss Grove neighborhood paints a pavement mural
Butterflies, dragonflies, crystals and a pink Lotus flower took shape today at the intersection of 19th and Grove streets, forming a compass to mark the Goss Grove neighborhood as Boulder's geographic center.
The Goss Grove neighborhood is the first, under a new Boulder permit system approved in the spring, to paint a permanent mural on the road. The city piloted the “paint the pavement” program two years ago in the Martin Acres neighborhood, after a resident came up with the idea for a neighborhood mural.
Jerrie Hurd, Goss Grove Neighborhood Association chairwoman, said she wanted a project that would bring the neighborhood together — college students, families and retirees.
“There's a buy-in for pride in the neighborhood,” she said.
The mural was designed by resident and oil painting artist Jan Burch. She said the lotus and crystals represent the Dushanbe Teahouse and Naropa, which border the neighborhood. Butterflies are common, she said, while the neighborhood also is visited by “a million dragonflies.”
The colors are bright and playful — yellow, orange, blue, lavender, pink and green. Most of the paint, mainly street paint and some patio paint, and the materials were donated. Donors included Colorado Paint, McGuckin Hardware, Rocky Mountain Blueprint and Izze.
The neighborhood chipped in to cover unexpected expenses, including extra paint.
Neighbors and the occasional tourist stopped by throughout the day to watch the progress. Erik Lasko, who moved to Boulder a few days ago, was going to buy groceries when he saw the mural and agreed to help paint.
“It looks like a really cool design,” he said.
Eithne Mulligan, 7, and her brother Graham, 6, tackled the orange butterfly wings. They live about three houses away from “the center of Boulder,” Eithne said.
“It's really awesome,” she said as she surveyed her work.
Another volunteer painter was Deb Crowell, who ended up with blue paint streaks on her face and blue covered hands after working into the early afternoon. She said she bailed on a camping trip because she didn't want to miss it.
“I wanted to be a part of this,” she said. “It's a cool neighborhood with a lot of diversity. We've all worked hard to make it what it is.”
The neighborhood group plans to touch up the painting once a year.
The application process for a neighborhood street painting is set up much like that of a neighborhood block party. Neighbor have to sign off on closing down the street for the project and submit a draft design for the Boulder Arts Commission to review.
There is no charge for the permit, but residents are responsible for renting street barricades to block traffic.
Boulder Green Streets sponsored the Goss Grove project and helped the neighborhood with the permit process.
The Goss Grove neighborhood is the first, under a new Boulder permit system approved in the spring, to paint a permanent mural on the road. The city piloted the “paint the pavement” program two years ago in the Martin Acres neighborhood, after a resident came up with the idea for a neighborhood mural.
Jerrie Hurd, Goss Grove Neighborhood Association chairwoman, said she wanted a project that would bring the neighborhood together — college students, families and retirees.
“There's a buy-in for pride in the neighborhood,” she said.
The mural was designed by resident and oil painting artist Jan Burch. She said the lotus and crystals represent the Dushanbe Teahouse and Naropa, which border the neighborhood. Butterflies are common, she said, while the neighborhood also is visited by “a million dragonflies.”
The colors are bright and playful — yellow, orange, blue, lavender, pink and green. Most of the paint, mainly street paint and some patio paint, and the materials were donated. Donors included Colorado Paint, McGuckin Hardware, Rocky Mountain Blueprint and Izze.
The neighborhood chipped in to cover unexpected expenses, including extra paint.
Neighbors and the occasional tourist stopped by throughout the day to watch the progress. Erik Lasko, who moved to Boulder a few days ago, was going to buy groceries when he saw the mural and agreed to help paint.
“It looks like a really cool design,” he said.
Eithne Mulligan, 7, and her brother Graham, 6, tackled the orange butterfly wings. They live about three houses away from “the center of Boulder,” Eithne said.
“It's really awesome,” she said as she surveyed her work.
Another volunteer painter was Deb Crowell, who ended up with blue paint streaks on her face and blue covered hands after working into the early afternoon. She said she bailed on a camping trip because she didn't want to miss it.
“I wanted to be a part of this,” she said. “It's a cool neighborhood with a lot of diversity. We've all worked hard to make it what it is.”
The neighborhood group plans to touch up the painting once a year.
The application process for a neighborhood street painting is set up much like that of a neighborhood block party. Neighbor have to sign off on closing down the street for the project and submit a draft design for the Boulder Arts Commission to review.
There is no charge for the permit, but residents are responsible for renting street barricades to block traffic.
Boulder Green Streets sponsored the Goss Grove project and helped the neighborhood with the permit process.
2011年9月22日星期四
Art Review: Jan Merta: Liberec III at Topič Salon
After primary school in Liberec, Merta studied at the Václav Hollar Art School in Prague, but his family background prevented him from gaining admission to one of Prague's art academies. He worked at a series of unskilled and manual jobs, and finally in 1981 was accepted at the Academy of Fine Arts in Prague. Memories of the house in Liberec, of family life, school days and of becoming aware of the world from the perspective of a nascent artist are all dealt with in these works.
The centerpiece of the show, a monumental semi-abstract painting that depicts the time and place where Merta's boyhood conception of God coalesced, is titled A Lesson in Pantheism. It recalls the questioning of schoolmates about whether God's omnipresence extended to the gutter urinal of the boys' room or to inside a classmate's mouth, to which the artist answered "Yes." The painting is composed from the perspective of the urinating boys, while an enormous shadowy penis looms over the asphalt-cover wall of the toilets, presumably another signal of God's pervasive presence.
Alongside Merta's developing conceptions about theology and aesthetics, he was exposed to the carnal side of life. Regarding Gallery I-IV, four small canvases featuring female figures in autoerotic poses and one copulating couple, he writes, "I was regarded as a painter already at school. When I was 10, two worldly schoolmates of mine offered one day to take me to a gallery. … We came to a hole in a fence around an open-air cinema … [where] I saw a number of life-size figures. Somebody had drawn them meticulously in soft red brick, with some touches in white chalk. It was pure pornography. I suffered a shock. … I was equally shocked by the perfection of the execution. … It was as if I had seen a Giotto."
Merta has been making paintings reflecting on childhood memories since the 1980s. This is the third exhibition devoted to formative moments of his boyhood in Liberec, and there are plans for further exhibitions to follow. His strong body of work blends large paintings with small, intimate canvases, earth-shaking moments of comprehension with amusing anecdotes and visual snapshots. Whether thematically grand or not, the paintings as a group consistently demonstrate his excellent handling of paint, strong compositional sense and use of color.
The paintings journey back to the time when Merta began to view the world not only as a perceptive and sensitive boy but through the eyes of a budding artist. The best paintings in the show strongly evoke the light-bulb moments that, in retrospect, paved Merta's path to becoming a painter. What did he sense in Rembrandt's gaze that so deeply affected him as a young boy? Perhaps it was a feeling of being "seen" by the seemingly all-knowing eyes of the artist, yet which were also filled with compassion, something akin to his early conception of God.
Even in his most abstract paintings, Merta links back to direct human experience, such as in Oil Wainscoting III, which recalls the smell of paint being mixed by his father to complete a passage of illusory wainscoting in their Liberec home.
The centerpiece of the show, a monumental semi-abstract painting that depicts the time and place where Merta's boyhood conception of God coalesced, is titled A Lesson in Pantheism. It recalls the questioning of schoolmates about whether God's omnipresence extended to the gutter urinal of the boys' room or to inside a classmate's mouth, to which the artist answered "Yes." The painting is composed from the perspective of the urinating boys, while an enormous shadowy penis looms over the asphalt-cover wall of the toilets, presumably another signal of God's pervasive presence.
Alongside Merta's developing conceptions about theology and aesthetics, he was exposed to the carnal side of life. Regarding Gallery I-IV, four small canvases featuring female figures in autoerotic poses and one copulating couple, he writes, "I was regarded as a painter already at school. When I was 10, two worldly schoolmates of mine offered one day to take me to a gallery. … We came to a hole in a fence around an open-air cinema … [where] I saw a number of life-size figures. Somebody had drawn them meticulously in soft red brick, with some touches in white chalk. It was pure pornography. I suffered a shock. … I was equally shocked by the perfection of the execution. … It was as if I had seen a Giotto."
Merta has been making paintings reflecting on childhood memories since the 1980s. This is the third exhibition devoted to formative moments of his boyhood in Liberec, and there are plans for further exhibitions to follow. His strong body of work blends large paintings with small, intimate canvases, earth-shaking moments of comprehension with amusing anecdotes and visual snapshots. Whether thematically grand or not, the paintings as a group consistently demonstrate his excellent handling of paint, strong compositional sense and use of color.
The paintings journey back to the time when Merta began to view the world not only as a perceptive and sensitive boy but through the eyes of a budding artist. The best paintings in the show strongly evoke the light-bulb moments that, in retrospect, paved Merta's path to becoming a painter. What did he sense in Rembrandt's gaze that so deeply affected him as a young boy? Perhaps it was a feeling of being "seen" by the seemingly all-knowing eyes of the artist, yet which were also filled with compassion, something akin to his early conception of God.
Even in his most abstract paintings, Merta links back to direct human experience, such as in Oil Wainscoting III, which recalls the smell of paint being mixed by his father to complete a passage of illusory wainscoting in their Liberec home.
2011年9月21日星期三
Botong Francisco’s paintings at PGH find new home
Four of the best-kept secrets among art enthusiasts in Manila are the monumental oil paintings by National Artist Carlos V. Francisco entitled “The Progress of Medicine in the Philippines," which have been quietly keeping an eye on thousands of poor patients and dedicated health professionals passing through the humid and crowded main foyer of a public hospital for a long time.
On Sept. 21, the four-panel paintings will be declared a national treasure for being an “irreplaceable part of the institutional heritage of the Philippine General Hospital and the University of the Philippines, and of the cultural heritage of the nation."
Also on Wednesday, the little-known panels will be formally unveiled as the permanent exhibit at the elegant Museum Foundation of the Philippines Hall, the newest of the 11 galleries at the National Museum that are now open to the public.
Last July 23, National Museum director Jeremy Barns led a team that removed the original four panels from the PGH foyer, where they had remained for 58 years, and installed the reproductions done by photographer and art expert Benigno Toda III.
Four days later, the original paintings were mounted at the National Museum. The oil-on-canvas panels measuring 2.92 meters by 2.76 meters depict the history and development of medicine in the country from the pre-colonial period, the Spanish colonial period, the American Occupation era, and the modern era of the 1950s.
Ana Maria Theresa P. Labrador, the National Museum technical adviser for research and museology, noted that the paintings are “the least written about of all the artistic works of Carlos V. Francisco."
