Ah, sentimentalism, it is a balm, it is a trap. It is the comfort food of emotions, the ready pleasure of the fattening bite that we forgive even as it turns to flab. If only it worked so well in art, where even a little flab is enough extra weight to bring you crashing down from the wall.
It’s one thing to have sentimental feelings when seeing a piece of art — say, you see a painting of a farm, and you grew up on a farm so you savour a moment of nostalgia, though your feelings will not be shared when the painting is seen by the next person, who did not grow up on a farm.
The trouble begins when there are no layers other than sentimentalism or nostalgia, and the singular purpose of the painting is to evoke sentimental feelings, to churn up the comfort-food of warm memories. That’s why I cringed when I read the news release for Crystal Beshara’s exhibition of new paintings at Orange Art Gallery in Ottawa. The release says, “It is with this brand new body of work that she shares a cosy slice of nostalgia.”
When I read the words “new paintings” on the same page with the words “cosy slice of nostalgia” I want to run away, fast and far. I’m glad I didn’t, because Crystal Beshara is learning to tame her sentimental heart, and the artistic growth can be seen in the paintings — some strong, some not so much — now at Orange Gallery.
Beshara grew up on a farm in the Ottawa Valley and those memories are, naturally enough, impressed into her work. All of the paintings in this exhibition, which is titled Winter’s Promise, reflect farm life, from the portraits of owls to the larger paintings of cattle that are the centrepieces of the show, and the latter do it most successfully.
The smaller painting Barn Owl is oil on wood, with most of the board left bare, which forces the eye to focus strongly on the owl itself. To withstand this scrutiny the owl needs a fine detail that it lacks, so the whole thing has an unfinished look, as if the artist hoped its presence alone — the owl’s sentimental place as a character of barn life — would be compelling.
Another oil on wood, titled Jersey , shows a floppy-eared, doe-eyed calf also set against a background of bare, negative space. The image veers dangerously towards cute, which has in the past been, depending on your perspective, a good or bad thing in Beshara’s work. Hey, I like cute as much as the next person, but in its place. Cute is not profound or even meaningful in any way and, therefore, it is not the basis of compelling art.
That’s not a problem in another of her bare-board paintings, titled First Frost, which is a close-up of a dead sunflower in the field. Here the aspect of farm-life shown is inevitable death, and cute is replaced by melancholy, which is always more interesting. Beshara’s sunflower is well composed, though the painting was undermined by the touches of gold-leaf that reflected the gallery light in a most distracting fashion.
She uses gold leaf elsewhere to better effect and, like all the most successful paintings in the exhibition, it is not on wooden board but on canvas. The larger painting Into the Mist , shows a heard of cows crossing a stream and slowly disappearing into the icy mist over a frozen field. Here Beshara presents a scene that is at once nostalgic for her but still offers something substantial to the majority of viewers who did not grow up on a farm.
She hits all her high notes with her large paintings of cows. Winter Storm shows three rather woolly cows (don’t ask me what kind, I’m a city boy) standing in the greyness of a winter storm and staring — silent and placid — at the viewer. I could almost feel the cold, moist air, and the cocoon-ish effect of standing outdoors in a snowstorm. Beshara has allowed a few drips of grey paint to flow from the sky down over the snowy ground and here the deliberate lack of finish is more effective, as if to knock the viewer out of a reverie.
Black Angus (40 by 60 inches, oil on canvas) is the centrepiece of the exhibition and deservedly so. Here a single, black cow stands before a leafless woodland wrapped in icy mist and next to a dirty, half-frozen pool of water. Beshara has painted the water with broad, messy strokes and it creates an intriguing contrast with the detail on the rest of the canvas. The painting isn’t cute and it sure isn’t cosy, but it is compelling. It may be sentimental and nostalgic, but it’s more than that and it’s Beshara’s best work to date.
2012年1月10日星期二
2012年1月5日星期四
Dennis artist creates mural for new Osterville Library
Walking into Lance Walker’s Fine Art Gallery in Post Office Plaza in Dennis Village during the past two months, one could not help notice the large painting sitting on two milk cartons in front of the other fine art on the walls.
On second look, it’s clear the painting is a work in progress with lots of green and blue open space between the two big buildings on the canvas. The red brick building with a cupola at the top and lots of white trim and windows is the clue what this oil painting is about.
The Osterville Village Library awarded Walker a commission to paint a mural to be hung in the new $5 million library, which is scheduled to open in late February or early March.
“I’m not a mural artist, but I can paint big,” Walker says. The canvas is 7 feet by 5-feet, but this is not your typical mural depicting identifiable buildings and scenes of an area.
Instead, what Walker has created a series of fine illustrations or vignettes of the village on the Cape’s south shore over a nautical chart backdrop of olive green and sea blue. That explains all the blue expanses that show Osterville’s several bays and the downward fingers that depict the water depth. “I’m a map person; I love charts, “Walker says.
“A lot of thought went into it. I was nervous at first,” he admits. “I wanted it to be special.”
Walker started the mural in Nov. 9 and has put in 160 hours on the “basically finished” product as of this week. He has worked on it three hours a day from 6 to 9 a.m.
When Walker entered the new library for the first time while it was under construction, it had no interior walls or the cupola on top or landscaping. He had to envision much of it.
In addition to the library, the only other major building in the mural is the Crosby Boatyard, which Walker points out is the only business depicted. “It’s more of an icon,” he says.
Walker wanted the mural to have life, so he included people walking to the library, sitting in the adjacent park and golfing on the Wianno golf course. Dowses Beach in the lower half of the mural has tiny figures, which Walker says is intentionally low enough for a 3-year-old to see.
