Oil Paintings – Its Mardan http://itsmardan.com/ Wed, 10 Aug 2022 17:54:48 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 http://itsmardan.com/wp-content/uploads/2021/05/its-mardan-icon-150x150.png Oil Paintings – Its Mardan http://itsmardan.com/ 32 32 Things”, “Paintings by Claire McConaughy”, “Small Stories by Tilly Woodward”, Sherry Leedy Contemporary Art – KC STUDIO http://itsmardan.com/things-paintings-by-claire-mcconaughy-small-stories-by-tilly-woodward-sherry-leedy-contemporary-art-kc-studio/ Wed, 10 Aug 2022 17:54:48 +0000 http://itsmardan.com/things-paintings-by-claire-mcconaughy-small-stories-by-tilly-woodward-sherry-leedy-contemporary-art-kc-studio/

“Body and Soul”, Andrew Watel, 2022, Pastel on paper, 60″ x45″

In their concurrent exhibitions at the Sherry Leedy Gallery, three artists of very different work manage to strike a similar chord – that of memory and its felt experiences.

Andrew Watel’s “Things” exhibition is an astonishing testimony to the artist’s mastery of his favorite medium, pastel. He pushes the particular characteristics of this chalky material to the maximum, and in the end his works arouse mental states bordering on the mystical.

Contemporary art interior photo by Sherry Leedy. With pastel drawings by: Andrew Watel. Ceramic sculpture by: John Balistreri
(Photo by Elise Gagliardi)

Now a resident of Kansas City, this veteran artist, who earned his MFA from Yale in 1983 and taught at the Rhode Island School of Design from 2004 to 2017, works on a large scale, for pastel, which sometimes reaches 60 x 45 inches. . The penumbra of his representations draws the viewer through what is practically a portal, in which anonymous and mundane objects such as a spring, an inner tube or a metal fan – chosen for “their shape, their color and their geometry”, he says – looks at us in silence.

Each of his subjects is placed in the center of the page, giving it an iconic force. Then he draws it and erases it until we are finally left with a dematerialized reminder of something we know but can barely recognize, much like memories that fade over time.

“Sky in the water”, Claire McConaughy, 2021, Oil on canvas, 60″ x 50″

Claire McConaughy’s brushed oil paintings of landscapes and birds are like flashbacks to places and natural phenomena that feel like psychic imprints left by a vibrant spring day. They are inspired by McConaughy’s walks in the woods of his Pennsylvania farm.

McConaughy’s studio is in Brooklyn, where she sifts through the various sketches and photos she took to arrive at her results.

With their heightened intensity of color and flamboyant brushstrokes, his nature scenes, for this viewer, vividly recognize the pure joy that the natural world provides, perhaps more so than ever in the past two difficult years. But they are more than that.

“It’s a landscape,” the artist writes of his paintings, “but I hope there is metaphor, sensory feeling, and other relationships in the work.” Ultimately, McConaughy’s art functions more as a meditation than a depiction of a particular place.

“Nest of Feathers”, Tilly Woodward. Oil on paper on panel, 18” x15″

As Barbara O’Brien writes in her insightful synopsis of the artist’s works: “To describe the subject of a McConaughy painting, it doesn’t seem quite right to use a name – sky, lake, shore or horizon – as the subject of the painting, although we can, looking closely, see it all things. What is most clearly seen and experienced are the painter’s observations; the memory of this experience. . .”

Memory and the history of personal objects are at the center of Tilly Woodward’s 22 small paintings in “Small Stories”. Woodward, who earned a BFA from Kansas City Art Institute and an MFA from the University of Kansas, is currently Curator of University and Community Outreach at the Faulconer Gallery at Grinnell College in Iowa.

“There are so many uncertain things in the world,” she writes, “I find it comforting to take the time to clearly see one thing, or part of one thing clearly, each day. . . The things I paint are symbolic of my life and loaded with meaning. This explains why the insects, nests and other mementos that Woodward painstakingly reproduces in beautiful jewel-like colors seem frozen, as if they last for eternity.

Trompe-l’œil paintings have a significant profile in American art, with artists such as William Harnett and John Peto in the 19th century, to Chuck Close and Jasper Johns in the contemporary art world, delving into the intricacies like this for a variety of conceptual and decorative reasons. Woodward’s paintings, mostly oils on paper on panel, have a beauty and mystery of their own. Her depictions of nests are delicate and exquisite, and the one hand anatomical portrait she does, “Astrid: Words Are Hard,” is compelling. His art hurts us for the real world.

One of art’s many values ​​is its ability to challenge and save memories, and the three artists above show us exactly how to do just that.

Andrew Watel: Things,” “Paintings by Claire McConaughy,” “Small Stories by Tilly Woodward” continues through August 20 at Sherry Leedy Contemporary Art, 2004 Baltimore Ave. Hours are 11 a.m. to 5 p.m. Tuesday through Saturday. For more information, 816.221.2626 or www.sherryleedy.com.

In the footsteps of Cézanne in Provence | Travel http://itsmardan.com/in-the-footsteps-of-cezanne-in-provence-travel/ Sat, 06 Aug 2022 23:01:00 +0000 http://itsmardan.com/in-the-footsteps-of-cezanne-in-provence-travel/ Ohey cow! It’s hot in Aix-en-Provence. There, summer invades the senses – the bright light, the prickly pines, the mercury pushing 38C. Each fountain in front of which you pass murmurs an invitation to jump in. Every sidewalk cafe seems to catch up with you, begging you to sit down.

So it was in June that I went to the Carrières de Bibémus to warm my eyes for Paul Cézanne. Aix’s most famous son visits London’s Tate Modern on October 5 in Britain’s first career-long retrospective since 1996. In all there will be around 80 works by the great proto-modernist, with large loans from Japan, Brazil and Europe. and America. Still life with apples and peachesseveral views of the Montagne Sainte-Victoire, property of the Tate Modern portrait of Cézanne’s gardener, Vallier. . . What better way to prepare for them, I thought, than to head south to see where they were painted?