Labrador sought to erase misperceptions that the panels are murals and not paintings. “Murals are defined as paintings done directly on the wall and have been conceived as integral to the architecture. These paintings are not murals since they have been commissioned in 1953, 43 years after the PGH opened to the public. The paintings are also movable, having been relocated from the PGH lobby to the National Museum," she said.
Botong Francisco genuinely deserves all the attention that the National Museum is giving him these days. After all, it was the institution that first crowned Botong nationally for his artistry.
On July 1948, Botong bagged the grand prize for his “Kaingin" painting during the historic 1st national exhibit of the Art Association of the Philippines held at the National Museum. The victory signified that the local art establishment had officially acknowledged his talent as one of the country’s premier artists.
Born on Nov. 4, 1912 in Angono, Rizal to a family of modest means, Botong disheartened painter Fabian dela Rosa, the first dean of the UP School of Fine Arts, when his brilliant student from 1930 to 1935 dropped out one semester short of graduation due to poverty.
Some of the priceless pieces done by Botong, Francisco’s nickname given to him after an olive-skinned person in Cainta, Rizal, who went with the same moniker, are found in the short stretch of downtown Manila from Pedro Gil Street to the Manila City Hall complex.
The St. Paul University–Manila Campus has the majestic “The Evolution of Philippine Culture" at its renovated Fleur-de-lis Theater.
Botong’s colorful “Musikong Bumbong" was once a centerpiece of the Manila Hotel’s Fiesta Pavilion while the Far Eastern University campus in Manila has his “Stations of the Cross."
At the Manila City Hall, then-Mayor Antonio Villegas commissioned Botong to execute a mural on the four walls of the building’s Bulwagang Katipunan. Botong came up with the sweeping pictorial “History of Manila," starting from the earliest dealings of the natives with Chinese traders up to the rebuilding of the city. This was his last work before he died on March 31, 1969.
Botong was conferred the National Artist Award in painting on June 12, 1973. Part of his citation read: “To the poet of Angono, no painter of his time was more closely attuned to the spirit of his land and people."
He was one of the seven artists to join classical painter Fernando C. Amorsolo, the only National Artist declared when the honor was introduced in 1972, in the second batch elevated to the pantheon of Philippine arts. “In his hands, craft and vision fused," the citation for Botong read.
On Sept. 21, the four-panel paintings will be declared a national treasure for being an “irreplaceable part of the institutional heritage of the Philippine General Hospital and the University of the Philippines, and of the cultural heritage of the nation."
Also on Wednesday, the little-known panels will be formally unveiled as the permanent exhibit at the elegant Museum Foundation of the Philippines Hall, the newest of the 11 galleries at the National Museum that are now open to the public.
Last July 23, National Museum director Jeremy Barns led a team that removed the original four panels from the PGH foyer, where they had remained for 58 years, and installed the reproductions done by photographer and art expert Benigno Toda III.
Four days later, the original paintings were mounted at the National Museum. The oil-on-canvas panels measuring 2.92 meters by 2.76 meters depict the history and development of medicine in the country from the pre-colonial period, the Spanish colonial period, the American Occupation era, and the modern era of the 1950s.
Ana Maria Theresa P. Labrador, the National Museum technical adviser for research and museology, noted that the paintings are “the least written about of all the artistic works of Carlos V. Francisco."
Labrador sought to erase misperceptions that the panels are murals and not paintings. “Murals are defined as paintings done directly on the wall and have been conceived as integral to the architecture. These paintings are not murals since they have been commissioned in 1953, 43 years after the PGH opened to the public. The paintings are also movable, having been relocated from the PGH lobby to the National Museum," she said.
Botong Francisco genuinely deserves all the attention that the National Museum is giving him these days. After all, it was the institution that first crowned Botong nationally for his artistry.
On July 1948, Botong bagged the grand prize for his “Kaingin" painting during the historic 1st national exhibit of the Art Association of the Philippines held at the National Museum. The victory signified that the local art establishment had officially acknowledged his talent as one of the country’s premier artists.
Born on Nov. 4, 1912 in Angono, Rizal to a family of modest means, Botong disheartened painter Fabian dela Rosa, the first dean of the UP School of Fine Arts, when his brilliant student from 1930 to 1935 dropped out one semester short of graduation due to poverty.
Some of the priceless pieces done by Botong, Francisco’s nickname given to him after an olive-skinned person in Cainta, Rizal, who went with the same moniker, are found in the short stretch of downtown Manila from Pedro Gil Street to the Manila City Hall complex.
The St. Paul University–Manila Campus has the majestic “The Evolution of Philippine Culture" at its renovated Fleur-de-lis Theater.
Botong’s colorful “Musikong Bumbong" was once a centerpiece of the Manila Hotel’s Fiesta Pavilion while the Far Eastern University campus in Manila has his “Stations of the Cross."
At the Manila City Hall, then-Mayor Antonio Villegas commissioned Botong to execute a mural on the four walls of the building’s Bulwagang Katipunan. Botong came up with the sweeping pictorial “History of Manila," starting from the earliest dealings of the natives with Chinese traders up to the rebuilding of the city. This was his last work before he died on March 31, 1969.
Botong was conferred the National Artist Award in painting on June 12, 1973. Part of his citation read: “To the poet of Angono, no painter of his time was more closely attuned to the spirit of his land and people."
He was one of the seven artists to join classical painter Fernando C. Amorsolo, the only National Artist declared when the honor was introduced in 1972, in the second batch elevated to the pantheon of Philippine arts. “In his hands, craft and vision fused," the citation for Botong read.
2011年9月20日星期二
Country air and fine art in Barrington
There is no painting oil painter from Lake Zurich. He plants himself in the thick of the action — his favorite is a busy city street — with an easel and paints real life.
“We’re not working from a reference,” Radtke says of himself and artists who share hispainting painting
The public will have an opportunity to browse Radtke’s paintings along with the artwork for at least 170 other artists at the 37th annual Art in the Barn event, a juried art show which will take place Sept. 24 and 25 on the grounds of Advocate Good Shepherd Hospital at 450 W. Highway 22, in Barrington.
“It’s a terrific venue,” Radtke said. “It’s in a barn.”
Sharon Vogel, one of the co-chairs of Art in the Barn, explained that the event takes place in large old barns on the property of Advocate Good Shepherd Hospital which was once made up of farmland.
“It really helps the hospital,” Vogel said of the event. “We’re probably one of their biggest fundraisers, but it’s a community event and that’s what we like about it. I mean we have people from all the surrounding communities.”
Most of the artists are from Illinois and surrounding states and they have a variety of different talents, Vogel said. There will beoil and acrylic painters, sketch artists, sculptors, jewelry makers, wood crafters and print makers.
The event might appeal to people who want to decorate their houses, Radke noted.
“You can buy anything at Walmart or any of the big box stores,” Radtke said, “but it’s not as individualized as having your ownoil painting
Activities include pony rides for kids, and stations for children to make their own paintings and paint pumpkins. There will also be a variety of live music and entertainment, including couples that both play mandolins. On site there will be bratwursts, caramel corn and funnel cakes, she added.
“It’s just a warm, wonderful country atmosphere,” Vogel said.
Art in the Barn is sponsored by the Auxiliary of Good Shepherd Hospital, a group of volunteers that raises money for the hospital that serves the community, Sherry Tomasko, event co-chair, said in an e-mail.
In the past, the Auxiliary has raised funds that have helped Good Shepherd build a new Cardiac Care wing and a new emergency department, according to e-mail information from Faith Semla, an Auxiliary member who handles Art in the Barn publicity for the event.
In 1975, when a group of 10 women, artists and craftsmen put together the first Art in the Barn event, there were 30 artists and 1,500 visitors. That has grown to more than 170 artists and over 6,000 visitors, according to Auxiliary information.
Through the fundraiser, the Auxiliary usually makes about $100,000 for Advocate Good Shepherd Hospital, Vogel said. Over the years, the event has raised more than $2.75 million for the hospital.
While event admission is just $5, vendors pay a fee to exhibit and sell items. There is also a fee for children’s rides. Artists donate 20 percent of their profits to the Auxiliary.
This is Radtke’s third time exhibiting at Art in the Barn. He said he wanted to take part because he has accumulated many paintings over the years. While he has sold many this year, he wants to sell more.
“My goal this year was to go there with small paintings, many unframed, at affordable prices,” he said. He said he planned to sell many of his paintings for less than $100.
“We’re not working from a reference,” Radtke says of himself and artists who share his
The public will have an opportunity to browse Radtke’s paintings along with the artwork for at least 170 other artists at the 37th annual Art in the Barn event, a juried art show which will take place Sept. 24 and 25 on the grounds of Advocate Good Shepherd Hospital at 450 W. Highway 22, in Barrington.
“It’s a terrific venue,” Radtke said. “It’s in a barn.”
Sharon Vogel, one of the co-chairs of Art in the Barn, explained that the event takes place in large old barns on the property of Advocate Good Shepherd Hospital which was once made up of farmland.
“It really helps the hospital,” Vogel said of the event. “We’re probably one of their biggest fundraisers, but it’s a community event and that’s what we like about it. I mean we have people from all the surrounding communities.”
Most of the artists are from Illinois and surrounding states and they have a variety of different talents, Vogel said. There will be
The event might appeal to people who want to decorate their houses, Radke noted.
“You can buy anything at Walmart or any of the big box stores,” Radtke said, “but it’s not as individualized as having your own
Activities include pony rides for kids, and stations for children to make their own paintings and paint pumpkins. There will also be a variety of live music and entertainment, including couples that both play mandolins. On site there will be bratwursts, caramel corn and funnel cakes, she added.
“It’s just a warm, wonderful country atmosphere,” Vogel said.
Art in the Barn is sponsored by the Auxiliary of Good Shepherd Hospital, a group of volunteers that raises money for the hospital that serves the community, Sherry Tomasko, event co-chair, said in an e-mail.
In the past, the Auxiliary has raised funds that have helped Good Shepherd build a new Cardiac Care wing and a new emergency department, according to e-mail information from Faith Semla, an Auxiliary member who handles Art in the Barn publicity for the event.
In 1975, when a group of 10 women, artists and craftsmen put together the first Art in the Barn event, there were 30 artists and 1,500 visitors. That has grown to more than 170 artists and over 6,000 visitors, according to Auxiliary information.
Through the fundraiser, the Auxiliary usually makes about $100,000 for Advocate Good Shepherd Hospital, Vogel said. Over the years, the event has raised more than $2.75 million for the hospital.