“The whole thing takes on the time of year when people are excited,” he says. Other details will include a windmill, a compass rose, the drawbridge and some sea birds and flags.
Only one sailboat is prominent on the mural, the Wianno Senior, on which former President John F. Kennedy was filmed and photographed during his visits to Hyannis Port.
The Kennedys are significant to Walker, who received a commission from Judge Edmund Reggie, the late Sen. Edward M. Kennedy’s father-in-law, to paint a large portrait of the senator’s boat, the Mya, for the senator and his daughter, Vicki Kennedy. Sen. Kennedy died before the painting was finished, but the judge gave it to his family as a Christmas present, Walker says.
The library’s capital campaign committee selected Walker for the mural even though he had not submitted an application. Someone recommended him, so he submitted a sketch he completed in an hour along with a proposed size, cost and how he would deliver and hang the mural.
Laurie Young, head of the committee, said the members selected Walker unanimously from among four finalists because they “felt his artistic proposal was the best fit for the new library.” She added, “It was a difficult selection due to the high quality of the other submissions.”
The criteria for selection included: previous experience with scale of work, artistic style, some form of realism (as opposed to massively contemporary); Cape home base and artistic reputation; fit of proposed image for a library setting.
Walker, 49, is primarily a landscape and seascape painter and largely self-taught. He dabbled a bit in drawing, but says he never did it seriously while he was a drummer in a band in Pennsylvania. He submitted a drawing to a contest and it won first place. That was 23 years ago.
Puerto Rican artist and singer Gilbert Colon noticed his work and asked if he wanted to paint with him. After two years, Walker says, “I started to grasp it and Colon said, ‘Lance, it’s the beginning of your journey. I think you have the tools.’”
Walker left the music business and went into architectural and technical drafting for nine years. “I had an eye for detail,” he said, which is evident in the library mural and much of his work.
In 2000, Walker moved to the Cape to pursue his art and met his wife, Linda Medeiros, who runs the business side of the gallery, which represents 12 artists with different styles. He shares the building with Ron Lindholm’s Cape Cod Picture Framing. Walker also does some framing. He is a member of the American Society of Marine Artists.
Young’s mural will hang on the library’s second floor at the top of the elevator landing in front of the large Wianno Avenue window. Names of “mural wall” contributors to the new building will flank the painting.
The cost of the mural is being donated by the four children and four grandchildren of the late Janel Kisker Kesten, an avid reader who introduced her children to the Hyannis and Osterville libraries. She and her husband, Robert, moved to Osterville in 1965 to buy and operate the East Bay Lodge. Their four children, Laurie Kesten Young, Donna Kesten Greene, Robert Kesten Jr. and John Kesten all live on the Cape or retain Cape ties. The four grandchildren are Kelley Ervin, Janel Kesten, Ryan Kesten and Samantha Kesten. Mrs. Kesten died in 1967.
“Her children felt this mural was a fitting memorial to her love of reading and libraries,” Laurie Young, one of the children, says.
On second look, it’s clear the painting is a work in progress with lots of green and blue open space between the two big buildings on the canvas. The red brick building with a cupola at the top and lots of white trim and windows is the clue what this oil painting is about.
The Osterville Village Library awarded Walker a commission to paint a mural to be hung in the new $5 million library, which is scheduled to open in late February or early March.
“I’m not a mural artist, but I can paint big,” Walker says. The canvas is 7 feet by 5-feet, but this is not your typical mural depicting identifiable buildings and scenes of an area.
Instead, what Walker has created a series of fine illustrations or vignettes of the village on the Cape’s south shore over a nautical chart backdrop of olive green and sea blue. That explains all the blue expanses that show Osterville’s several bays and the downward fingers that depict the water depth. “I’m a map person; I love charts, “Walker says.
“A lot of thought went into it. I was nervous at first,” he admits. “I wanted it to be special.”
Walker started the mural in Nov. 9 and has put in 160 hours on the “basically finished” product as of this week. He has worked on it three hours a day from 6 to 9 a.m.
When Walker entered the new library for the first time while it was under construction, it had no interior walls or the cupola on top or landscaping. He had to envision much of it.
In addition to the library, the only other major building in the mural is the Crosby Boatyard, which Walker points out is the only business depicted. “It’s more of an icon,” he says.
Walker wanted the mural to have life, so he included people walking to the library, sitting in the adjacent park and golfing on the Wianno golf course. Dowses Beach in the lower half of the mural has tiny figures, which Walker says is intentionally low enough for a 3-year-old to see.
“The whole thing takes on the time of year when people are excited,” he says. Other details will include a windmill, a compass rose, the drawbridge and some sea birds and flags.
Only one sailboat is prominent on the mural, the Wianno Senior, on which former President John F. Kennedy was filmed and photographed during his visits to Hyannis Port.
The Kennedys are significant to Walker, who received a commission from Judge Edmund Reggie, the late Sen. Edward M. Kennedy’s father-in-law, to paint a large portrait of the senator’s boat, the Mya, for the senator and his daughter, Vicki Kennedy. Sen. Kennedy died before the painting was finished, but the judge gave it to his family as a Christmas present, Walker says.
The library’s capital campaign committee selected Walker for the mural even though he had not submitted an application. Someone recommended him, so he submitted a sketch he completed in an hour along with a proposed size, cost and how he would deliver and hang the mural.
Laurie Young, head of the committee, said the members selected Walker unanimously from among four finalists because they “felt his artistic proposal was the best fit for the new library.” She added, “It was a difficult selection due to the high quality of the other submissions.”