Only, that morning in Bibémus, I wasn’t so sure. Everyone says the quarries, ten miles east of Aix, are the place to go. Yet, as I climbed out of the minibus taxi, it was hard to see their interest. The poor air conditioning in the van had not improved my mood. Neither is the view from the parking lot. There were none; just an impenetrable screen of stunted Aleppo pines. The heat was like a wall.

Cafes on Rue d’Italie in the historic heart of Aix-en-Provence


“We have to walk a bit,” said our guide, waving through the trees. Access to the quarries is only given to guided groups, and as we follow it south, this unlikely hole in the ground has begun to reveal its secrets.

These are the colors that strike first. The rich orange ochres of the stone, the cobalt blue of the sky, a stain of violet bark, the greens of pine needles; all seem straight out of Cézanne’s palette. Then, as you descend into the quarries themselves – and their delightful pools of shade – the shapes take over. Twenty-foot walls of golden-brown limestone dominate the sky. In some places they are flat; in others they bulge or bow towards you like the buttresses of an ancient citadel. It’s a visual feast of facets and angulations, rendered accentuated by the sun.

Clearly, Cézanne loved it. “The jagged shapes of the hollowed-out quarries suited his visual language,” says Natalia Sidlina, co-curator of the Tate Modern exhibit, which is being shown for the first time at the Art Institute of Chicago. As soon as you’re there, you’ll be okay. Between 1895 and 1899, Cézanne seemed to almost live in the quarries, seeking a sense of their three-dimensional mass and form with his paintings, even renting a nearby chalet to store his materials. For Cézanne, it was this attempt to express the full visual effect of a scene that was key. “Painting from nature is not copying the object, he says, it is becoming aware of its sensations. Spend an hour in the Carrières de Bibémus and you will have the fleeting impression that its sensations are also yours.

This is not the only revelation you will have from Aix. One of the biggest surprises is the size of her father’s house. The Bastide du Jas de Bouffan is currently closed for restoration, and to see it you have to look through its gates on the Route de Galice, just west of the historic town centre. But even from a distance, at the end of an alley of plane trees, the grandeur of this 18th century private mansion is a shock. Cézanne senior was a hatter turned banker, and he bought it for the handsome sum of 65,000 francs (about £900,000 in today’s money) in 1859. By then his son was already 20 years old , so it was not the house in which Paul spent his most formative years. But even so, a glance upsets the image he cultivated – at least when he was in Paris – of raw and ready-made sons from the deep south.

Still, we should all be grateful for his father’s money. This shielded her son from the need to court popularity. He continued on and on, plowing his lonely furrow until the rest of the vanguard caught up with him. At the time of the first Cézanne retrospective, in Paris in 1907 – a year after his death – he was their hero. Later, Picasso will call him “our father to all”.

You will also see family wealth at work in another unmissable stop on the Cézanne circuit in Aix: his last workshop in Lauves, open every day in the summer (cezanne-en-provence.com). He had lost his former studio, on the top floor of the Jas de Bouffan, when the large house was sold in 1899. He therefore built another ex nihilo, on a hill overlooking Aix. Few painters have the means to do that.

The new space was not perfect. Cézanne grumbled that some of the olive and fig trees outside cast a distracting green-tinted light into the room. But for less discerning eyes, it’s a beautiful, tranquil space. It is not difficult to imagine the smell of his linseed oil, the stain of paint from the tube and the intensity of his working methods. Especially since one of the walls is lined with his accessories.

What you won’t see in Aix, however, is a lot of his finished work. In recent years, the city has worked hard to welcome its fans. But in the crucial early days – before his paintings sold in the millions – the director of his main art gallery, the Granet Museum, said there would be no Cézanne hanging on his watch. Even today, his permanent collection has only ten of his works. No one claims they are masterpieces.

Never mind: the lack of groundbreaking art will only whet your appetite for the next Tate Modern show. And if you need to reference any of his works, you can see almost all of them on the online resource cezannecatalogue.com. Ten of his Bibémus oil paintings can be found there. There are 40 from the Montagne Sainte-Victoire. His view, not far from Cézanne’s studio, became one of his last major motifs. The place where he put his easel, known as the Terrain des Peintres, is the last must-see.

The Sainte-Victoire mountain

The Sainte-Victoire mountain


In the meantime, the historic heart of Aix imposes itself. And if, like me, you like narrow medieval streets and sudden, leafy squares, you’ll love it. In Cézanne’s time, this former capital of Provence was a backwater, eclipsed by booming Marseille. Now it is bubbling with 80,000 students and platoons of amazed tourists. In summer, it is a place where life is lived in the open air. People sit for hours over drinks, having real conversations rather than staring at their phones. The shops are busy. Vivid swifts dive and dive among the rooftops.

What if from time to time the heat gets the better of you? There is always a place to take shelter. In the cafes of the Place de l’Hôtel de Ville, the air is regularly sprinkled with a soft watery mist. You will find an even deeper freshness in the baptistery of the cathedral. The air here is so calm that it seems to have hardly moved since the beginning of the 6th century, when it was built.

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Best of all are the restaurant terraces. At the Lodges Sainte Victoire, just south of Bibémus, shade comes from the topped plane trees. It’s the ideal place to share a bottle of delicate rosé and soak up the attentions of the exquisitely polite staff (leslodgessaintevictoire.com). At the more relaxed Chez Thomé, nearby at Tholonet, horse chestnuts do the heavy lifting. In both cases, the desserts are in the spotlight, notably Chez Thomé’s exotic vanilla, made with whipped mascarpone light and fluffy like a cloud (chezthome.fr).

The shaded terrace of the Lodges Sainte Victoire restaurant

The shaded terrace of the Lodges Sainte Victoire restaurant


Everything here seems more intense: the light, the smells, the tastes, the heat, the colors, the contrasts. This is probably what Cézanne meant when he wrote: “When one is born there, it is hopeless, nothing else is good enough. This is probably why he finally settled there, after years of coming and going in Paris, to paint his last years.