While event admission is just $5, vendors pay a fee to exhibit and sell items. There is also a fee for children’s rides. Artists donate 20 percent of their profits to the Auxiliary.
This is Radtke’s third time exhibiting at Art in the Barn. He said he wanted to take part because he has accumulated many paintings over the years. While he has sold many this year, he wants to sell more.
“My goal this year was to go there with small paintings, many unframed, at affordable prices,” he said. He said he planned to sell many of his paintings for less than $100.
2011年9月19日星期一
Arts festival coming to Sangudo
This weekend event is being hosted by the Sangudo Arts For Everyone (SAFE) and is the second annual Arts Festival. The event features a broad range of arts that includes oil painting, clay sculptures, stained glass, photography, watercolors, soap stone carving, classical guitar and violin music to name a few of the art forms that will be present. Enbridge Northern Gateway Pipelines is helping to sponsor the event.
On September 30, 2011 a Singer/Songwriter Coffee House will be hosted at the Sangudo Golden Club from 7:00 to 10:00 p.m. This event will feature local musical talent and songwriters. A broad spectrum of music will be represented. Refreshments are available and there will be a silver collection will be at the door.
The event on October 1st is being hosted at the Sangudo Community School (formerly Sangudo Jr. Sr. High School) and will consist of two parts. The afternoon will run from 2:00 p.m. to 5:00 p.m. and is free to everyone. Artists will have their art on display for everyone to view and purchase any of the participant's art.
A classical guitarist will be playing during the afternoon. Specialty teas, coffees, lattes and pastries will be available for you to enjoy as you listen to the music and observe the various art forms. A silver collection will be at the door for the afternoon portion of the art event. These proceeds will be used to help cover costs associated with arts courses offered in the community.
The evening event consists of art, music, food and drinks and will run from 7:00 p.m. to 10:30 p.m. Artists will have their various art forms on display for everyone to view and purchase their art. Music will feature Brianne Bergerud, the Alberta representative at the 2011 Canadian Fiddle championships. A pianist, a guitarist, and two other violinists, one of who also plays the cello will accompany Brianne.
The evening will include liquor sales for beer and wine. Alley Kat, an Alberta microbrewery based in Edmonton will have their product featured, and there will beer tasting area. H'orderves will be served.
It promises to be a fantastic evening with the opportunity to attend a first class art event close to home.
On September 30, 2011 a Singer/Songwriter Coffee House will be hosted at the Sangudo Golden Club from 7:00 to 10:00 p.m. This event will feature local musical talent and songwriters. A broad spectrum of music will be represented. Refreshments are available and there will be a silver collection will be at the door.
The event on October 1st is being hosted at the Sangudo Community School (formerly Sangudo Jr. Sr. High School) and will consist of two parts. The afternoon will run from 2:00 p.m. to 5:00 p.m. and is free to everyone. Artists will have their art on display for everyone to view and purchase any of the participant's art.
A classical guitarist will be playing during the afternoon. Specialty teas, coffees, lattes and pastries will be available for you to enjoy as you listen to the music and observe the various art forms. A silver collection will be at the door for the afternoon portion of the art event. These proceeds will be used to help cover costs associated with arts courses offered in the community.
The evening event consists of art, music, food and drinks and will run from 7:00 p.m. to 10:30 p.m. Artists will have their various art forms on display for everyone to view and purchase their art. Music will feature Brianne Bergerud, the Alberta representative at the 2011 Canadian Fiddle championships. A pianist, a guitarist, and two other violinists, one of who also plays the cello will accompany Brianne.
The evening will include liquor sales for beer and wine. Alley Kat, an Alberta microbrewery based in Edmonton will have their product featured, and there will beer tasting area. H'orderves will be served.
It promises to be a fantastic evening with the opportunity to attend a first class art event close to home.
'$11m painting is a fake'
A painting that sold for over $11 million under the name of a renowned Chinese artist was actually made decades after his death by a student in a classroom exercise, a group of artists has alleged.
The nude, entitled “The Body of Miss Jiang Biwei”, was accredited to the well-known artist Xu Beihong and sold at auction in June 2010 for 72.8 million yuan ($11.4 million).
But an open letter posted on several online forums by a group of graduates from the Central Academy of Fine Arts in Beijing said the oil painting was actually produced by one of them in 1983 - 30 years after Xu's death.
“Recently, after contacting each other, we have doubted a piece of news we read on the Internet,” says the letter.
“This is a picture that cannot be more familiar to our class. It's a classroom exercise done by one of us. We cannot determine which of us produced it, but many of us have kept paintings from the class.”
Several oil paintings drawn from different angles and depicting a nude woman who looks strikingly similar to that in the art work were posted online along with the letter.
The artists say the model, who they identify only by the letter L, was a young girl who had travelled to the capital from rural China looking for work.
“L's hairstyle is common to the 1980s, her figure is also very unique... and left a deep impression on students,” the letter states.
“For Mr Xu Beihong's painting to share exactly the same lining colour, model standing posture, body features, hairstyle, and facial features as our paintings, this is impossible.”
The auction house which sold the painting, Beijing Jiuge International Auction Company, said it had no immediate comment to make on the letter.
Xu is best known for his ink paintings of horses, although he is also widely regarded as a pioneer of oil painting in China.
One of his ink works, entitled “Galloping Horse,” sold for 17 million yuan at a local auction in November last year.
China recently overtook the United States as the biggest auction market for art and collectable objects after sales more than doubled in a single year, according to research for the French Auction Market Authority.
The nude, entitled “The Body of Miss Jiang Biwei”, was accredited to the well-known artist Xu Beihong and sold at auction in June 2010 for 72.8 million yuan ($11.4 million).
But an open letter posted on several online forums by a group of graduates from the Central Academy of Fine Arts in Beijing said the oil painting was actually produced by one of them in 1983 - 30 years after Xu's death.
“Recently, after contacting each other, we have doubted a piece of news we read on the Internet,” says the letter.
“This is a picture that cannot be more familiar to our class. It's a classroom exercise done by one of us. We cannot determine which of us produced it, but many of us have kept paintings from the class.”
Several oil paintings drawn from different angles and depicting a nude woman who looks strikingly similar to that in the art work were posted online along with the letter.
The artists say the model, who they identify only by the letter L, was a young girl who had travelled to the capital from rural China looking for work.
“L's hairstyle is common to the 1980s, her figure is also very unique... and left a deep impression on students,” the letter states.
“For Mr Xu Beihong's painting to share exactly the same lining colour, model standing posture, body features, hairstyle, and facial features as our paintings, this is impossible.”
The auction house which sold the painting, Beijing Jiuge International Auction Company, said it had no immediate comment to make on the letter.
Xu is best known for his ink paintings of horses, although he is also widely regarded as a pioneer of oil painting in China.
One of his ink works, entitled “Galloping Horse,” sold for 17 million yuan at a local auction in November last year.
China recently overtook the United States as the biggest auction market for art and collectable objects after sales more than doubled in a single year, according to research for the French Auction Market Authority.
2011年9月18日星期日
Cranford artist Theodosia Tamborlane shows work in Morristown
Tamborlane’s oil paintings and collages have been accepted for the Arts Council of the Morris Area’s Fall/Winter Exhibition. This exhibition will open on Sept. 22 with a reception from 6 to 8 p.m. at the Atrium Gallery in the Morris County Administration and Records Building, 10 Court St. , Morristown.
Dr. Lynn L. Siebert, director of arts participation and communication for the Council, expressed appreciation for Tamborlane’s nine colorful oil paintings and collages and stated that they are “a wonderful addition to the exhibit as they grace the walls of the fifth floor” next to the Freeholders’ meeting room and offices.
As an abstract artist, Tamborlane uses dynamic colors specifically chosen for each painting or collage. Her works combine movement of natural forces bounded by space with the turbulent movement of psychological forces bounded only by universal gods.
The Atrium Gallery is free and open to the public from 8 a.m. to 5 p.m. on Mondays through Fridays. The exhibition will continue through Jan. 13.
Tamborlane is a member of the Art Students League, the New Century Artist Gallery, and the Pen and Brush, all located in New York City. In New Jersey she is affiliated with the New Jersey Contemporary Art Group, Studio Montclair, the Arts Council of the Morris Area and the Woodbridge Artisans’ Guild.
Since obtaining her Fine Arts Degree in 2008 from Union County College, she has shown her paintings and collages in 12 solo shows and 43 group shows in New Jersey, New York and Florida. Her paintings have won three first prizes and appear in “The Sheaf Literary Arts Magazine” of Union County College.
Dr. Lynn L. Siebert, director of arts participation and communication for the Council, expressed appreciation for Tamborlane’s nine colorful oil paintings and collages and stated that they are “a wonderful addition to the exhibit as they grace the walls of the fifth floor” next to the Freeholders’ meeting room and offices.
As an abstract artist, Tamborlane uses dynamic colors specifically chosen for each painting or collage. Her works combine movement of natural forces bounded by space with the turbulent movement of psychological forces bounded only by universal gods.
The Atrium Gallery is free and open to the public from 8 a.m. to 5 p.m. on Mondays through Fridays. The exhibition will continue through Jan. 13.
Tamborlane is a member of the Art Students League, the New Century Artist Gallery, and the Pen and Brush, all located in New York City. In New Jersey she is affiliated with the New Jersey Contemporary Art Group, Studio Montclair, the Arts Council of the Morris Area and the Woodbridge Artisans’ Guild.
Since obtaining her Fine Arts Degree in 2008 from Union County College, she has shown her paintings and collages in 12 solo shows and 43 group shows in New Jersey, New York and Florida. Her paintings have won three first prizes and appear in “The Sheaf Literary Arts Magazine” of Union County College.
2011年9月15日星期四
Celebrates World Tourism Day With Art
This September 27 marks the 41st anniversary of a very special occasion: the founding of World Tourism Day.
Since 1980, the United Nations World Tourism Organization (UNWTO) and the international community has celebrated the day as an opportunity to promote tourism and the positive effects it has on social and cultural values worldwide.
This year's theme is Tourism Linking Culture, with a particular focus on the arts and its relationship with tourism.
VP of Marketing at Cheapoilpainting.com, Olivia Preston, said oil paintings have served as a medium of record and communication for centuries. "European exploration fleets always had at least one artist as part of their crew to record scenes of the New Worlds, while paintings have been traded as valuable cultural products as long as written history has existed."
To help celebrate World Tourism Day, Cheapoilpainting.com lists three famous oil paintings that have attracted the interests of millions around the world, promoting cultural awareness and tourism to the locations they portray.