The criteria for selection included: previous experience with scale of work, artistic style, some form of realism (as opposed to massively contemporary); Cape home base and artistic reputation; fit of proposed image for a library setting.
Walker, 49, is primarily a landscape and seascape painter and largely self-taught. He dabbled a bit in drawing, but says he never did it seriously while he was a drummer in a band in Pennsylvania. He submitted a drawing to a contest and it won first place. That was 23 years ago.
Puerto Rican artist and singer Gilbert Colon noticed his work and asked if he wanted to paint with him. After two years, Walker says, “I started to grasp it and Colon said, ‘Lance, it’s the beginning of your journey. I think you have the tools.’”
Walker left the music business and went into architectural and technical drafting for nine years. “I had an eye for detail,” he said, which is evident in the library mural and much of his work.
In 2000, Walker moved to the Cape to pursue his art and met his wife, Linda Medeiros, who runs the business side of the gallery, which represents 12 artists with different styles. He shares the building with Ron Lindholm’s Cape Cod Picture Framing. Walker also does some framing. He is a member of the American Society of Marine Artists.
Young’s mural will hang on the library’s second floor at the top of the elevator landing in front of the large Wianno Avenue window. Names of “mural wall” contributors to the new building will flank the painting.
The cost of the mural is being donated by the four children and four grandchildren of the late Janel Kisker Kesten, an avid reader who introduced her children to the Hyannis and Osterville libraries. She and her husband, Robert, moved to Osterville in 1965 to buy and operate the East Bay Lodge. Their four children, Laurie Kesten Young, Donna Kesten Greene, Robert Kesten Jr. and John Kesten all live on the Cape or retain Cape ties. The four grandchildren are Kelley Ervin, Janel Kesten, Ryan Kesten and Samantha Kesten. Mrs. Kesten died in 1967.
“Her children felt this mural was a fitting memorial to her love of reading and libraries,” Laurie Young, one of the children, says.
2011年12月28日星期三
Noel Rockmore, 'Picasso of New Orleans,' revisited
In the four-block radius where he painted and drank himself into frightening stupors, Noel Rockmore was known by the denizens of the French Quarter as an outrageous Pablo Picasso-like figure who combined the mythological and the real. He produced some 15,000 oil paintings, temperas, collages and sketches over his career and then died in obscurity.
His life was that of an American outsider and a throwback to Europe's great expressionistic and hedonistic masters.
In the 1950s, when he was still in his 20s, his paintings hung in the Metropolitan Museum of Art, the Museum of Modern Art and the Hirshhorn Museum. He was a bright young American artist who had a taste for Rembrandt and figurative paintings, with the outlook of an American social realist.
Then, the art world changed: Abstract expressionism — typified by the paint throwing of Jackson Pollock — became the rave. Rockmore, who admired draftsmanship in painting, detested it.
Rockmore changed: He left his wife and three children, changed his last name and headed to New Orleans in 1959, where he would eventually get lost to the New York art world.
The story of Noel Montgomery Davis (his real name) is getting a long-overdue audience outside New Orleans, a city that is enjoying something of an art renaissance itself six years after Hurricane Katrina. From now until the end of January, his works are on view at the LaGrange Art Museum in Georgia. The retrospective is called "Creative Obscurity: The Genius Noel Rockmore."
"He was kind of an art hobo," said Ethyl Ault, interim director of the LaGrange Art Museum.
She said Rockmore was an overlooked genius. "Was it politics? Did he offend people? Why was he so popular in New York when he was younger, and then he leaves, changes his name and then goes on into his fairy tale land?"
The show is based on nearly 1,500 Rockmore artworks retrieved from storage units in the wake of Hurricane Katrina. For 25 years, Shirley Marvin, an octogenarian Baton Rouge patron, had been saving Rockmore artworks and memorabilia with the intention of making him famous one day.
But she had forgotten about the collection due to short-term memory loss, her family said. Marvin was one of Rockmore's most devoted fans. She saw genius in him — like many others in New Orleans. The extraordinary collection was gathering dust when her son, Rich Marvin, took her down to New Orleans in October 2006, a year after Katrina, to get "a few paintings," as her mother described it. Instead, they found the units packed with remnants of Rockmore's life.
In the wake of the collection's discovery, Rich and his wife, Tee Marvin, have become Rockmore's biggest impresarios — the agents Rockmore famously refused to have throughout his life as he willfully lived on the edge of the art world. He was notorious among art galleries for his temper and fits of outrage. His friends say he suffered emotional problems for much of his life.
The Marvins — working with Rockmore's family and art dealers, collectors and museum curators — have begun cataloging his works and promoting him. They estimate he produced about 15,000 pieces of art and conservatively 750 to 1,000 of those are masterpieces.
"At first we thought my mom was crazy," Rich Marvin said. "When a museum or gallery lines up his top 200 exquisite works, people will be as stunned as we are."
Rockmore was born in 1928 in New York to a family of artists. He was supertalented. A child prodigy, he played the violin well by age 8. After suffering polio at age 10, he turned to painting. He studied briefly at The Juilliard School and had a studio at the Cooper Union. Family friends included Ernest Hemingway, George Gershwin and Thomas Mann.
His life was that of an American outsider and a throwback to Europe's great expressionistic and hedonistic masters.
In the 1950s, when he was still in his 20s, his paintings hung in the Metropolitan Museum of Art, the Museum of Modern Art and the Hirshhorn Museum. He was a bright young American artist who had a taste for Rembrandt and figurative paintings, with the outlook of an American social realist.