If I could, I would bottle this intensity, send it back to London, and then, and when the Tate Modern opens its exhibition doors on October 5, I’ll remove the cork. In particular, I would bottle the sensations that the gaze gives to the south, from the southern edge of Bibémus, at the end of the visit to the quarry. Here, the ground drops sharply, and from a viewing platform you have a 180 degree view of southern Provence. It stretches from the Montagne Sainte-Victoire to the Massif de l’Etoile, north of Marseille. But it’s not the individual elements that are beautiful. It’s all full of sunshine. It is so shiny that it seems to vibrate. In places, the air between you and the hills seems to have reduced to pure Cézanne blue.

Sean Newsom was the guest of the Tate (tate.org.uk) and Aix-en-Provence tourism (aixenprovencetourism.com). Single double room at the Grand Hôtel ROI René from £135 (all.accor.com). Fly to Marseilles.

Three more arty stays in France

Pan's Pipe by Picasso

Pan’s Pipe by Picasso


Picasso in Antibes
It is a rare pleasure to see a modern masterpiece in the room in which it was painted. In Antibes, on the Côte d’Azur, we have several, thanks to Pablo Picasso’s two-month stay at the Château Grimaldi museum. At the time, in September 1946, Picasso was desperately looking for a space to work. His curator obliged him with a vast room and, equipped with shipyard paintings and asbestos cement panels, the artist rewarded him with an endless stream of monumental works. They have been at the château ever since (£7; antibesjuanlespins.com). Stay at the chic and boutiquey Villa Port d’Antibes & Spa, and you’re just an eight-minute walk from this post-war tour de force.
Details B&B doubles from £88 (villa-port-antibes.com)

Hotel Les Roches Brunes

Matisse and Derain in Collioure
“Our paintings have become sticks of dynamite”, remembers André Derain of his time with Henri Matisse in Collioure. Unfortunately, none of the paintings they made during that incendiary summer of 1905 survive in this pretty little port. But if you follow the reproductions of their work along the Chemin des Fauvisme, you’ll get the picture (£7; visitcollioure.co.uk). It is here that the two Fauves of Fauvism released their colors and captured the power and intensity of the Mediterranean light. Book at the Hotel Les Roches Brunes on the seafront, and you will make the experience even more dazzling.
Details Single double room from £126 (hotel-lesrochesbrunes.com)

The Reserve in Giverny

Monet at Giverny
It is not the water lilies you will notice first. Come to Claude Monet’s house and garden in Normandy, and it is the flowerbeds of Clos Normand, next to his villa, that catch your eye. More than 900 varieties of annuals are planted there throughout the year, to create a blizzard of seasonal colors that are always fresh. By contrast, her water garden is a slower, calmer delight, much like her epic cycle of lily paintings (£10; fondation-monet.com). Whatever the high point, you’ll appreciate the elegant and historic setting of La Réserve, a country guest house perched on the heights of the village.
Details B&B doubles from £126 (giverny-lareserve.com)

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Painting Without Brushes: Jon Byrer’s “Puddle Paintings” at Camden Library http://itsmardan.com/painting-without-brushes-jon-byrers-puddle-paintings-at-camden-library/ Fri, 05 Aug 2022 01:46:43 +0000 http://itsmardan.com/painting-without-brushes-jon-byrers-puddle-paintings-at-camden-library/

CAMDEN – Camden Public Library will host Midcoast visual artist Jon Byrer for an exhibition of his signature “Puddle Paintings” in the Picker Room Gallery, August 2-30. The exhibition is an opportunity for the community to see a large collection of Byrer’s work in person and find out what makes his “liquid moments of thick, swirling paint” so special.

The public is invited to meet Byrer when he welcomes artists on Saturday August 6, from 3 p.m. to 5 p.m., at the library.

Byrer’s technique for creating his works is unique: he does not use brushes and he never touches the canvas.

“Puddle paintings are created by using a cup to pour numerous puddles of enamel paint onto the canvas until the entire surface is covered with a glossy layer,” Bryer said in a statement. CPL press. “As the puddle of paint dries, it develops a glass-like smoothness, freezing the mottled colors and imparting a dreamlike quality to the images.”

Byrer’s subjects run the gamut from landscapes to portraits to still life.

“My goal is to reinvent how to create paintings of familiar scenes of Maine magic and capture the splendor of everyday life,” says Byrer.

Jon Byrer is a graduate of Maine College of Art where he earned a degree in photography and studied fine art. Byrer creates oil paintings, experimental photographs and watercolor illustrations.

More information about Byrer and his work can be found at JonByrer.com.

A portion of sales from Byrer’s art exhibition will benefit the Camden Public Library.

The art of Beatriz Milhazes http://itsmardan.com/the-art-of-beatriz-milhazes/ Wed, 03 Aug 2022 09:44:44 +0000 http://itsmardan.com/the-art-of-beatriz-milhazes/

If the paintings can evoke the seasons, the works of Beatriz Milhazes evoke summer. His glorious depictions of plants and abstract shapes shimmer with the warmth of a sunny afternoon. Its colors range from fiery reds and azure blues to the dusty yellows of late August grass, dancing from shape to shape like light on a stained glass window. The overall effect is akin to that of Pop art, vibrant with energy.

Take his web 2020 Cebola Roxa (above), painted during lockdown and recently sold to benefit environmental charity ClientEarth. The goals of the organization are close to the heart of an artist whose palette reflects the wonders of the natural world. “Some painters tend to green their work in contact with nature, says Milhazes, and my studio is right next to the botanical garden.

She also notes the influence of her hometown, Rio de Janeiro, with its Baroque architecture and vibrant atmosphere. “It’s a place of stark contrasts between greens, blues and yellows,” she says. Avenue Brasil (below), painted in 2003 and 2004, captures the frenetic cocktail of traffic along the city’s main freeway in funky chromatic tones speckled with ink blots as black as motor oil.

Born in Rio in 1960, Milhazes grew up under Brazil’s repressive military dictatorship. In the early 1980s, she enrolled at the Escola de Artes Visuais do Parque Lage, where she came into contact with a liberal intelligentsia engaged in mobilizing mass protests against the country’s far-right government.