1. Vincent Van Gogh, Starry Night (1889). This Van Gogh painting is considered his magnum opus, and for several fine reasons. The artwork portrays the Dutch artist's view from outside his sanatorium room window at night, leading many eager tourists to scour the French countryside at Arles for a glimpse of the village of Saint-Rémy, as pictured in the painting. What they will not find is the cypress tree to the left, which the artist later added into the oil painting. The painting is not only a visual masterpiece, but it also provokes discussion and cultural exchanges about mental illnesses, given the artist and the context in which he produced the work.
2. Paul Cézanne, Mont Sainte-Victoire (1902-04). Considered one of the fathers of modernism, Cézanne produced dozens of oil paintings detailing the countryside around his home in Aix-en-Provence, France. One recurring icon was the Sainte-Victoire mountain, which he painted dozens of times over many years. The oil painting produced from 1902-1904, and now currently housed at the Philadelphia Museum of Art, is particularly special. Art historians agree it is one of the earliest works of Cubism, thus introducing viewers to both the French countryside and the start of a revolutionary art movement.
3. Claude Monet, Water Lilies. The French master painted about 250 oil paintings in his celebrated series of Monet water lilies. Monet paintings all depict scenes from Monet's garden at Giverny, which was the main focus of artistic inspiration in the latter period of his career. The paintings are also highly valued. On June 24, one painting in the series, titled Le Bassin Aux Nymphéas, sold for £41 million at a Christie's auction in London. The water lilies are not only a fine example of Impressionism, but they are a perennial drawcard for tourists to the Monet homestead and museum at Giverny. It is now one of the most highly visited museums in the world.
Another recent trend in landscape oil paintings is the increasing popularity of picture to painting canvas artwork as more people travel and take thousands of digital photos.
Ms. Preston said she believed the widespread use of digital cameras was leading people back to something more traditional. "Everyone has hundreds of photos from their holidays and trips. People are looking for something more tangible and traditional, which is why they are choosing the photo to painting service on our website. Canvas oil paintings have a time-honored nostalgia that is very hard to replace."
Since 1980, the United Nations World Tourism Organization (UNWTO) and the international community has celebrated the day as an opportunity to promote tourism and the positive effects it has on social and cultural values worldwide.
This year's theme is Tourism Linking Culture, with a particular focus on the arts and its relationship with tourism.
VP of Marketing at Cheapoilpainting.com, Olivia Preston, said oil paintings have served as a medium of record and communication for centuries. "European exploration fleets always had at least one artist as part of their crew to record scenes of the New Worlds, while paintings have been traded as valuable cultural products as long as written history has existed."
To help celebrate World Tourism Day, Cheapoilpainting.com lists three famous oil paintings that have attracted the interests of millions around the world, promoting cultural awareness and tourism to the locations they portray.
1. Vincent Van Gogh, Starry Night (1889). This Van Gogh painting is considered his magnum opus, and for several fine reasons. The artwork portrays the Dutch artist's view from outside his sanatorium room window at night, leading many eager tourists to scour the French countryside at Arles for a glimpse of the village of Saint-Rémy, as pictured in the painting. What they will not find is the cypress tree to the left, which the artist later added into the oil painting. The painting is not only a visual masterpiece, but it also provokes discussion and cultural exchanges about mental illnesses, given the artist and the context in which he produced the work.
2. Paul Cézanne, Mont Sainte-Victoire (1902-04). Considered one of the fathers of modernism, Cézanne produced dozens of oil paintings detailing the countryside around his home in Aix-en-Provence, France. One recurring icon was the Sainte-Victoire mountain, which he painted dozens of times over many years. The oil painting produced from 1902-1904, and now currently housed at the Philadelphia Museum of Art, is particularly special. Art historians agree it is one of the earliest works of Cubism, thus introducing viewers to both the French countryside and the start of a revolutionary art movement.
3. Claude Monet, Water Lilies. The French master painted about 250 oil paintings in his celebrated series of Monet water lilies. Monet paintings all depict scenes from Monet's garden at Giverny, which was the main focus of artistic inspiration in the latter period of his career. The paintings are also highly valued. On June 24, one painting in the series, titled Le Bassin Aux Nymphéas, sold for £41 million at a Christie's auction in London. The water lilies are not only a fine example of Impressionism, but they are a perennial drawcard for tourists to the Monet homestead and museum at Giverny. It is now one of the most highly visited museums in the world.
Another recent trend in landscape oil paintings is the increasing popularity of picture to painting canvas artwork as more people travel and take thousands of digital photos.
Ms. Preston said she believed the widespread use of digital cameras was leading people back to something more traditional. "Everyone has hundreds of photos from their holidays and trips. People are looking for something more tangible and traditional, which is why they are choosing the photo to painting service on our website. Canvas oil paintings have a time-honored nostalgia that is very hard to replace."
2011年9月14日星期三
Derby winner stabled in collection founded by 'mystery man of the British turf'
The Bowes Museum at Barnard Castle has backed a winner with its latest acquisition, an oil painting of a successful racehorse owned by the museum's founder, John Bowes.
Bowes, still universally recognised as one of the most successful stud owners and racehorse breeders of the 19th Century, was a keen racegoer known as the ‘mystery man of the British turf’.
Around 1852, the year his horse Daniel O’Rourke won the Epsom Derby, Bowes commissioned leading equine portraitist Harry Hall to paint the ‘little pony’, as he was affectionately known owing to his lack of stature. Thepainting , Mr John Bowes’ Daniel O’Rourke with Frank Butler Up, depicts, as implied, the horse with jockey Butler on board.
Anoil painting on canvas, it was recently bought at auction by The Bowes Museum for £18,000, with the support of the MLA/V&A Purchase Grant Fund, the Art Fund, the national fundraising charity for works of art; and the Friends of The Bowes Museum.
The work, which measures 51.5 x 65.5cms, also depicts a distinguished gentleman in top hat and tails, who is holding the horse’s rug. This is probably a Mr Markwell, recorded as leading in Bowes’ winners during the 1850s.
Equine portraiture was in great demand during the 19th Century, not only to adorn the homes of gentlemen who wished to immortalise their winning thoroughbreds, but prints were widely sought after by keen followers of the sport and by publicans who wished to decorate their premises.
Each year Hall produced paintings which were engraved and published to commemorate the winners of the Derby, St Leger, Gold Cup and other classic races. A regular contributor to The Field, The Sporting Magazine and the Illustrated London News, he was in effect a sporting journalist in paint.
Daniel O’Rourke was under 15 hands high, yet Bowes’ trainer John Scott, and Butler the jockey, thought highly of him. And although he’d run a disappointing race in the 2000 Guineas, they held fast to their opinion that he stood a good chance of winning the Derby.
The day of the race dawned with incessant rain, which didn’t lift until just before the start of the race – yet despite this and the horse running at odds of 25–1, well down in the betting against 26 contenders, he justified the trust put in him by gamely battling it out to cross the finish line half a length in front of his nearest rival.
The Museum’s Keeper of Fine Art, Emma House, said: “Whilst equine portraits regularly come up for sale, many of them were produced quickly after the finish of a race and therefore lack the quality of thispainting . Hall has taken great care in the depiction of the horse, portraying in great detail Daniel O’Rourke’s markings and likeness. The portrait details of Frank Butler and Mr Markwell are also particularly fine.
“Together with the detailed landscape setting, this is a particularly fine equestrianpainting of one of our founder’s most important horses, and it adds to our significantly growing collection of John Bowes memorabilia.”
Stephen Deuchar, Director of the Art Fund said: “It is so gratifying to be able to help museums buy work at auction. With the connection to John Bowes and his love of all things equestrian, thispainting has found its natural home.”
Thepainting , which is now on show, will complement The Bowes Museum’s existing works while enabling the museum to explore Bowes’ racing successes in further detail.
The Bowes Museum was created over 100 years ago by an extraordinary couple, John and JoséphineBowes. Together they built up the greatest private collection of fine and decorative arts in the North of England and constructed a magnificent building to house them in. The collection contains thousands of objects including furniture, paintings, sculpture, ceramics, textiles and many other items covering an extensive range of European styles and periods.
Bowes, still universally recognised as one of the most successful stud owners and racehorse breeders of the 19th Century, was a keen racegoer known as the ‘mystery man of the British turf’.
Around 1852, the year his horse Daniel O’Rourke won the Epsom Derby, Bowes commissioned leading equine portraitist Harry Hall to paint the ‘little pony’, as he was affectionately known owing to his lack of stature. The
An
The work, which measures 51.5 x 65.5cms, also depicts a distinguished gentleman in top hat and tails, who is holding the horse’s rug. This is probably a Mr Markwell, recorded as leading in Bowes’ winners during the 1850s.
Equine portraiture was in great demand during the 19th Century, not only to adorn the homes of gentlemen who wished to immortalise their winning thoroughbreds, but prints were widely sought after by keen followers of the sport and by publicans who wished to decorate their premises.
Each year Hall produced paintings which were engraved and published to commemorate the winners of the Derby, St Leger, Gold Cup and other classic races. A regular contributor to The Field, The Sporting Magazine and the Illustrated London News, he was in effect a sporting journalist in paint.
Daniel O’Rourke was under 15 hands high, yet Bowes’ trainer John Scott, and Butler the jockey, thought highly of him. And although he’d run a disappointing race in the 2000 Guineas, they held fast to their opinion that he stood a good chance of winning the Derby.
The day of the race dawned with incessant rain, which didn’t lift until just before the start of the race – yet despite this and the horse running at odds of 25–1, well down in the betting against 26 contenders, he justified the trust put in him by gamely battling it out to cross the finish line half a length in front of his nearest rival.
The Museum’s Keeper of Fine Art, Emma House, said: “Whilst equine portraits regularly come up for sale, many of them were produced quickly after the finish of a race and therefore lack the quality of this
“Together with the detailed landscape setting, this is a particularly fine equestrian
Stephen Deuchar, Director of the Art Fund said: “It is so gratifying to be able to help museums buy work at auction. With the connection to John Bowes and his love of all things equestrian, this
The
The Bowes Museum was created over 100 years ago by an extraordinary couple, John and JoséphineBowes. Together they built up the greatest private collection of fine and decorative arts in the North of England and constructed a magnificent building to house them in. The collection contains thousands of objects including furniture, paintings, sculpture, ceramics, textiles and many other items covering an extensive range of European styles and periods.
2011年9月13日星期二
Artists-In-Residence Share Their Talents
Beyond the bucolic surroundings and past the portico has been hiding a well-kept artistic surprise that, thanks to Dick Meehan, has now been revealed.
Meehan, 81, a five-year resident of The Evergreens on Bridgeboro Road, has unveiled a booklet entitled, “Focus on the Arts at The Evergreens,” which chronicles the striking and stunning works in 350 photographs of artists-in-residence of the facility. The collection is the upshot of fieldwork Meehan arranged, after recognizing that many of the folks living at The Evergreens were accomplished artists.