Then, the art world changed: Abstract expressionism — typified by the paint throwing of Jackson Pollock — became the rave. Rockmore, who admired draftsmanship in painting, detested it.
Rockmore changed: He left his wife and three children, changed his last name and headed to New Orleans in 1959, where he would eventually get lost to the New York art world.
The story of Noel Montgomery Davis (his real name) is getting a long-overdue audience outside New Orleans, a city that is enjoying something of an art renaissance itself six years after Hurricane Katrina. From now until the end of January, his works are on view at the LaGrange Art Museum in Georgia. The retrospective is called "Creative Obscurity: The Genius Noel Rockmore."
"He was kind of an art hobo," said Ethyl Ault, interim director of the LaGrange Art Museum.
She said Rockmore was an overlooked genius. "Was it politics? Did he offend people? Why was he so popular in New York when he was younger, and then he leaves, changes his name and then goes on into his fairy tale land?"
The show is based on nearly 1,500 Rockmore artworks retrieved from storage units in the wake of Hurricane Katrina. For 25 years, Shirley Marvin, an octogenarian Baton Rouge patron, had been saving Rockmore artworks and memorabilia with the intention of making him famous one day.
But she had forgotten about the collection due to short-term memory loss, her family said. Marvin was one of Rockmore's most devoted fans. She saw genius in him — like many others in New Orleans. The extraordinary collection was gathering dust when her son, Rich Marvin, took her down to New Orleans in October 2006, a year after Katrina, to get "a few paintings," as her mother described it. Instead, they found the units packed with remnants of Rockmore's life.
In the wake of the collection's discovery, Rich and his wife, Tee Marvin, have become Rockmore's biggest impresarios — the agents Rockmore famously refused to have throughout his life as he willfully lived on the edge of the art world. He was notorious among art galleries for his temper and fits of outrage. His friends say he suffered emotional problems for much of his life.
The Marvins — working with Rockmore's family and art dealers, collectors and museum curators — have begun cataloging his works and promoting him. They estimate he produced about 15,000 pieces of art and conservatively 750 to 1,000 of those are masterpieces.
"At first we thought my mom was crazy," Rich Marvin said. "When a museum or gallery lines up his top 200 exquisite works, people will be as stunned as we are."
Rockmore was born in 1928 in New York to a family of artists. He was supertalented. A child prodigy, he played the violin well by age 8. After suffering polio at age 10, he turned to painting. He studied briefly at The Juilliard School and had a studio at the Cooper Union. Family friends included Ernest Hemingway, George Gershwin and Thomas Mann.
2011年11月8日星期二
Rare Clyfford Still paintings likely to earn millions for Denver museum
The eyes of the international art world will be on the work of painter Clyfford Still on Wednesday evening, when four of the late artist's rare paintings are expected to earn millions at a New York auction, with the proceeds to benefit a new Denver museum devoted to him.
Sotheby's estimates that the works, which date from 1940 to 1976 and offer a cross-section of the abstract expressionist's output, could bring in somewhere between $51 million and $71.5 million.
Fifteen percent of the proceeds or $15 million — whichever is less — will be taken by Sotheby's as a commission.
The rest will go to an endowment that will assure the financial viability of the privately funded Clyfford Still Museum, which opens Nov. 18. The money will be used for everything from research to general operations.
The four works were bequeathed to the city by Patricia Still, the artist's widow, who died in 2005. She endowed about 2,000 pieces from her husband's collection to Denver in 2004 on the agreement that the city would oversee the construction of a museum to house them. After her death, about 400 more works from her estate, including the four up for sale, also went to Denver.
Still is considered one of the most important artists in abstract expressionism, in the company of Jackson Pollock and Mark Rothko.
According to the November issue of Art + Auction magazine, the quartet of works is the "most impressive offering" in this week's contemporary sales at the major auction houses in New York.
"The audience has been responsive to these paintings," Tobias Meyer, worldwide head of contemporary art and principal auctioneer for Sotheby's, said Monday. "They've been very much admired, and we expect a very good result for Wednesday night."
After showings in London and Hong Kong in October, the four paintings have been on view for two weeks in Sotheby's New York galleries in anticipation of the sale.
The big question, emblazoned on Art + Auction's cover, is whether the largest of the four works, "1949-A-No. 1," will top the record for a Still painting of $21,296,000, which was set in 2006. Noting that the 1949 piece is estimated to sell for $25 million to $35 million, Meyer is confident that will happen.
Driving the market for Still's works is simple supply and demand. About 94 percent of the works he produced will be housed in the Still Museum, and, according to director Dean Sobel, only about 40 pieces by the artist remain in private hands.
"We gave them auction estimates that we felt were appropriate for what has happened in the market before," Meyer said of the four works to be sold. "But it's hard to say what will happen that night because it is such a rare event."
Sotheby's estimates that the works, which date from 1940 to 1976 and offer a cross-section of the abstract expressionist's output, could bring in somewhere between $51 million and $71.5 million.
Fifteen percent of the proceeds or $15 million — whichever is less — will be taken by Sotheby's as a commission.
The rest will go to an endowment that will assure the financial viability of the privately funded Clyfford Still Museum, which opens Nov. 18. The money will be used for everything from research to general operations.
The four works were bequeathed to the city by Patricia Still, the artist's widow, who died in 2005. She endowed about 2,000 pieces from her husband's collection to Denver in 2004 on the agreement that the city would oversee the construction of a museum to house them. After her death, about 400 more works from her estate, including the four up for sale, also went to Denver.
Still is considered one of the most important artists in abstract expressionism, in the company of Jackson Pollock and Mark Rothko.