Milhazes was included in the 1984 landmark exhibition Como vai você, geração 80? (“How are you, generation of the 80s?”) with Luiz Zerbini, Leda Catunda, Daniel Senise and José Leonilson. With its exuberantly colored canvases, the exhibition heralded a return to the more austere Brazilian conceptualism of the 1970s.

In 1985, Milhazes traveled for the first time to Europe, where she saw for the first time in person paintings by Henri Matisse and Piet Mondrian, artists who had already influenced her work.

In Bridget Riley’s meticulous Op Art paintings, Milhazes discovered the work of a fellow colorist, while Matisse’s cut-outs inspired his unusual practice of painting on sheets of plastic before transposing them onto canvas, paint side up. the bottom – a method that gives a saturated impression. as a finish. The technique, she says, “allows me to play with the composition”.

Upon the artist’s return to Brazil, she had her first personal exhibition, which coincided with the fall of the military junta and the beginning of a more liberal era. By the mid-1990s she was exhibiting internationally, with curators keen to promote her as one of the new Brazilian artists who sought to cannibalize European culture, much like their ancestors, the modernists Emiliano di Cavalcanti and Tarsila do Amaral. , had done so.

She once said that she felt like Paul Gauguin, but in reverse: “He came from Europe to the tropics to add important atmospheres and colors to his paintings. I came from the tropics to Europe to give my paintings more meaning, more structure, more interest.’

Early works such as the 1995 painting O Casamento (above) and Madame Caduvel (1996) evokes the city’s carnival – the swirls of sequins and flapping ostrich feathers carried by Rio’s dancers, and the thunderous rhythm of festival drums.

“I would say the Rio Carnival Parade is an event that motivates me to be an artist,” says Milhazes. “Its wild nature and its freedom are fascinating! I’m actually a conceptual carnivalesque.’

Milhazes’ art encompasses Brazil’s history and heritage, particularly the multiple cross-cultural currents found in the country’s popular art, jewelry, fabrics and music. Sparkling with the history of Brazilian popular music – Tropicália, bossa nova, samba – her work is gloriously cool, intimate and sophisticated, reminiscent of the golden age of the 1950s and 1960s before the military took over.

His canvases allude to Copacabana Beach: the sidewalk tiles designed by Roberto Burle Marx along its promenade and its vibrant atmosphere after dark. Her paintings, she says, are about “life in Rio, the walk along the beach…the swing…the atmosphere”.

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In 2003, Milhazes represented Brazil at the Venice Biennale with a dazzling collection of floral works. His painting Meu Limao fetched an auction price of $2.1 million in 2012, making it the most expensive work by a living Brazilian artist ever sold.

Today, Milhazes has a strong international following and has exhibited all over the world, and recently held his first-ever solo exhibition in China, at the Long Museum in Shanghai.

A paralyzed Chinese artist discovers the world through painting http://itsmardan.com/a-paralyzed-chinese-artist-discovers-the-world-through-painting/ Mon, 01 Aug 2022 09:51:19 +0000 http://itsmardan.com/a-paralyzed-chinese-artist-discovers-the-world-through-painting/

Zhang Junli looks at paintings during an exhibition of his works in Taiyuan, capital of north China’s Shanxi Province, July 26, 2022. [Xinhua]

TAIYUAN, July 31 (Xinhua) — “Every step I took felt like I was walking on the tip of sharp knives, which was a feeling shared by the Little Mermaid in Hans Christian Andersen’s story. I wondered if I I was also a sea princess,” laughed Zhang Junli, recalling the time when she was able to walk.

Zhang, 44, was diagnosed with rheumatoid arthritis when she was six and lost most of her joint function when she was eight.

With parents worried and tired of being bedridden all day, Zhang decided to take up her childhood hobby of drawing.

“I realized that the most miserable life is not being busy with endless work but spending days doing nothing,” Zhang said.

The journey to becoming an artist was not easy. Zhang’s knuckles and fingers were entirely stiff, and she could only wedge the brush between her thumb and index finger, tilting her shoulder and adjusting the pressure she applied to the canvas.

Accustomed to lying on her right side, Zhang found it difficult to reach her brush in the lower left corner of the canvas as she was unable to move the canvas at will.

She racked her brains, finally deciding to practice drawing with her left hand. As her joints and hands were largely paralyzed, she had to use her left hand to hold the brush like a sword, placing her left hand over her right, which at the same time supported the canvas.

“I was disappointed and often burst into tears when the canvas was marred by my inability to control the brush,” Zhang recalled. She still sometimes encounters difficulties when drawing long lines, even after more than 20 years of practice.

As a fan of anime films, Zhang was drawn to the characters’ stylized eyes, hairstyles and costumes and reproduced them on her canvases.

Unexpectedly, his work was published in a local science fiction magazine. Zhang’s parents were delighted, showing her work to her colleagues, neighbors and relatives.

“Since I fell ill, my mother was in a bad mood and I yearned to make her proud of me. And my wish came true,” Zhang said.

Zhang has since decided to become a professional cartoonist, hoping to change her life by drawing cartoons.

Gradually, she discovered that she was unable to paint many scenes she had envisioned because she had never received professional training. In 2004, she was deeply unhappy with a painting she had spent six months working on, which shattered her confidence and her dreams.

Over the next few years, Zhang stopped drawing comics.

In 2005, her parents, who were under financial pressure to send their other two children to college, bought her a laptop computer for 6,000 yuan (about 889 US dollars). Zhang gradually came out of her slump and started writing online. Like painting, reading books and writing worked to protect her against loneliness and illness.

Zhang writes novels using a small wooden stick to type on her keyboard.

“So many stories come to mind every day, and when I can’t draw them, I write them down,” Zhang said. She has written four online novels and an autobiography called “My Existence”.

A paralyzed Chinese artist discovers the world through painting
A visitor looks at a painting during an exhibition of works by Zhang Junli in Taiyuan, capital of north China’s Shanxi Province, July 26, 2022. [Xinhua/Chen Zhihao]

But she still couldn’t give up on her dream and decided to start her formal training with basic sketching at the age of 31. She learned online classes and drew her sketching materials on rough paper, as she couldn’t afford gypsum geometry pads and drawing paper.