What reverberates while viewing the many collected works is the awe-inspiring knowledge that most of the artists were born in the days when gas cost 10 cents. The 37 artists, most between ages 80 and 100, detail their long-lived lives and their artistic aptitudes in biographies.
When he began the retrospective, Meehan, a retired partner from PriceWaterhouseCoopers, discovered most of the residents began their hobbies after retirement.
“Many attended formal classes in their chosen hobby earning college degrees,” says Meehan, who is married to Marianne and the father of three sons. He is also a member of the board of trustees and a resident ambassador of The Evergreens. “Most of the artists found their activity to be relaxing and therapeutic.”
Chuck Perry, 94, graduated from Georgia Institute of Technology in Atlanta with an electrical engineering degree. He worked for the Radio Corporation of America (RCA) in Camden until entering the army during the Second World War, spending five years in Europe with the allied forces. After leaving the army, he moved to California, where he worked as a vice president of guided missiles for Boeing Aircraft.
Needing another outlet and “tired of the politics” of corporations, Perry retired at age 61 and went back to college.
“After I retired, I studied art at California State University because I always liked to work with my hands,” says the twice-married Perry, who graduated Phi Beta Kappa, with two degrees in the fine arts: painting and sculpture.
Many of Perry’s paintings are vivid portraitures of coy women with mysterious expressions of wonder. His sculptures are intensely defined human busts; the one of himself is an uncanny resemblance. Most of his works were done up until five years ago, when he had to discontinue his hobby because of stiff legs.
“A good artist needs to step back sometimes and look at their work,” says Perry, who has lived at The Evergreens for 16 years. “I can’t do that anymore.”
After graduating from the Cooper Union for the Advancement of Science and Art in Manhattan with a fine arts and fashion degree, Giovanna Wenderhorst set up window displays for H.E. Brown and Company, which had upscale stores in Garden City, N.Y. Wenderhorst, an octogenarian, started the chicken-wire sculpture props, used as backdrops with fashionably-dressed mannequins.
While raising her two kids, Wenderhorst did drawings and sketches for the Sunday New York Times and Newsday, but it’s her action-oriented paintings of ballet dancers that are most dramatic and dazzling.
Allergic to the linseed oil, a common particle of oil paint, Wenderhorst works with watercolors.
“I have to feel what I paint,” explains Wenderhorst.
Years before, she would assume the awkward positions of the ballerinas so she could play up on canvas the graphic shapes of the dancers. Among her other unique works is her painting series on the four natural elements—air, fire, water and earth—which have faces obscurely drawn within each composition.
“I find myself moving into different expressions during different periods of my life,” says Wenderhorst, a widow, who moved to Moorestown in 1994.
Centenarian Stuart Younkin began woodworking by assembling furniture after duplicating reproductions from Bartley Classic Reproductions catalogs.
“He still works in the woodworking room every morning,” says Meehan.
The spirited fellow has crafted more than 50 jewelry boxes, candle stands and tilt-top tables, using mahogany, cherry, maple and Spanish cedar woods.
“Focus on the Arts at The Evergreens” isn’t Meehan’s first book. A Korean War veteran, in 2007 Meehan learned there were 67 other veterans in-residence at The Evergreens and authored the booklet, “Veterans Briefs,” summarizing the veterans’ emotions and experiences that come with serving in the military.
Meehan, 81, a five-year resident of The Evergreens on Bridgeboro Road, has unveiled a booklet entitled, “Focus on the Arts at The Evergreens,” which chronicles the striking and stunning works in 350 photographs of artists-in-residence of the facility. The collection is the upshot of fieldwork Meehan arranged, after recognizing that many of the folks living at The Evergreens were accomplished artists.
What reverberates while viewing the many collected works is the awe-inspiring knowledge that most of the artists were born in the days when gas cost 10 cents. The 37 artists, most between ages 80 and 100, detail their long-lived lives and their artistic aptitudes in biographies.
When he began the retrospective, Meehan, a retired partner from PriceWaterhouseCoopers, discovered most of the residents began their hobbies after retirement.
“Many attended formal classes in their chosen hobby earning college degrees,” says Meehan, who is married to Marianne and the father of three sons. He is also a member of the board of trustees and a resident ambassador of The Evergreens. “Most of the artists found their activity to be relaxing and therapeutic.”
Chuck Perry, 94, graduated from Georgia Institute of Technology in Atlanta with an electrical engineering degree. He worked for the Radio Corporation of America (RCA) in Camden until entering the army during the Second World War, spending five years in Europe with the allied forces. After leaving the army, he moved to California, where he worked as a vice president of guided missiles for Boeing Aircraft.
Needing another outlet and “tired of the politics” of corporations, Perry retired at age 61 and went back to college.
“After I retired, I studied art at California State University because I always liked to work with my hands,” says the twice-married Perry, who graduated Phi Beta Kappa, with two degrees in the fine arts: painting and sculpture.
Many of Perry’s paintings are vivid portraitures of coy women with mysterious expressions of wonder. His sculptures are intensely defined human busts; the one of himself is an uncanny resemblance. Most of his works were done up until five years ago, when he had to discontinue his hobby because of stiff legs.
“A good artist needs to step back sometimes and look at their work,” says Perry, who has lived at The Evergreens for 16 years. “I can’t do that anymore.”
After graduating from the Cooper Union for the Advancement of Science and Art in Manhattan with a fine arts and fashion degree, Giovanna Wenderhorst set up window displays for H.E. Brown and Company, which had upscale stores in Garden City, N.Y. Wenderhorst, an octogenarian, started the chicken-wire sculpture props, used as backdrops with fashionably-dressed mannequins.
While raising her two kids, Wenderhorst did drawings and sketches for the Sunday New York Times and Newsday, but it’s her action-oriented paintings of ballet dancers that are most dramatic and dazzling.
Allergic to the linseed oil, a common particle of oil paint, Wenderhorst works with watercolors.
“I have to feel what I paint,” explains Wenderhorst.
Years before, she would assume the awkward positions of the ballerinas so she could play up on canvas the graphic shapes of the dancers. Among her other unique works is her painting series on the four natural elements—air, fire, water and earth—which have faces obscurely drawn within each composition.
“I find myself moving into different expressions during different periods of my life,” says Wenderhorst, a widow, who moved to Moorestown in 1994.
Centenarian Stuart Younkin began woodworking by assembling furniture after duplicating reproductions from Bartley Classic Reproductions catalogs.
“He still works in the woodworking room every morning,” says Meehan.
The spirited fellow has crafted more than 50 jewelry boxes, candle stands and tilt-top tables, using mahogany, cherry, maple and Spanish cedar woods.
“Focus on the Arts at The Evergreens” isn’t Meehan’s first book. A Korean War veteran, in 2007 Meehan learned there were 67 other veterans in-residence at The Evergreens and authored the booklet, “Veterans Briefs,” summarizing the veterans’ emotions and experiences that come with serving in the military.
2011年9月12日星期一
9/11 tribute oil painting on permanent display at Fall River Public Library
With the 10th anniversary of 9/11 past, there will always be a reminder of that emotional day at the Main Fall River Public Library.
A new oil painting by artist Tiago Finato was commissioned by Library Administrator Paula Costa Cullen and now hangs in the library’s main lobby. Unveiled on Sunday, “Human Emotion at a Moment in Time” took Finato more than a year from concept to creation.
“It is an interpretational canvas,” Finato said. “There is nothing direct. Notice, there (are) no officials such as police or firemen. There is no need for recognizable uniforms because they have the same emotions.”
Finato created the 6-by-7-foot art piece on linen canvas.
The painting uses many different techniques and details to highlight the tragic nature of 9/11. It starts with a patch of blue sky in the upper left corner as a reminder of that day started, before it was taken over by smoke and chaos.
The focus is on a man who has passed at the center of the painting. The people around him are diverse in their ages and ethnicities, but are bonded by the sorrowful events.
A red-robed angel is there to bring the souls to heaven.
The little girl in the painting represents the innocence of those born since the attacks. Finato used gold-colored paint around the child to signify the wealth represented by the World Trade Center.
Finato used an impressionistic style to create the “Human Emotion” painting, with bold brush strokes.
“The painting needed to show a bit more of the rough brush stokres than the classical, traditional European smooth strokes that I usually use,” Finato said. “This allows for more energy and emotion to be displayed in the painting.”
Finato, the president of the Greater Fall River Art Association, is predominantly a portrait artist and has painted the likeness of Mayor Will Flanagan. That painting hangs in Government Center.
Finato, an award-winning artist, was voted First Place People’s Choice Award Favorite Artist three times during the Bristol Independent Galleries Art Stroll. This year, Finato earned the same first place award on two occasions.
Finato’s portrait of the infamous Lizzie Borden won first place in a National Open Juried Exhibit at the Bristol Art Gallery.
Finato is represented by the Bristol Art Gallery and the Royal Gallery, both in Rhode Island. As an event winner at the Bristol Art Gallery, Finato is also featured in its “Gallery Corner."
“Human Emotion at a Moment in Time” was sponsored by BankFive, Bogle & DeAscentis PC, Borden & Remington Corp., Collins Construction Co., First Bristol Corp., Insurit Agency, Bob Karam, Michael Biszko and Alan Biszko.
“When I was contacted ... about this project, I thought it would be a great opportunity for me to get together with local business leaders and present an amazing gift to the community,” said Bill Eccles, president & CEO of BankFive. “There was no hesitation from any one of the donors when I approached them about the idea of a meaningful painting memorializing 9/11. This painting will be like no other painting at the library, as the sad events of 9/11 affected our whole country.”
A native of Brazil, Finato came to Fall River in 1999 to further his education. He resides in the city and keeps an artist studio on the third floor of the Greater Fall River Art Association, 80 Belmont St. He offers classes to new and advanced painters. Visit www.greaterfallriverartassoc.org for information.
“Human Emotion at a Moment in Time” will be on permanent display at the library, 104 N. Main St., during regular business hours.
A new oil painting by artist Tiago Finato was commissioned by Library Administrator Paula Costa Cullen and now hangs in the library’s main lobby. Unveiled on Sunday, “Human Emotion at a Moment in Time” took Finato more than a year from concept to creation.
“It is an interpretational canvas,” Finato said. “There is nothing direct. Notice, there (are) no officials such as police or firemen. There is no need for recognizable uniforms because they have the same emotions.”
Finato created the 6-by-7-foot art piece on linen canvas.