According to the November issue of Art + Auction magazine, the quartet of works is the "most impressive offering" in this week's contemporary sales at the major auction houses in New York.
"The audience has been responsive to these paintings," Tobias Meyer, worldwide head of contemporary art and principal auctioneer for Sotheby's, said Monday. "They've been very much admired, and we expect a very good result for Wednesday night."
After showings in London and Hong Kong in October, the four paintings have been on view for two weeks in Sotheby's New York galleries in anticipation of the sale.
The big question, emblazoned on Art + Auction's cover, is whether the largest of the four works, "1949-A-No. 1," will top the record for a Still painting of $21,296,000, which was set in 2006. Noting that the 1949 piece is estimated to sell for $25 million to $35 million, Meyer is confident that will happen.
Driving the market for Still's works is simple supply and demand. About 94 percent of the works he produced will be housed in the Still Museum, and, according to director Dean Sobel, only about 40 pieces by the artist remain in private hands.
"We gave them auction estimates that we felt were appropriate for what has happened in the market before," Meyer said of the four works to be sold. "But it's hard to say what will happen that night because it is such a rare event."
2011年10月25日星期二
oil painting online store oil painting online stor
Walked the streets of Chinese painting, right and wrong without saying. We may not be just blame history. Has a deep sense of mission and spirit of a confident artist should never be a timid person before faltering. Nor will such as the chameleon-like because of a movement or trend of a so-called artistic philistine camel face-lift.
Self-confidence, a simple word, really find it difficult to repeat itself. Self, self. Letter, convictions. Today, the so-called "Art Spirit", an art form will lead to the emergence of a number of "cottage" version. As to whether emotions fit to explore the depths of his soul, in the interests of the face is no longer important. But the real self-confidence although Liaoruo Chen those stars, but the Chan-hyun sky.
Bo Po Art Network commentator fifteen author landscape painting,down jackets, over the English translation is Landscape oil painting, the literal meaning is to describe the object of natural scenery, with oil painting materials. Like with Chinese landscape painting, not a start there this category, but little by little until the purification and development of the formation of an independent system. According to Bo Po experts, Renaissance of the 16th century, landscape painting as an independent genre of painting appeared in the European art world,oil painting, and have been greatly developed. Since then, this great art arose in the art of jungle, bright day.
The spread of civilization, the Western classical oil painting into a strong flavor of Asian, West Asian countries to absorb the essence and will also feature their corresponding state of the art integration,oil painting online store, North Korea, is a typical representative. Grade of carefully Korean painters of landscape painting, and for a rise in my mind there will be too much for the kind words, but I do not know how to open expression. This is the characteristics of the Korean landscape, its beauty, you can move the first time, people a long time can not be the venue exudes the charm of moving the art of mind.
Bo Po experts say North Korea under the Juche idea, the artist with the greatest enthusiasm towards their own country every attraction,oil painting for sale, they use their life energy to describe these hastily Wood, mountains and rivers. Cooperation with Bo Po, Mr. Pu Yongzhe Korean artists is such a national artist, he painted the most emotional hot beautiful views North Korea, not a trace of his own feelings to creative integration in the fall, so enjoy his paintings, always feel strong emotions, strong ethnic flavor. He exhibited at the Bo Po called "summer" in the works, the use of a new perspective to enjoy Korean summer. Abandoned the traditional concept of the stretch of shade, but bright yellow with bright green Cross to render the atmosphere, so that the color of the summer, some more fresh but warm feeling. Painter in the picture to manipulate the relationship between light and shadow, scattered light so that the painting depicted a more open space, like an old photograph in appreciation of the general, so that the viewer into the success of their memories, to paintings and perfect blend of soul. Is a moving painting masterpiece.
Self-confidence, a simple word, really find it difficult to repeat itself. Self, self. Letter, convictions. Today, the so-called "Art Spirit", an art form will lead to the emergence of a number of "cottage" version. As to whether emotions fit to explore the depths of his soul, in the interests of the face is no longer important. But the real self-confidence although Liaoruo Chen those stars, but the Chan-hyun sky.
Bo Po Art Network commentator fifteen author landscape painting,down jackets, over the English translation is Landscape oil painting, the literal meaning is to describe the object of natural scenery, with oil painting materials. Like with Chinese landscape painting, not a start there this category, but little by little until the purification and development of the formation of an independent system. According to Bo Po experts, Renaissance of the 16th century, landscape painting as an independent genre of painting appeared in the European art world,oil painting, and have been greatly developed. Since then, this great art arose in the art of jungle, bright day.
The spread of civilization, the Western classical oil painting into a strong flavor of Asian, West Asian countries to absorb the essence and will also feature their corresponding state of the art integration,oil painting online store, North Korea, is a typical representative. Grade of carefully Korean painters of landscape painting, and for a rise in my mind there will be too much for the kind words, but I do not know how to open expression. This is the characteristics of the Korean landscape, its beauty, you can move the first time, people a long time can not be the venue exudes the charm of moving the art of mind.
Bo Po experts say North Korea under the Juche idea, the artist with the greatest enthusiasm towards their own country every attraction,oil painting for sale, they use their life energy to describe these hastily Wood, mountains and rivers. Cooperation with Bo Po, Mr. Pu Yongzhe Korean artists is such a national artist, he painted the most emotional hot beautiful views North Korea, not a trace of his own feelings to creative integration in the fall, so enjoy his paintings, always feel strong emotions, strong ethnic flavor. He exhibited at the Bo Po called "summer" in the works, the use of a new perspective to enjoy Korean summer. Abandoned the traditional concept of the stretch of shade, but bright yellow with bright green Cross to render the atmosphere, so that the color of the summer, some more fresh but warm feeling. Painter in the picture to manipulate the relationship between light and shadow, scattered light so that the painting depicted a more open space, like an old photograph in appreciation of the general, so that the viewer into the success of their memories, to paintings and perfect blend of soul. Is a moving painting masterpiece.