After practicing drawing for five years, Zhang tried his hand at oil painting. She couldn’t go out to see nature, so she drew using her imagination and photos taken by friends and relatives.

Her favorite work is of a little girl running passionately across the Chaka Salt Lake, known as China’s “Sky Mirror”. She named it “Aspiration”.

“The little girl is me,” Zhang said.

She now runs an online store, Lili’s Easel, where her works are available for sale. She has sold over 200 paintings to date.

An exhibition of his works was recently held in Taiyuan, capital of northern China’s Shanxi Province, and received wide recognition.

She hopes that her paintings will be exhibited in different cities, and that she will be able to see the landscapes that she has painted.

“In fact, my biggest wish is to hug my parents once again, because it’s been hard for them to hold me up all my life,” Zhang said.

(Source: Xinhua)

Top 5 Painters Who Create The Best Optical Illusion Paintings http://itsmardan.com/top-5-painters-who-create-the-best-optical-illusion-paintings/ Sat, 30 Jul 2022 05:25:00 +0000 http://itsmardan.com/top-5-painters-who-create-the-best-optical-illusion-paintings/

Optical illusion art: The optical illusion plays with your eyes and your mind. It makes you assume something that doesn’t exist. You and your brain are puzzled because you want to believe your eyes but you can’t. The optical illusion paintings that made their fingers chew are created by these 5 painters. Their imagination has intrigued more than one. Check out these optical illusions created by them and pity your imagination.

The optical illusion of the skull gives you goosebumps but reveals whether you’re romantic or not: what do you see first?

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Optical illusion paintings:

Take a look at the paintings below and notice the level of imagination of these painters:

1. Oleg Shupliak: He is a Ukrainian artist who masters the art of optical illusion. Paintings by Oleg Shupliak have been shared by us on our platform many times. He also happens to be the world’s favorite. His placement of figures, objects and his coloring strategy generate scenic oil paintings to create two layers of imagery. Van Gogh painted, which is his most famous work of art.

2. Robert Gonsalves: Canadian artist, Robert Gonsalves, has skills that help him create the perfect art of illusion. He uses precision and imagination to turn everyday scenes into magic through the style of magical realism.


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3. MC Escher: He is one of the famous artists in the genre of optical illusion. He is a Dutch graphic designer by the full name of Maurits Cornelis Escher. He uses woodcuts, mezzo-tints and lithographs as well as his knowledge of mathematics, architecture and geometry and creates incredibly real images.


4. Jos de Mey: He is a Flemish-Belgian artist well known in this kind of optical illusion art. Take a look at the painting below. The wall is apparently parallel to the viewer while the columns are certainly not. He is also well known for borrowing figures from other artists such as Magritte, MC Escher or, in the image above, Bruegel.


5. Salvador Dalí: The Spanish surrealist, Salvador Dali, was one of the best known and most prominent artists in his field. His grandiose and eccentric demeanor could only be surpassed by his wild and imaginative artistry.


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Rogue Valley Art Galleries: July 29 – Medford News, Weather, Sports, Breaking News http://itsmardan.com/rogue-valley-art-galleries-july-29-medford-news-weather-sports-breaking-news/ Thu, 28 Jul 2022 16:44:00 +0000 http://itsmardan.com/rogue-valley-art-galleries-july-29-medford-news-weather-sports-breaking-news/

Discover works in a variety of mediums in the “Summertime” exhibition, such as this “Summer Somersault” photograph by Roy Musitelli, on display throughout August at the Art du Jour gallery in Medford. See list. Courtesy Image

American Trails: The gallery, located at the Columbia Hotel, 250 E. Main St., Ashland, showcases the arts and crafts of the indigenous peoples of North and South America. The gallery will be open from 10 a.m. to 6 p.m. Monday to Sunday. See americantrails.com or call 541-482-2553.

Art & Soul Ashland: The gallery features paintings in a variety of mediums and styles by local and regional artists. Throughout the month of July, discover the exhibition “The colors of nature”, which will present oil paintings and pastels by Suzanne Leslie. Art & Soul Ashland, located at 247 E. Main St., Ashland, is open 10 a.m. to 6 p.m. Tuesday through Saturday and noon to 4 p.m. Sunday. See artandsoulashland.com or call 541-331-2986.

Art du Jour Gallery: Explore exhibitions by 17 local artists in a myriad of mediums such as watercolour, oil, acrylic, pastel, pen and ink, Conté crayon, collage, sculpture , photography, mixed media and more. The annual Charity Hubbard Student Exhibition, featuring many of Hubbard’s student works, will be on display in the main gallery and featured artists areas, and Charity Hubbard will exhibit her own work in the living room gallery throughout the month of July. Also, check out seascape paintings by July’s featured artist, Mary Ann Macey, on display until July 30. Throughout August, discover the “Summertime” group exhibition, presenting the artist’s interpretation of the summer season; the living room gallery will feature the work of local watercolor artist, Marianne Nielsen. The gallery, located at 213 E. Main St., Medford, will be open from 11 a.m. to 4 p.m. Tuesday through Saturday. Openings are possible outside opening hours by reservation. See artdujourgallerymedford.com, call 541-770-3190 or email artdujourgallery213@gmail.com.

Art Presence Art Center: The gallery, which features works in a variety of mediums by local artists is located at 206 N. Fifth St., Jacksonville, will be open from noon to 5 p.m. Fridays and Saturdays, and 10 a.m. to 3 p.m. on Sundays. Admire the work of featured artist Diana Rasmussen in the ‘Landscapes of the Heart’ exhibition, showing fabric designs that tell a story and turn into art. The exhibition will be presented until July 31. The Main Gallery will exhibit works by member artists in a variety of mediums including watercolour, photography, oil and sculpture. See art-presence.org or call 541-941-7057 for more information or to schedule an appointment.

Ashland Art Works: The gallery features works by local artists in a variety of mediums, including ceramics, carpentry, fiber arts, jewelry, and garden art. During the month of July, admire sculptures by Elin Babcock and handmade jewelry by Elizabeth Ellingson. Metal sculptures by Bonnie Morgan and ceramic sculptures by Cheryl Kempner will be on display throughout August. The Art Collective, at 291 Oak St., Ashland, will be open 10 a.m. to 5 p.m. Thursday through Saturday and 10 a.m. to 2 p.m. Wednesday and Sunday. For details, see ashlandartworks.org or call 541-488-4735.