The painting uses many different techniques and details to highlight the tragic nature of 9/11. It starts with a patch of blue sky in the upper left corner as a reminder of that day started, before it was taken over by smoke and chaos.
The focus is on a man who has passed at the center of the painting. The people around him are diverse in their ages and ethnicities, but are bonded by the sorrowful events.
A red-robed angel is there to bring the souls to heaven.
The little girl in the painting represents the innocence of those born since the attacks. Finato used gold-colored paint around the child to signify the wealth represented by the World Trade Center.
Finato used an impressionistic style to create the “Human Emotion” painting, with bold brush strokes.
“The painting needed to show a bit more of the rough brush stokres than the classical, traditional European smooth strokes that I usually use,” Finato said. “This allows for more energy and emotion to be displayed in the painting.”
Finato, the president of the Greater Fall River Art Association, is predominantly a portrait artist and has painted the likeness of Mayor Will Flanagan. That painting hangs in Government Center.
Finato, an award-winning artist, was voted First Place People’s Choice Award Favorite Artist three times during the Bristol Independent Galleries Art Stroll. This year, Finato earned the same first place award on two occasions.
Finato’s portrait of the infamous Lizzie Borden won first place in a National Open Juried Exhibit at the Bristol Art Gallery.
Finato is represented by the Bristol Art Gallery and the Royal Gallery, both in Rhode Island. As an event winner at the Bristol Art Gallery, Finato is also featured in its “Gallery Corner."
“Human Emotion at a Moment in Time” was sponsored by BankFive, Bogle & DeAscentis PC, Borden & Remington Corp., Collins Construction Co., First Bristol Corp., Insurit Agency, Bob Karam, Michael Biszko and Alan Biszko.
“When I was contacted ... about this project, I thought it would be a great opportunity for me to get together with local business leaders and present an amazing gift to the community,” said Bill Eccles, president & CEO of BankFive. “There was no hesitation from any one of the donors when I approached them about the idea of a meaningful painting memorializing 9/11. This painting will be like no other painting at the library, as the sad events of 9/11 affected our whole country.”
A native of Brazil, Finato came to Fall River in 1999 to further his education. He resides in the city and keeps an artist studio on the third floor of the Greater Fall River Art Association, 80 Belmont St. He offers classes to new and advanced painters. Visit www.greaterfallriverartassoc.org for information.
“Human Emotion at a Moment in Time” will be on permanent display at the library, 104 N. Main St., during regular business hours.
2011年9月8日星期四
Poverty in still life
There’s a reason Dan Petrov depicted a bench instead of a table in his oil painting “Vincent,” a rumination on poverty.
A table, he said, would signify a bountiful meal being served. “A bench,” he added, “is for sitting and waiting, as the problem of social justice is waiting for solution.”
The message wasn’t lost on judges at the 2011 Minnesota State Fair, where “Vincent” won two sponsored awards: the College of Visual Arts Painting Award and the Ron Merchant Award for Oil Painting.
A still life depicting red potatoes, a page from Petrov’s local newspaper, the bench and a wall, “Vincent” is infused with symbolism and includes a partial reproduction of Vincent Van Gogh’s “The Potato Eaters.”
“I am confident that Vincent would not mind,” Petrov wrote in his blog, “since he lived in poverty too.”
The Serbian-born artist, trained in classical realism, rents a studio on the top floor of Nicollet Plaza in Burnsville’s Heart of the City, where he has painted and taught since 2009.
Petrov, 50, of Lakeville, moved from Canada to Minnesota in 2006, 14 years after leaving Serbia.
“I got my education there at university (philosophy and law),” he said in an interview. “And when the political situation got a bit confusing between all the different political factions, I figure out that maybe it’s time to leave. It was 1992. I left kind of before the major mess. Bad people, when they get to power, they make the little guys fighting.”
The art studies he’d begun in Europe after university continued in Canada, where Petrov learned Renaissance techniques from the classically trained Italian painter Sergio De Paoli.
In Minnesota, Petrov was accepted to the Atelier Studio Program of Fine Art in Minneapolis, a four-year program of disciplined daily training that melds formal academics with the influence of the French Impressionists.
“Pretty much it takes whole life to study art,” said Petrov, whose wife, Jelena, is a dentist in St. Louis Park. “Or I might be a slow learner, I guess.”
His work is displayed at the Tamarack Gallery in Stillwater and the Bristol Art Gallery in Bristol, R.I., as well as on his website. Venues for Petrov’s gallery shows have included the performing arts centers in Burnsville and Bloomington.
Petrov said “Vincent,” which has already sold, was inspired by the hands-off treatment that he perceived was given to the issue of poverty during Minnesota’s 2010 gubernatorial campaign.
Nevertheless, he spotted an opinion piece by Don Heinzman in Thisweek Newspapers with a headline declaring that poverty had become an issue in the campaign.
“Vincent” depicts about a dozen red potatoes and two ceramic dishes resting on a Thisweek opinion page bearing the headline. Petrov replaced the text below the headline with a partially hidden reproduction of Van Gogh’s “The Potato Eaters.”
“The newspaper is not an aesthetically attractive object by itself,” Petrov said. “It’s black and white and it’s disposable. Potatoes are also not very inviting and aesthetically pleasing. Same as poverty. Nobody likes to look at that.”
The wall behind the setting is not merely functional.
“The wall in philosophy is a symbol of a problem,” Petrov said. “Many philosophers use that wall in that figurative way.”
A table, he said, would signify a bountiful meal being served. “A bench,” he added, “is for sitting and waiting, as the problem of social justice is waiting for solution.”
The message wasn’t lost on judges at the 2011 Minnesota State Fair, where “Vincent” won two sponsored awards: the College of Visual Arts Painting Award and the Ron Merchant Award for Oil Painting.
A still life depicting red potatoes, a page from Petrov’s local newspaper, the bench and a wall, “Vincent” is infused with symbolism and includes a partial reproduction of Vincent Van Gogh’s “The Potato Eaters.”
“I am confident that Vincent would not mind,” Petrov wrote in his blog, “since he lived in poverty too.”
The Serbian-born artist, trained in classical realism, rents a studio on the top floor of Nicollet Plaza in Burnsville’s Heart of the City, where he has painted and taught since 2009.
Petrov, 50, of Lakeville, moved from Canada to Minnesota in 2006, 14 years after leaving Serbia.
“I got my education there at university (philosophy and law),” he said in an interview. “And when the political situation got a bit confusing between all the different political factions, I figure out that maybe it’s time to leave. It was 1992. I left kind of before the major mess. Bad people, when they get to power, they make the little guys fighting.”
The art studies he’d begun in Europe after university continued in Canada, where Petrov learned Renaissance techniques from the classically trained Italian painter Sergio De Paoli.
In Minnesota, Petrov was accepted to the Atelier Studio Program of Fine Art in Minneapolis, a four-year program of disciplined daily training that melds formal academics with the influence of the French Impressionists.
“Pretty much it takes whole life to study art,” said Petrov, whose wife, Jelena, is a dentist in St. Louis Park. “Or I might be a slow learner, I guess.”
His work is displayed at the Tamarack Gallery in Stillwater and the Bristol Art Gallery in Bristol, R.I., as well as on his website. Venues for Petrov’s gallery shows have included the performing arts centers in Burnsville and Bloomington.
Petrov said “Vincent,” which has already sold, was inspired by the hands-off treatment that he perceived was given to the issue of poverty during Minnesota’s 2010 gubernatorial campaign.
Nevertheless, he spotted an opinion piece by Don Heinzman in Thisweek Newspapers with a headline declaring that poverty had become an issue in the campaign.
“Vincent” depicts about a dozen red potatoes and two ceramic dishes resting on a Thisweek opinion page bearing the headline. Petrov replaced the text below the headline with a partially hidden reproduction of Van Gogh’s “The Potato Eaters.”
“The newspaper is not an aesthetically attractive object by itself,” Petrov said. “It’s black and white and it’s disposable. Potatoes are also not very inviting and aesthetically pleasing. Same as poverty. Nobody likes to look at that.”
The wall behind the setting is not merely functional.
“The wall in philosophy is a symbol of a problem,” Petrov said. “Many philosophers use that wall in that figurative way.”
2011年9月7日星期三
Scotland Festival to offer memorabilia
The annual Scotland Festival is set for Sept. 17, and organizers are looking for a form of memorabilia to offer residents, current and former, as well as visitors.
Scotland Festival organizers chose local artist Wyatt LeGrand to paint a portrait of the nationally recognized Scotland Hotel, Scotland Historical Society member Jami Corbin said.
"We chose him (LeGrand) because he is a very good artist, he is local and he is very interested in helping out non-profits (organizations)," Corbin explained, noting LeGrand also did paintings for ornaments for the Greene County CASA the last two years.
LeGrand, owner of LeGrand Art Studio and Gallery in Bloomfield and current Linton-Stockton High School Art teacher, created anoil painting of the Scotland Hotel.
Shades of blue vary against the portrayed light of the sun against the side of the old hotel. Bright whites show the outlines of windows, doors, gutters and a picket fence. Varying bright to dark greens depict the grass surrounding the base of the picket fence.
He created theoil painting on canvas, originally 16 inches by 20 inches, then sent a digital copy of the painting to the historical society, to have it mass produced as a souvenir Christmas tree ornament to be sold at the festival. The portrait is surrounded by the blue of the ornament with the words "Scotland Hotel. Established 1870's" above and below.
The hotel itself is a nationally recognized historical landmark, placing the small town in Taylor Township on the map.
"The hotel is featured on the National Registry of Historic Places," Corbin explained.
Corbin said the ornaments will be available at the souvenir stand, across from the post office. They will be $12 each.
"I already have a lady from the Historical Society that wants four (ornaments) -- one for her and three for her children," Corbin said.
Corbin encourages buying the souvenirs for current residents, former residents and former school attendees. She noted the last graduating class from Scotland was in 1955.
If the portrait of the hotel on the souvenir sells well at this year's festival, Corbin said she would like to have other buildings featured on souvenirs.
Scotland Festival organizers chose local artist Wyatt LeGrand to paint a portrait of the nationally recognized Scotland Hotel, Scotland Historical Society member Jami Corbin said.
"We chose him (LeGrand) because he is a very good artist, he is local and he is very interested in helping out non-profits (organizations)," Corbin explained, noting LeGrand also did paintings for ornaments for the Greene County CASA the last two years.
LeGrand, owner of LeGrand Art Studio and Gallery in Bloomfield and current Linton-Stockton High School Art teacher, created an
Shades of blue vary against the portrayed light of the sun against the side of the old hotel. Bright whites show the outlines of windows, doors, gutters and a picket fence. Varying bright to dark greens depict the grass surrounding the base of the picket fence.