2011年10月11日星期二
Horse painting auctioned in race to repay fraud victims
A 300-year-old oil painting of a Newmarket horse-racing scene – once owned by US fraudster Bernie Madoff – is set to fetch up to £64,000 at an auction in America.
The picture, Brocklesby Betty, with Jockey up at Newmarket, before her celebrated match with Ashridge Ball, 7 October, 1718, was painted by John Wootton, regarded as the the finest horse painter of his time.
It is thought he received £40 for the painting. In 1929, it fetched 100 guineas (£105) when it was sold at Christie’s by the sixth Lord Sherborne.
More recently it was acquired by Madoff, the American stockbroker who admitted using his wealth management business to defraud thousands of investors of billions of dollars. He was jailed for 150 years in 2009, the maximum allowed.
Madoff’s assets – including his large art collection – were seized, to be sold in an attempt to reimburse his creditors. So far, federal officials have raised $25 million – £16 million – in this way.
The painting is going under the hammer tomorrow at Christie’s Rockefeller Plaza salerooms in New York.
Wootton, who died in 1764, produced several Newmarket racing scenes, including one owned by the Fitzwilliam Museum in Cambridge, entitled A Race On The Round Course, Newmarket.
Other Newmarket paintings by him adorn the stately homes of Longleat and Castle Howard.
The Dictionary of British Equestrian Artists describes him as “the first Englishman to paint horse portraits, considered to be the horse painter to the aristocracy for half a century.”
His works, often life-size, featured most of the famous racehorses of his time.
Brocklesby Betty was a chestnut filly foaled in 1711. She was bred at Brocklesby Park, Lincolnshire, and was a celebrated racing mare.
In 1718, she beat the Duke of Bridgewater’s Ashridge Ball in a match for 900 guineas.
At that time, Ashridge Ball was seen as the best horse in Britain.
The picture, Brocklesby Betty, with Jockey up at Newmarket, before her celebrated match with Ashridge Ball, 7 October, 1718, was painted by John Wootton, regarded as the the finest horse painter of his time.
It is thought he received £40 for the painting. In 1929, it fetched 100 guineas (£105) when it was sold at Christie’s by the sixth Lord Sherborne.
More recently it was acquired by Madoff, the American stockbroker who admitted using his wealth management business to defraud thousands of investors of billions of dollars. He was jailed for 150 years in 2009, the maximum allowed.
Madoff’s assets – including his large art collection – were seized, to be sold in an attempt to reimburse his creditors. So far, federal officials have raised $25 million – £16 million – in this way.
The painting is going under the hammer tomorrow at Christie’s Rockefeller Plaza salerooms in New York.
Wootton, who died in 1764, produced several Newmarket racing scenes, including one owned by the Fitzwilliam Museum in Cambridge, entitled A Race On The Round Course, Newmarket.
Other Newmarket paintings by him adorn the stately homes of Longleat and Castle Howard.
The Dictionary of British Equestrian Artists describes him as “the first Englishman to paint horse portraits, considered to be the horse painter to the aristocracy for half a century.”
His works, often life-size, featured most of the famous racehorses of his time.
Brocklesby Betty was a chestnut filly foaled in 1711. She was bred at Brocklesby Park, Lincolnshire, and was a celebrated racing mare.
In 1718, she beat the Duke of Bridgewater’s Ashridge Ball in a match for 900 guineas.
At that time, Ashridge Ball was seen as the best horse in Britain.
2011年7月14日星期四
SolarBridge Introduces New Pantheon Micro-Inverter
SolarBridge Technologies, a developer of module-integrated micro-inverters, has developed a frame-attached version of its Pantheon micro-inverter.
With this model, SolarBridge's module-manufacturer partners will attach the Pantheon micro-inverter to the corner of the PV module frame in their factories. This solution provides a low field installation cost, as there are no inverters and AC bus cables to install, no DC cables to manage, and no separate ground wires to run, the company says.
Although the initial Pantheon micro-inverter is frame-attached, a future version will feature an integral design that completely eliminates the junction box and all DC wiring on the back of the module.
The frame-attached micro-inverter has achieved UL 1741 certification and is produced by Celestica in Dongguan, China, the company adds.
With this model, SolarBridge's module-manufacturer partners will attach the Pantheon micro-inverter to the corner of the PV module frame in their factories. This solution provides a low field installation cost, as there are no inverters and AC bus cables to install, no DC cables to manage, and no separate ground wires to run, the company says.
Although the initial Pantheon micro-inverter is frame-attached, a future version will feature an integral design that completely eliminates the junction box and all DC wiring on the back of the module.
The frame-attached micro-inverter has achieved UL 1741 certification and is produced by Celestica in Dongguan, China, the company adds.
2011年6月14日星期二
Capstone Turbine's CEO Discusses Q4 2011 Results - Earnings Call Transcript
Good day, ladies and gentlemen, and welcome to Capstone Turbine Corporation Earnings Conference Call for Fourth Quarter and Fiscal Year 2011 Financial Results ended March 31, 2011. My name is Stacy, and I'll be your conference moderator for today. [Operator Instructions] As a reminder, this conference call is being recorded for replay purposes.