Fiber Arts Collective: See the work of approximately 30 fiber artisans at 37 N. Third St., Ashland. Exhibits range from sewing, dyeing, knitting, crocheting, embroidery and felting to binding, gluing, painting, printing, stenciling, beading and creating assembly pieces. August’s featured artist, Jay Gordon, will feature sea life prints in the ‘Sea and Sky’ exhibit. The gallery is open from 10 a.m. to 3 p.m. Wednesday to Saturday. Call 541-708-6966 or see fiberartscollective.com for details.

Karon Gallery: The gallery, located at 300 E. Main St., Ashland, features vintage textiles and jewelry, antiques, art, and furniture. Check out the July exhibit featuring a new collection of various masks and artifacts from Africa, as well as photos, paintings, and jewelry. Photographs by Judy Benson LaNier will be featured alongside paintings and prints, including portraits and village scenes by Jane and Vernon Lawhorne and jewelry by Joseph Bartlow. Running throughout August, The Female of the Species exhibition will feature artwork by over twenty different female artists in a wide variety of mediums. The gallery will be open from 11 a.m. to 5 p.m. Tuesday to Saturday. See Discovergalleriekaron.com or call 541-482-9008.

Grants Pass Museum of Art: The museum, located upstairs at 229 SW G St., Grants Pass, features works by local and regional artists. The museum will be open from 10 a.m. to 5 p.m. Tuesday to Saturday and by appointment. Admission to the museum is free. The commercial gallery, Gallery One, located at street level from the museum, showcases the work of approximately 60 local artists. Susan Paul-Williams and Michael Williams are the featured artists for July; see ceramics by Paul-Williams and photographs by Williams. See gpmuseum.com to view a virtual tour or call 541-479-3290 for more information.

Hanson Howard Gallery: The gallery, located at 89 Oak St., Ashland, features works in a range of mediums including painting, sculpture, ceramics and fine art prints. See vibrant, exploratory paintings by Randall David Tipton and inventive multimedia sculptures by John and Robin Gumaelius, on display until September 10. The gallery will be open from noon to 5 p.m. Wednesday through Saturday and by appointment. See hansonhowardgallery.com or call 541-488-2562.

Rogue Gallery & Art Center: The gallery, featuring works by local artists, at 40 S. Bartlett St., Medford, will be open 10 a.m. to 5 p.m. Tuesday through Friday and 11 a.m. to 3 p.m. Saturday. The Members Gallery showcases all new work by more than 50 RGAC members in a myriad of mediums, on view through August 26. For more information, visit roguegallery.org or call 541-772-8118.

Schneider Museum of Art: Southern Oregon University’s Schneider Museum of Art will open its summer exhibition, “Indie Folk: New Art and Sounds from the Pacific Northwest,” through August 13. The Pacific Northwest is home to a unique arts ecosystem involving craft traditions, pre-industrial cultures, and Indigenous and settler histories. Like folk art, the exhibit showcases unassuming handmade works and often blurs the line between functionality and aesthetics. Artisanal woven baskets and worked wooden objects mingle with makeshift, improvised works often made from recycled materials. The exhibition features an intergenerational array of 17 notable artists from across the region, including Marita Dingus, Warren Dykeman, Joe Feddersen, Blair Saxon-Hill, Sky Hopinka, Jeffry Mitchell and Cappy Thompson. A playlist of Indie Folk music curated by Mississippi Records of Portland, a record label and boutique, will accompany the exhibit, filling the galleries with Pacific Northwest sound. Masterpieces on loan will also be displayed in the entrance gallery. The gallery, located at 555 Indiana St. Ashland, will be open from 10 a.m. to 4 p.m. Tuesday through Saturday. The Museum will be closed on Saturday June 18 for a private event. Admission is free, donations accepted. See sma.sou.edu or call 541-552-6245 for details.

Studio 151: The art studio, located at 151 N. Pioneer St., Ashland, will feature oil paintings by Marilyn Briggs throughout July in the exhibit “Empires for Future Civilizations – Possible Settlements on Yet Unexplored Celestial Spheres”. The studio is open by appointment only. See studio151ashland.com.

Marjorie Grim | Obituaries | bdemo.com http://itsmardan.com/marjorie-grim-obituaries-bdemo-com/ Tue, 26 Jul 2022 18:11:00 +0000 http://itsmardan.com/marjorie-grim-obituaries-bdemo-com/

Marjorie Grim passed away from this life to join her husband, Bill, on July 22. She was born on March 22, 1930 in Scotland Co., Missouri to Lee Roy and Dorothy (Wells) Luther.

After graduating from Bloomfield High School, she trained as a nurse and earned her nursing cap in 1952 at Broadlawns in Des Moines. On January 30, 1951, she married the love of her life, William H. (Bill) Grim. They went through life side by side while raising six children on the family farm. Bill died of this life on December 23, 2002 after nearly 52 years together.

Marjorie (or Marge as she was often called by many) touched countless lives during her time here on earth. Her nursing career was primarily spent at the Gilfillan Clinic in support of Dr. Henry Perry. He was a people person who really enjoyed the daily interactions with patients.

She deeply loved her family who showed up in so many ways. Each of her children and grandchildren at some point received a quilt that was handmade and hand quilted by her. She also sewed many outfits for children and grandchildren. Cross-stitch work was another favorite pastime. Reading, cooking, bird watching, gardening, crocheting, knitting and crosswords were some of the many things she enjoyed. She never met a flower she didn’t like. Later in life she took up oil painting and made special paintings for each of her children.

Marjorie was a dedicated and proud fan of the St. Louis Cardinals baseball team. She rarely missed a televised game and was even able to attend a game in person a few years ago, which she greatly enjoyed. She also enjoyed bowling with her husband and, later, with her daughters. Many fun bowling tournament trips have been organized over the years.