He created the
The hotel itself is a nationally recognized historical landmark, placing the small town in Taylor Township on the map.
"The hotel is featured on the National Registry of Historic Places," Corbin explained.
Corbin said the ornaments will be available at the souvenir stand, across from the post office. They will be $12 each.
"I already have a lady from the Historical Society that wants four (ornaments) -- one for her and three for her children," Corbin said.
Corbin encourages buying the souvenirs for current residents, former residents and former school attendees. She noted the last graduating class from Scotland was in 1955.
If the portrait of the hotel on the souvenir sells well at this year's festival, Corbin said she would like to have other buildings featured on souvenirs.
2011年9月6日星期二
Contract Terms Photographers Should Review Closely
In this month’s PDN, licensing agent Lori Horne, co-founder of Heritage Graphics International, talks about how she
selects the images she licenses on behalf of publishers, greeting card and poster makers, and home décor specialists.
Horne, who is also an attorney, also advises photographers who want to license their images that many contracts contain
clauses and limitations that can be detrimental to photographers. These are the clauses regarding the length of time the
contract is in effect, and whether or not the photographer is allowed to approve the quality of the reproduction and the
medium in which the image is reproduced.
What can you tell photographers about how a home décor retailer licenses photos?
LH: Retailers I work with have recently been requesting limited editions. The editions are typically 100 to 200 [prints],
occasionally it’s an edition of 50. The retailer will buy the rights to an edition of an image for a period of time,
usually one to two years. The images will be printed digitally from scans of 300 dpi, and the prints can range in size
from 10 x 10, for example, up to very large sizes-- that could be 30 x 40 inches. Prints in the edition are printed 10 or
15 at a time. The retailer doesn’t print the whole edition at once, they’ll see how they’re selling and they order
prints as needed.
With a publisher of a poster, the license could be for three years. But [whether the contract is] with a retailer or a
publisher, it’s a very specific license, stating that they’re licensing this particular image, in this particular size.
There are limitations on what the retailer or the publisher can or cannot do with the image.
What limitations are put on the photographer?
The photographer would not be able to sell the licensed image in the licensed size through any other source, such as via
their web site or gallery, for the period of the contract. - not more than two years, generally.
At Heritage Graphics, we represent the photographer, and our contracts are no more restrictive on the photographer than
that. But we know there are many more contracts out there where publishers are trying to get as much as they can. For
example, the publisher demands the right of first refusal to all other images by the photographer. This is very bad for
the photographer. Something else we try to warn photographers about is never to allow the contract to be renewed
automatically without it being signed by both sides. You would be amazed how many photographers want to license an image
in their collection but then find out that they can't because the publisher from a previous license automatically renewed
the contract for additional years without needing the approval of the photographer.
Photographers have to be really careful about what they sign. I’m an attorney and I always encourage photographers to
show contracts to their own lawyers.
You’re an attorney? How did you get involved in photo licensing?
LH: After a time being a DA, I decided to stop working for the state. I’d run a business before but I wanted a small
business without the rent of large office space. I have a partner, Howard Greenberg who owns the Howard Greenberg Gallery
[in New York], which represents many great photographers. We started in 2000, and our niche initially was handling fine
art by photographers like Cartier-Bresson, Steichen, Bill Brandt. Publishers came to us to license work for calendars and
note cards. That was our primary business up until about 2006.
By luck, I was introduced to people in home décor who wanted to do something different than posters or what’s come to be
called “open edition prints.” They didn’t want images that other retailers were selling and they asked, “What ideas
do you have?” I suggested limited editions, images that were digitally printed, signed and numbered.
I started working with home decor retailers in 2007, and limited edition prints for wall décor have become very popular.
Initially my biggest market was photographers who worked in film and had never had their work printed and sold digitally.
It was not a conflict with their galleries who sold their gelatin silver prints if we licensed only digital prints. It’s
still true that I’ll have greater ease working with photographers who sell their work in galleries as silver gelatin and
platinum prints.
The retailers’ interest [in limited editions] wasn’t driven by the [digital] technology, it was a desire to offer
customers something special and exclusive.
Can photographers be sure of the quality of their prints?
LH: Retailers have a two-step process. The first is to go through me to get the photographer to send a scan and a
matchprint, and then they make a sampling of their images. There’s a failsafe that I insist on: We require that the
photographer approve the print of the image that will be sold. A lot of photographers don’t think about it, and then a
print comes out and it’s hideous. In working with publishers, we’ll also insist that the print can only be on paper.
If not, it’ll go on canvas and it’s got glop on it to look like an oil painting.
What I like about limited editions is that if the photographer has to actually sign and number them, then the
photographer gets to see every one of his/her prints that will be sold.
selects the images she licenses on behalf of publishers, greeting card and poster makers, and home décor specialists.
Horne, who is also an attorney, also advises photographers who want to license their images that many contracts contain
clauses and limitations that can be detrimental to photographers. These are the clauses regarding the length of time the
contract is in effect, and whether or not the photographer is allowed to approve the quality of the reproduction and the
medium in which the image is reproduced.
What can you tell photographers about how a home décor retailer licenses photos?
LH: Retailers I work with have recently been requesting limited editions. The editions are typically 100 to 200 [prints],
occasionally it’s an edition of 50. The retailer will buy the rights to an edition of an image for a period of time,
usually one to two years. The images will be printed digitally from scans of 300 dpi, and the prints can range in size
from 10 x 10, for example, up to very large sizes-- that could be 30 x 40 inches. Prints in the edition are printed 10 or
15 at a time. The retailer doesn’t print the whole edition at once, they’ll see how they’re selling and they order
prints as needed.
With a publisher of a poster, the license could be for three years. But [whether the contract is] with a retailer or a
publisher, it’s a very specific license, stating that they’re licensing this particular image, in this particular size.
There are limitations on what the retailer or the publisher can or cannot do with the image.
What limitations are put on the photographer?
The photographer would not be able to sell the licensed image in the licensed size through any other source, such as via
their web site or gallery, for the period of the contract. - not more than two years, generally.
At Heritage Graphics, we represent the photographer, and our contracts are no more restrictive on the photographer than
that. But we know there are many more contracts out there where publishers are trying to get as much as they can. For
example, the publisher demands the right of first refusal to all other images by the photographer. This is very bad for
the photographer. Something else we try to warn photographers about is never to allow the contract to be renewed
automatically without it being signed by both sides. You would be amazed how many photographers want to license an image
in their collection but then find out that they can't because the publisher from a previous license automatically renewed
the contract for additional years without needing the approval of the photographer.
Photographers have to be really careful about what they sign. I’m an attorney and I always encourage photographers to
show contracts to their own lawyers.
You’re an attorney? How did you get involved in photo licensing?
LH: After a time being a DA, I decided to stop working for the state. I’d run a business before but I wanted a small
business without the rent of large office space. I have a partner, Howard Greenberg who owns the Howard Greenberg Gallery
[in New York], which represents many great photographers. We started in 2000, and our niche initially was handling fine
art by photographers like Cartier-Bresson, Steichen, Bill Brandt. Publishers came to us to license work for calendars and
note cards. That was our primary business up until about 2006.
By luck, I was introduced to people in home décor who wanted to do something different than posters or what’s come to be
called “open edition prints.” They didn’t want images that other retailers were selling and they asked, “What ideas
do you have?” I suggested limited editions, images that were digitally printed, signed and numbered.
I started working with home decor retailers in 2007, and limited edition prints for wall décor have become very popular.
Initially my biggest market was photographers who worked in film and had never had their work printed and sold digitally.
It was not a conflict with their galleries who sold their gelatin silver prints if we licensed only digital prints. It’s
still true that I’ll have greater ease working with photographers who sell their work in galleries as silver gelatin and
platinum prints.
The retailers’ interest [in limited editions] wasn’t driven by the [digital] technology, it was a desire to offer
customers something special and exclusive.
Can photographers be sure of the quality of their prints?
LH: Retailers have a two-step process. The first is to go through me to get the photographer to send a scan and a
matchprint, and then they make a sampling of their images. There’s a failsafe that I insist on: We require that the
photographer approve the print of the image that will be sold. A lot of photographers don’t think about it, and then a
print comes out and it’s hideous. In working with publishers, we’ll also insist that the print can only be on paper.
If not, it’ll go on canvas and it’s got glop on it to look like an oil painting.
What I like about limited editions is that if the photographer has to actually sign and number them, then the
photographer gets to see every one of his/her prints that will be sold.
2011年9月5日星期一
Renowned Bucks County artist Dot Bunn opens major figurative painting exhibit
September will see the return of a major exhibition of figurative art by nationally acclaimed artist Dot Bunn. Bucks County Gallery of Fine Art located in New Hope will host this exhibition when it returns from the state capitol. During August, 23 oil paintings of figurative art were part of an invitational exhibit at the Art Association of Harrisburg. The September display in New Hope will feature four award winning paintings as well as many previously unseen works before the Harrisburg show. They will be exhibited Sept. 10 to 30 in the gallery's Dutch Room.
Dot Bunn had this to say about her increasing interest in painting people. “Over the last five years I have gradually taken a greater interest in depicting the figure. I find my subjects unexpectedly. A moment encounter with an interesting stranger in a restaurant may become my next painting. My favorite subjects are people doing things they love or working at their jobs. Good painting connects with people on a personal level that taps into their sense of life. One of my most successful paintings, “The Seamstress” seemed to hit that cord. During its exhibition as the first place winner in painting in 2008 at Phillips Mill Open Juried Show there were many viewers that felt that connection. I find that fact motivating and affirming. I am continually searching for my next seamstress.”
Dot states, “Surely the gift of being creative is a wonderful thing but talent comes from hard work and discipline. The final painting that leaves my easel has a carefully designed structure that guides my choices throughout the process.
"Great design is my starting point and many of my paintings had numerous drawings done before the brush touched the surface. We fool ourselves if we think that it is possible to produce meaningful work without learning the skills and lessons of the masters. Although I have my favorites when it comes to subject matter, I believe that all things can be made beautiful if your goal is to apply the principles of composition and the management of color to your work. It is not objects that I strive to paint but the essence of light that surrounds and washes over them.”
Dot Bunn had this to say about her increasing interest in painting people. “Over the last five years I have gradually taken a greater interest in depicting the figure. I find my subjects unexpectedly. A moment encounter with an interesting stranger in a restaurant may become my next painting. My favorite subjects are people doing things they love or working at their jobs. Good painting connects with people on a personal level that taps into their sense of life. One of my most successful paintings, “The Seamstress” seemed to hit that cord. During its exhibition as the first place winner in painting in 2008 at Phillips Mill Open Juried Show there were many viewers that felt that connection. I find that fact motivating and affirming. I am continually searching for my next seamstress.”