During today's call, Capstone management will be referencing slides that can be located at www.capstoneturbine.com under the Investor Relations section. At this time, I would like to introduce your host for today, Ms. Jayme Brooks, Vice President of Finance and Chief Accounting Officer. Please proceed.
Jayme Brooks
Thank you. Good afternoon, and welcome to Capstone Turbine Corporation's Conference Call for the Fourth Quarter and Year Ended March 31, 2011. I am Jayme Brooks, your contact for today's conference call.
Capstone filed its annual report on Form 10-Q with the Securities and Exchange Commission today, June 14, 2011. If you do not have access to this document and would like one, please contact Investor Relations via telephone at (818) 407-3628 or e-mail ir@capstoneturbine.com, or you can view all of our public filings on the SEC website at www.sec.gov or on our website at www.capstoneturbine.com.
During the course of this conference call, management may make projections or other forward-looking statements regarding future events or financial performance of the company within the meaning of the Safe Harbor provision of the Private Securities Litigation Reform Act of 1995.
These statements relate to, among other things, future financial performance in attaining profitability; the ability to reduce cost and improve inventory turns and contribution margins; higher average selling prices; continued growth in current market conditions; the availability of a line of credit; the success of the C200 and C1000 products; new products and technologies; compliance with certain government regulations and increased government awareness in funding of our products; growing market share and market adoption of our products; new applications for our products; growth in the oil and gas and hydroelectric vehicle markets; increased opportunities in Japan, revenue growth and increased sales volumes, our success in key market segments; our ability to enter into new relationships with channel partners and distributors and other third parties; the energy efficiency, reliability, and low cost of ownership of our products; and the expansion of production capacity manufacturing efficiency and improved relationships with suppliers.
These forward-looking statements are subject to numerous assumptions, risks and uncertainties, including the following: Our expectations about expansion into key markets may not be realized. Certain strategic business initiatives and relationships may not be sustained and may not lead to increased sales. We may not be able to reduce our manufacturing costs. The growth in our backlog has significantly exceeded our internal forecast. In order to meet this increased demand, we may need to raise additional funds to meet our anticipated cash needs for working capital and capital expenditures.
The current economy can make it difficult or impossible for us to raise necessary funds and for our customers to buy our products. We may not be able to utilize our line of credit, for example, as a result of a failure to meet a financial covenant. We may not be able to expand production capacity to meet our demand for our products. We may not be able to obtain sufficient materials at reasonable prices.
If we fail to meet all applicable NASDAQ global market requirements, the NASDAQ determines to delist our common stock. The delisting could adversely affect the market liquidity of our common stock, impair the value of your investment, and adversely affect our ability to raise needed funds. We have substantial accounts receivable and increased bad debt expense or delays in collecting accounts receivable could have a materially adverse effect in our cash flows and results of operations.
Our release of new products maybe delayed or new products may not perform as we expect. We maybe unable to increase our sales and sustain or increase our profitability in the future. We may not be able to obtain or maintain customer distributor and other relationships that are expected to result in an increase in volume and revenue. We may not be able to comply with all applicable government regulations. We may not be able to retain and develop distributors in our targeted markets, in which case our sales would not increase as expected.
We may not be able to successfully integrate the acquired Calnetix assets and achieve productivity relationships with these distributors. And if we do not effectively implement our sales, marketing, service and product enhancements plan, our sales will not grow and therefore, we may not generate the net revenue we anticipate.
During today's call, Capstone management will be referencing slides that can be located at www.capstoneturbine.com under the Investor Relations section. At this time, I would like to introduce your host for today, Ms. Jayme Brooks, Vice President of Finance and Chief Accounting Officer. Please proceed.
Jayme Brooks
Thank you. Good afternoon, and welcome to Capstone Turbine Corporation's Conference Call for the Fourth Quarter and Year Ended March 31, 2011. I am Jayme Brooks, your contact for today's conference call.
Capstone filed its annual report on Form 10-Q with the Securities and Exchange Commission today, June 14, 2011. If you do not have access to this document and would like one, please contact Investor Relations via telephone at (818) 407-3628 or e-mail ir@capstoneturbine.com, or you can view all of our public filings on the SEC website at www.sec.gov or on our website at www.capstoneturbine.com.
During the course of this conference call, management may make projections or other forward-looking statements regarding future events or financial performance of the company within the meaning of the Safe Harbor provision of the Private Securities Litigation Reform Act of 1995.
These statements relate to, among other things, future financial performance in attaining profitability; the ability to reduce cost and improve inventory turns and contribution margins; higher average selling prices; continued growth in current market conditions; the availability of a line of credit; the success of the C200 and C1000 products; new products and technologies; compliance with certain government regulations and increased government awareness in funding of our products; growing market share and market adoption of our products; new applications for our products; growth in the oil and gas and hydroelectric vehicle markets; increased opportunities in Japan, revenue growth and increased sales volumes, our success in key market segments; our ability to enter into new relationships with channel partners and distributors and other third parties; the energy efficiency, reliability, and low cost of ownership of our products; and the expansion of production capacity manufacturing efficiency and improved relationships with suppliers.
These forward-looking statements are subject to numerous assumptions, risks and uncertainties, including the following: Our expectations about expansion into key markets may not be realized. Certain strategic business initiatives and relationships may not be sustained and may not lead to increased sales. We may not be able to reduce our manufacturing costs. The growth in our backlog has significantly exceeded our internal forecast. In order to meet this increased demand, we may need to raise additional funds to meet our anticipated cash needs for working capital and capital expenditures.