Marjorie is survived by six children: Richard (Deb), Donna, David (Shonda), Mark (Rena), Laura Rickelman (Steve) and John (Penny). There are too many grandchildren and great-grandchildren to count, but not too many to love. She was predeceased by brothers Vernon and Roger. She will forever be remembered and loved by all.

Her family is forever grateful to the staff at Good Samaritan in Ottumwa for the excellent and loving care they have received over the past few months.

A Celebration of Life will be held Aug. 28 at the 4-H Building at the Davis County Fairgrounds from 2-4 p.m. A memorial scholarship will be established and given to a person entering the nursing profession in the hope that they will love this career as they did. Wagler Funeral Home in Bloomfield is helping the family and online condolences can be directed to www.waglerfuneralhome.com.

Egypt Through 19th Century Eyes: The Paintings of David Roberts at the Hallie Ford Museum http://itsmardan.com/egypt-through-19th-century-eyes-the-paintings-of-david-roberts-at-the-hallie-ford-museum/ Sun, 24 Jul 2022 23:28:20 +0000 http://itsmardan.com/egypt-through-19th-century-eyes-the-paintings-of-david-roberts-at-the-hallie-ford-museum/
“The Great Temple of Aboo Simble”, Abu Simbel, Nubia, 9 November 1838, by David Roberts, in collaboration with Louis Haghe (in “The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia”, vol. 4, 1842‒49, Royal Subscription Edition, hand-coloured lithograph, image size 12-7/8 by 19-1/4 inches). Collection of Ken and Linda Sheppard.

Living in Britain at the start of the 19th century, we didn’t go out much. It sounds flippant, but Seattle art collector Ken Sheppard makes this important point in the foreword to a new book about self-taught Scottish painter David Roberts, whose work currently fills the Melvin Henderson-Rubio Gallery. from the Hallie Ford Museum of Art in Salem. .

Travel in Europe in the 1800s was slow and difficult, he notes. The streets were often muddy and the unlit roads posed a threat of theft. “Most people,” writes Sheppard, “have never traveled more than fifteen miles from their birthplace.” It was therefore unlikely that even someone from the upper classes of England would make the 2,000 mile journey through Europe, the Mediterranean Sea, and then up the Nile to visit Egypt. Or, say, a few hundred miles east of there, the Holy Land.

The context helps illustrate the power of the images produced by Roberts – which did going to Egypt and the Holy Land — must have weighed on people who knew little about these places.

Visual clues would have been virtually non-existent. Before the era of air travel and National Geographic, the public relied on travel writing to visit distant lands vicariously. Photos were not yet part of the ingredients of the genre. In 1838, the year Roberts began what was to be a nine-month visit to the region, photography was in its infancy in France; it was the year when Louis Daguerre produced the first photograph including people, View of the Boulevard du Temple. Thus, publishers of the increasingly popular literary genre relied on artists such as Roberts to illustrate their publications. Roberts traveled in Egypt and the Holy Land – by boat, camel and on foot – drawing and painting what he saw.

He produced a colossal body of work: drawings, watercolors and oil sketches. He arrived in Alexandria in September and, as he left for Cairo in early December, he found that in the previous month alone he had produced over 100 sketches, enough to keep him busy. in a studio for a decade.

The exhibition David Roberts: artist and traveler runs through August 27 at Hallie Ford, the art museum affiliated with Willamette University. It presents 60 prints of the artist’s work, which were produced in collaboration with the famous lithographer Louis Haghe. In a sense, the first people to see these coins received two novelties: the places and people depicted were new to Europeans, and they were rendered with new technology (lithography had been invented in 1798, two years after the birth of Roberts., by German actor Alois Senefelder). It was common for artists to collaborate with a skilled lithographer, and Roberts met Haghe in 1837 when the latter was working on pieces produced by Roberts during a trip to Spain.

Museum director John Olbrantz, working closely with Shepphard, curated the exhibit and also wrote the elegant 152-page monograph that accompanies the exhibit. Both proved popular with audiences, with the show being featured in Archeology magazine, and book sales were brisk both locally and overseas in the UK, Egypt, Israel and Saudi Arabia.

“Petra”, Al-Khazna, March 6, 1839, by David Roberts, in collaboration with Louis Haghe (in “The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia”, vol. 3, 1842‒49, Royal Edition subscription, hand-colored lithograph, image size 19-1/2 by 13-1/2 inches). Collection of Ken and Linda Sheppard.

Roberts “traveled to a time when things seemed very different,” Olbrantz said recently, recounting how he first met the artist. It was the late 1970s and he was organizing an exhibition of Egyptian art at the Bellevue Arts Museum in Washington which was to coincide with the King Tut exhibition at the Seattle Art Museum.

“At that time, I was reading everything I could about history, and I came across a book by a writer named Brian Fagan called The Rape of the Nile,” he said. “In the book, there were several illustrations by David Roberts, and I was captivated by the images of Roberts. It just seemed to capture what Egypt must have been like during the first half of the 19th century, with great precision and clarity.

Later, Olbrantz discovered that the Seattle Public Library had Roberts’ The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia folios in its special collections. The folios are visible in a window of the exhibition. “I spent many weekends in special collections in the spring and summer of 1979 looking at this folio,” he said. “My wife, who wasn’t my wife at the time, she was my girlfriend, was sitting there watching me patiently. I’m sure she was bored to death, but she was a good player and sat there and watched me bend over those footprints.

As is often the case with visual art exhibitions, David Roberts: artist and traveler is a show that gestated for years before finding the right place and the right time.

Olbrantz tells the story in the book’s preface, which includes a fun anecdote about his own Howard Carter moment while rummaging through the attic of one of his in-laws. He tracked down as much of the artist’s work as he could and eventually contacted Sheppard, with whom he conceived the idea for the exhibit and worked closely to organize it.

Early in his own journey with David Roberts, Olbrantz struck gold at the National Library of Scotland, who sent him a copy of the diary the artist kept during his journey. The original has been lost and the writing would have been terrible, but after Roberts’ death his daughter faithfully transcribed and typed the travelogue. Excerpts flesh out the monograph and form a narrative rich in historical and social context.