Dot states, “Surely the gift of being creative is a wonderful thing but talent comes from hard work and discipline. The final painting that leaves my easel has a carefully designed structure that guides my choices throughout the process.
"Great design is my starting point and many of my paintings had numerous drawings done before the brush touched the surface. We fool ourselves if we think that it is possible to produce meaningful work without learning the skills and lessons of the masters. Although I have my favorites when it comes to subject matter, I believe that all things can be made beautiful if your goal is to apply the principles of composition and the management of color to your work. It is not objects that I strive to paint but the essence of light that surrounds and washes over them.”
2011年9月4日星期日
The Evolution Of Modern Art Painting
Modern art painting - Oil paintings artists - Art paintings for sale. offers 100% Hand-painted high quality oil paintings with affordable price. You can buy oil paintings & artwork oil paintings at wholesale price and free for shipping.
Hong Kong, Sep. 1st, 2011:is one of the one-stop shops for online art-lovers searching for the perfect paintings to decorate their home or office. There are numbers of selections of oil paintings for sale. If you want 100% hand-painted oil paintings reproductions of an amazing piece of art, or if you are looking to turn a photograph into an original painting, we are the best, most affordable gallery around. Our painters are experienced, our turnaround time is quick and our prices are low. In fact, you’ll get a painting for what some of our competitors charge for a print.
The global acceptance of modern art has led to its presence being seen in various forms in many art exhibitions. Any exhibition, boasting of art paintings for sale, is sure to include some form or other of modern art paintings.
Modern art painting is termed as abstract expression of the artists on the canvass. The painting is not specific to any object, but the centralized theme is reflected in the painting using colours and images on the minds of those artists. The evolution of modern art as an activity, started during the World War II and its origin can be traced in America. The word was coined by Robert Coates who was a famous critic of automatic and spontaneous expression of creativity in the form of paintings.
The modern art painting is the first of its kind in artistic movements in America (in Russia such movement was seen during the era of constructivism) which went on to gain global importance. Willem De Kooning and Arshile Gorky are the pioneers in this field.
The modern art is again sub divided into action painting and colour field painting. The former category was practiced by Philip Guston and Franz Kline who stressed upon the aspects related to physical action in the painting works. The latter category of modern art was practiced by Kenneth Moland and Mark Rothko who stressed more on the use of colour effects in their works.
There are no hard and fast regulations that can be used to draw a line for evolution of modern art paintings. The common form of art used by the artists are derived by the form of accessories they use and the pattern they follow while expressing their thoughts, such as use of large canvas, stressing on the flatness of the canvass and spreading the art across the canvass, thus using the whole area available.
The abstract expressionist painting as a form of art, lost its ground in early 1960’s but it influenced the minimalist and pop art forms to a large extent. Pop art concentrates on mass themes like comics and commercial advertisements whereas minimalist form of art concentrates on the use of minimal colour to express the thoughts. The minimal use of colours enable ripping apart the existing art into basic geometrical designs and bring about the fundamental features to the fore. The modern art painting, though not very popular in its original form, is now globally acknowledged in other forms of art.
Our team consists of hundreds of experienced and well-trained artists with professional background, so we can fast respond to customers’ large quantity demand on high quality products.
We have a commitment to excellence in everything we do. We take great pride not only in the quality of our artwork and our competitive prices, but also in the efficiency of our shipping process and our top-notch customer service. All of our paintings are quickly delivered to you at your home or business, framed and ready to be hung. Worldwide shipping is available, and all domestic deliveries are free.
Hong Kong, Sep. 1st, 2011:is one of the one-stop shops for online art-lovers searching for the perfect paintings to decorate their home or office. There are numbers of selections of oil paintings for sale. If you want 100% hand-painted oil paintings reproductions of an amazing piece of art, or if you are looking to turn a photograph into an original painting, we are the best, most affordable gallery around. Our painters are experienced, our turnaround time is quick and our prices are low. In fact, you’ll get a painting for what some of our competitors charge for a print.
The global acceptance of modern art has led to its presence being seen in various forms in many art exhibitions. Any exhibition, boasting of art paintings for sale, is sure to include some form or other of modern art paintings.
Modern art painting is termed as abstract expression of the artists on the canvass. The painting is not specific to any object, but the centralized theme is reflected in the painting using colours and images on the minds of those artists. The evolution of modern art as an activity, started during the World War II and its origin can be traced in America. The word was coined by Robert Coates who was a famous critic of automatic and spontaneous expression of creativity in the form of paintings.
The modern art painting is the first of its kind in artistic movements in America (in Russia such movement was seen during the era of constructivism) which went on to gain global importance. Willem De Kooning and Arshile Gorky are the pioneers in this field.
The modern art is again sub divided into action painting and colour field painting. The former category was practiced by Philip Guston and Franz Kline who stressed upon the aspects related to physical action in the painting works. The latter category of modern art was practiced by Kenneth Moland and Mark Rothko who stressed more on the use of colour effects in their works.
There are no hard and fast regulations that can be used to draw a line for evolution of modern art paintings. The common form of art used by the artists are derived by the form of accessories they use and the pattern they follow while expressing their thoughts, such as use of large canvas, stressing on the flatness of the canvass and spreading the art across the canvass, thus using the whole area available.
The abstract expressionist painting as a form of art, lost its ground in early 1960’s but it influenced the minimalist and pop art forms to a large extent. Pop art concentrates on mass themes like comics and commercial advertisements whereas minimalist form of art concentrates on the use of minimal colour to express the thoughts. The minimal use of colours enable ripping apart the existing art into basic geometrical designs and bring about the fundamental features to the fore. The modern art painting, though not very popular in its original form, is now globally acknowledged in other forms of art.
Our team consists of hundreds of experienced and well-trained artists with professional background, so we can fast respond to customers’ large quantity demand on high quality products.
We have a commitment to excellence in everything we do. We take great pride not only in the quality of our artwork and our competitive prices, but also in the efficiency of our shipping process and our top-notch customer service. All of our paintings are quickly delivered to you at your home or business, framed and ready to be hung. Worldwide shipping is available, and all domestic deliveries are free.
2011年9月1日星期四
Announces New Customer Service Program: “Commitment To Wall Art Happiness”
The web’s leading producer of reproduction oil paintings, today announced the start of a new customer service program. The goal of the company’s new “Commitment to Wall Art Happiness” program is to ensure that each and every customer finds nothing but happiness in their art purchases.
overstockArt.com prides itself on consistently providing its customers with high end products for a competitive price, a robust selection of art to select from, free shipping both ways, and excellent customer relations. The company’s commitment to its customers has not gone unnoticed, the retailer was recently recognized for its outstanding customer relations when the company was awarded an Excellent rating by STELLAService, the seal is the web’s most trusted and sought-after signal of internet retailers with excellent customer service.
“We are taking our commitment to excellent customer service to the next level with the new program,” said Leanna Pierson, customer service manager at overstockArt.com. “We want to not only meet our customer’s expectations, but to exceed them. Our goal is to over-deliver; we want to remove all of the fears, uncertainties and doubts while shopping at overstockArt.com.”
“Shoppers traditionally haven’t considered the web to be an optimal place to purchase artwork,” stated David Sasson, CEO of overstockArt.com. “With our new program we want to quell their fears and ensure that our customers are consistently happy with their art purchases.”
With the “Commitment to Wall Art Happiness” program, overstockArt.com will continue to provide customers with the customer service they have come to rely on, and take it one step further by implementing the following practices:
· Bi-weekly company-wide “Commitment to Wall Art Happiness” meetings where customer satisfaction issues are being raised; change requests and features are offered; and suggestions to improve customer experience is discussed.
· Measuring customer satisfaction and loyalty by using the Net Promoter Score (NPS).
· Providing consumers with additional opportunities to voice their opinions with an onsite customer survey that will monitor customer satisfaction.
Sasson explained, “We will utilize the information derived from these new practices to guide future business decisions and focus organizational energy around building a better customer experience.” Sasson says the company is already known for providing affordable home décor solutions and excellent customer service, but wants to continue to set itself apart from its competitors by making its “Commitment to Wall Art Happiness” the pillar for which the company culture is based on.
Founded in 2002, overstockArt.com is the web’s leading distributors of art reproduction oil paintings, with more than 100,000 wall décor combinations to choose from. In business since 2002, the company provides decorating assistance, custom framing and commercial wall decorating services. With an inventory of more than 60,000 paintings in stock at all times, order wait is minimal.
overstockArt.com prides itself on consistently providing its customers with high end products for a competitive price, a robust selection of art to select from, free shipping both ways, and excellent customer relations. The company’s commitment to its customers has not gone unnoticed, the retailer was recently recognized for its outstanding customer relations when the company was awarded an Excellent rating by STELLAService, the seal is the web’s most trusted and sought-after signal of internet retailers with excellent customer service.
“We are taking our commitment to excellent customer service to the next level with the new program,” said Leanna Pierson, customer service manager at overstockArt.com. “We want to not only meet our customer’s expectations, but to exceed them. Our goal is to over-deliver; we want to remove all of the fears, uncertainties and doubts while shopping at overstockArt.com.”
“Shoppers traditionally haven’t considered the web to be an optimal place to purchase artwork,” stated David Sasson, CEO of overstockArt.com. “With our new program we want to quell their fears and ensure that our customers are consistently happy with their art purchases.”
With the “Commitment to Wall Art Happiness” program, overstockArt.com will continue to provide customers with the customer service they have come to rely on, and take it one step further by implementing the following practices:
· Bi-weekly company-wide “Commitment to Wall Art Happiness” meetings where customer satisfaction issues are being raised; change requests and features are offered; and suggestions to improve customer experience is discussed.
· Measuring customer satisfaction and loyalty by using the Net Promoter Score (NPS).
· Providing consumers with additional opportunities to voice their opinions with an onsite customer survey that will monitor customer satisfaction.
Sasson explained, “We will utilize the information derived from these new practices to guide future business decisions and focus organizational energy around building a better customer experience.” Sasson says the company is already known for providing affordable home décor solutions and excellent customer service, but wants to continue to set itself apart from its competitors by making its “Commitment to Wall Art Happiness” the pillar for which the company culture is based on.
Founded in 2002, overstockArt.com is the web’s leading distributors of art reproduction oil paintings, with more than 100,000 wall décor combinations to choose from. In business since 2002, the company provides decorating assistance, custom framing and commercial wall decorating services. With an inventory of more than 60,000 paintings in stock at all times, order wait is minimal.
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