The current economy can make it difficult or impossible for us to raise necessary funds and for our customers to buy our products. We may not be able to utilize our line of credit, for example, as a result of a failure to meet a financial covenant. We may not be able to expand production capacity to meet our demand for our products. We may not be able to obtain sufficient materials at reasonable prices.
If we fail to meet all applicable NASDAQ global market requirements, the NASDAQ determines to delist our common stock. The delisting could adversely affect the market liquidity of our common stock, impair the value of your investment, and adversely affect our ability to raise needed funds. We have substantial accounts receivable and increased bad debt expense or delays in collecting accounts receivable could have a materially adverse effect in our cash flows and results of operations.
Our release of new products maybe delayed or new products may not perform as we expect. We maybe unable to increase our sales and sustain or increase our profitability in the future. We may not be able to obtain or maintain customer distributor and other relationships that are expected to result in an increase in volume and revenue. We may not be able to comply with all applicable government regulations. We may not be able to retain and develop distributors in our targeted markets, in which case our sales would not increase as expected.
We may not be able to successfully integrate the acquired Calnetix assets and achieve productivity relationships with these distributors. And if we do not effectively implement our sales, marketing, service and product enhancements plan, our sales will not grow and therefore, we may not generate the net revenue we anticipate.
2011年5月22日星期日
The following are three innovations that have lowered the cost
Solar power was discovered over 170 years ago, but it didn't become a viable technology until the 1950s.
The high cost of producing solar cells meant that the concept remained in limited use up until recently. Renewed interest in solar power has brought investment and research that vastly improved the collection capacity of the cells.
The following are three innovations that have lowered the cost, increased efficiency and made obtaining a setup that much easier.
1. Thin-film solar collection cells can cut costs by half
Ask anyone what they think a solar power system looks like. Most likely their response will be that it is a large, window-like set up that has black panels set on a frame.
This is the most well-known type of solar collection system, known as crystalline panels. These panels kept the overall costs high, as they require a high degree of quality control to build. Thin film solar cells are nothing like the crystalline panels. They are thin and flexible, often shipped rolled up.
Manufacturing a panel is akin to printing on paper, which has reduced the price of an individual cell. Ease of construction has brought the price of a thin-film panel costs around $1 a watt. Compare that to the cost of crystalline panels, which cost in the $2 a watt range.
2. Micro-inverters increase the affordability of solar power systems
The inverter is the lynchpin of a solar power setup. Power that is generated from the solar panels is direct current (DC), and needs to be converted into alternating current (AC).
The inverter does the job of current conversion. It is a necessary item because most household appliances run off AC, and cannot operate on DC.
Inverters on old systems were expensive, bulky and created a lot of excess heat. The price of the least expensive unit pushed the overall cost of a modest solar power setup to more than $10,000.
The invention of microinverters has reduced the startup cost of a solar power system to around $1,000, one-tenth the price of a traditional setup. This drastic price drop has opened up access to more people who want a small solar power system, but couldn't afford it otherwise.
3. New panel rack systems have decreased the overall cost of installation
A large portion of the cost for a solar power setup is the labor that goes into mounting the solar panel racks. Installing the bolts into the roof, then setting up the panel rails is a tedious and time-consuming job.
New racking systems have come onto the market, ones that eliminate most of the labor. These new systems are installed in much less time, saving the consumer money.
The cost of solar power installations has come down dramatically in the past few years.
In the coming years, consumers will most likely see even larger drops in cost. Renewable energy such as solar power has the potential to compete with fossil fuels in the near future.
The high cost of producing solar cells meant that the concept remained in limited use up until recently. Renewed interest in solar power has brought investment and research that vastly improved the collection capacity of the cells.
The following are three innovations that have lowered the cost, increased efficiency and made obtaining a setup that much easier.
1. Thin-film solar collection cells can cut costs by half
Ask anyone what they think a solar power system looks like. Most likely their response will be that it is a large, window-like set up that has black panels set on a frame.
This is the most well-known type of solar collection system, known as crystalline panels. These panels kept the overall costs high, as they require a high degree of quality control to build. Thin film solar cells are nothing like the crystalline panels. They are thin and flexible, often shipped rolled up.
Manufacturing a panel is akin to printing on paper, which has reduced the price of an individual cell. Ease of construction has brought the price of a thin-film panel costs around $1 a watt. Compare that to the cost of crystalline panels, which cost in the $2 a watt range.
2. Micro-inverters increase the affordability of solar power systems
The inverter is the lynchpin of a solar power setup. Power that is generated from the solar panels is direct current (DC), and needs to be converted into alternating current (AC).
The inverter does the job of current conversion. It is a necessary item because most household appliances run off AC, and cannot operate on DC.
Inverters on old systems were expensive, bulky and created a lot of excess heat. The price of the least expensive unit pushed the overall cost of a modest solar power setup to more than $10,000.
The invention of microinverters has reduced the startup cost of a solar power system to around $1,000, one-tenth the price of a traditional setup. This drastic price drop has opened up access to more people who want a small solar power system, but couldn't afford it otherwise.
3. New panel rack systems have decreased the overall cost of installation
A large portion of the cost for a solar power setup is the labor that goes into mounting the solar panel racks. Installing the bolts into the roof, then setting up the panel rails is a tedious and time-consuming job.
New racking systems have come onto the market, ones that eliminate most of the labor. These new systems are installed in much less time, saving the consumer money.
The cost of solar power installations has come down dramatically in the past few years.
In the coming years, consumers will most likely see even larger drops in cost. Renewable energy such as solar power has the potential to compete with fossil fuels in the near future.
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