Olbrantz arranged the prints in the gallery so that the visitor essentially sees what Roberts saw more or less in the order in which he saw it. The prints are on loan from Sheppard and his wife, Linda. The show is also complemented by watercolors on loan from the Yale Center for British Art in Connecticut and the Huntington Library, Art Museum and Botanical Gardens in San Marino, California. Even without buying the $45 book, the visitor can both linger over the images and get much of Roberts’ story in the meaty title cards.


OrpheusPDX Portland Oregon
“Island of Graia,
“Isle of Graia”, Graye, Gulf of Akabah (Aqaba), 23‒27 February 1839, by David Roberts, in collaboration with Louis Haghe (in “The Holy Land, Syria, Idumea, Arabia, Egypt, and Nubia,” vol 3, 1842‒49, Royal Subscription Edition, hand-coloured lithograph, image size 13-5/8 by 20 inches. Collection of Ken and Linda Sheppard.

Given how quickly Roberts had to work during the 9-month trip, there’s a journalistic nature to many of the images – get the story (or the image, in his case) and move on to the next one. Nevertheless, each image is fascinating in its own way. In pieces like Chapel of Saint Catherine’s Convent on Mount Sinai, we are struck by the richness of the details. In others, like Approach to Simoon, Geezeh (Giza) DesertRoberts captures a mood that seems to merge from color and the play of light and shadow.

“It is often said that a good work of art can transport the viewer to a different time and place,” Sheppard writes in the show’s notes. “I have visited most of the scenes drawn by Roberts, and can say that without exception he has captured not only the shapes and forms of the places, but the spirit and feeling of the sites in a way that shines through even after the passage of 180 years.”

Two other artists are worth mentioning here. To further the mood of the exhibit, Olbrantz secured permission from Indiana brothers and musicians Brandon and Derek Fiechter to use a piece of their music as background sound for the show. “I wanted to create a mood for visitors to the exhibit,” Olbrantz said. “I wanted them to feel like they were traveling through the Middle East on a sailboat on the Nile or on camels through the desert.”

Two events related to the show remain on the calendar. Olbrantz will give a free talk at 12:30 p.m. on August 9 at the museum. On August 11, historian Allen James Fromherz will present Egyptomania: from David Roberts to the opera “Aïda” at 7 p.m. in the Paulus Lecture Hall (room 201) at the Willamette University College of Law, 245 Winter St. SE, Salem. European-trained opera singer Rebecca Fromherz, a 2014 Willamette graduate, will sing two arias from Verdi’s famous opera Aida.

Elroy “Roy” Folstad – InForum http://itsmardan.com/elroy-roy-folstad-inforum/ Fri, 22 Jul 2022 15:46:00 +0000 http://itsmardan.com/elroy-roy-folstad-inforum/

Elroy Conrad Folstad, 85, died July 18, 2022 at Essentia Health in Fargo with his wife and daughter by his side.

Roy (as he was known) was born March 9, 1937 at his home in Hendrum, MN to Manfred and Tillie (Dybing) Folstad. He grew up in Shelly, MN where he attended elementary school. In 1955 Roy graduated from Climax High School where he was class valedictorian and participated in football, baseball, basketball, track and field, choir, glee club and band. After graduating, Roy enlisted in the US Air Force to pursue his dream of becoming a pilot. He volunteered for the Drum and Bugle Corp at Lackland Air Force Base in San Antonio, TX, where he completed his basic training which he didn’t know at the time would save him from many unsavory duties. . Unfortunately, perfect eyesight was needed to operate planes, so based on Roy’s skill test, they thought he was well suited for the medical field. He trained as a dental technician and was posted to Rushmore Air Force Station in Rapid City, SD. He was honorably discharged in 1961.

Roy served 4 years of active duty before enrolling at North Dakota Agricultural College (NDSU) in 1959 where he received his pharmacy degree in 1963. It was at NDSU that he met his wife, Collette. Roy was on the NDSU bowling team and he and Collette worked the NDSU bowling alleys. He often joked that they met in the “alley”. Roy and Collette were married on August 17, 1963 at St. James Catholic Church in Page, ND.

After graduating from NDSU, Roy first worked at Johnson Northport Drug Store in Fargo before moving to Casselton, ND and soon after opened his own store, Folstad Drug, in 1969. After 41 years as a licensed pharmacist and mentor to many young pharmacists along the way, Roy retired from medical pharmacy in Fargo, ND.

In retirement, Roy spent time outdoors working part-time on the golf course, restoring a 1930s Model A Ford, and sewing many beautiful quilts for his family and friends.

Roy was a man of many interests and talents. He loved to fish, which he learned from his father, and he developed a love for farming from his time working on Mauritson’s farm while growing up in Shelly, MN. Roy was very practical and was able to find a solution to almost any problem. His beautiful oil paintings hang throughout Roy and Collette’s house.

Roy will be remembered for his piercing blue eyes, quiet strength, quick wit and humble heart. And above all, to be “Mr. Mom” ​​to Missy which allowed Collette to pursue her coaching career. He was a man ahead of his time.

Roy is survived by his wife Collette of nearly 59 years, his daughter Michelle (Rich) Mack of Eden Prairie, MN, his granddaughter Addison Mack; sister Ione Johnson of Moose Lake, MN; sister Nancy Nelson of Shelly, MN; sister Helen (Chuck) Bernhardson of Shelly, MN; brother-in-law Arnie (Barb) Buhr of Buffalo, ND; sister-in-law Connie (Ray) Sletteland of Devils Lake, ND; sister-in-law Cloyce (Jim) Voeller of Lake Elmo, MN; and several nieces and nephews.

His parents predeceased him; brothers-in-law Stuart Johnson and Howard Nelson. Visitation: Tuesday, July 26, 2022, from 5 to 7 p.m., with the wake at 7 p.m., at the West Funeral Home Chapel in West Fargo, ND. Funeral Mass: Wednesday, July 27, 2022 at 11:00 a.m. at Blessed Sacrament Catholic Church, West Fargo, ND. Burial: Page à Page Cemetery, ND. West Funeral Home & Life Tribute Center westfuneralhome.com