Category: Art Gallery
“Painting is just like love making. Sometimes slow, sensual strokes and long drags of charcoal are right. And sometimes quick splash and quickly slips lush color is the story of a painting technology needs to reveal the story. One of my favorite artists, Eric Fischl, told me that if I do not feel what I paint, no one will do more. I am happy to update and create the art, a kind of rev up the engine and materialize sex, love, lust… whatever it is, I’m trying to evoke.”
Born in Santa Cruz, California in 1974, Etienne Nicole Powell grew up among the redwoods and the suburbs of Silicon Valley. His mother, an artist active, healthy Nicole kept covered in paint and dirt and fed his burgeoning career with full access to his office supplies.
After moving to the Bay Area his family joined a group utopian liberal California which focused on human rights, anti-war activism, and the belief that by leaving a process of personal transformation, they were of achieve a greater awareness of the earth and each other. Nicole was encouraged to be intuitive and explore.
It was not long before the conservative, buttoned up world of Silicon Valley felt a bit too parochial. She has traveled extensively, studied painting and exhibiting, and New York Nicole was able to find his feet – and his voice. She has created works of sincere and tender human encounters. Painting lush groves with a high “Amazons angelic” blooming sexuality and femininity, she twists the old myths new, creating the woman as the “romantic hero” in a world completely to it.
Her technique of copies of the luminosity of watercolor with the thickness of oil paint. A struggle between maintaining the original brand of coal and the brightness of the blank, and the desire to smear paint on thick hunks until melted together.
Nicole began her artistic training college at UC Santa Barbara transfer to UC Santa Cruz, where she received her BA in 1997. She studied abroad at Lorenzo Medici School of Art in Italy and received her MFA cum laude in 2009 from the New York Academy of Art.
She painted in Italy and lived in London and Ireland. He was on a trip to Cornwall, England, Nicole met her husband, creative director Peter Powell. They now live in New York with their Moo chat.
About Nicole Etienne Powell
A fourth generation artist, Nicole Etienne paints in a style that blends the classic values of traditional still life with the cubist approach of depicting objects without geometric perspective. Her work mirrors her personality: high spirited and contemporary, with a dash of humor. Etienne lives by the words of her favorite philosopher, Henry David Thoreau: “Go confidently in the direction of your dreams. Live the life you have imagined.”
During college Nicole gave up an athletic scholarship to follow her true course. She studied art at the Universities of California, Santa Barbara and Santa Cruz, discovering an affinity with cubism. You can see this understanding in much of Etienne’s work. Objects appear how she sees them, not how perspective tells us they should.
It was at the Lorenzo de Medici School of Artin Florence that Etienne’s artistic talents blossomed. It’s said the Italians taught the French how to paint and how to cook; lessons that did not escape Etienne. There, surrounded by thousands of years of architecture and fine art, she developed her style and understanding of what she could achieve. “I wanted to experience everything. It’s no good just studying art — you have to study life”. This philosophy of Etienne’s is reflected in all of her work…
Vincent Van Gogh found in Millet the basis of a primitive popular art, models for portraits of humanity. He made the gravity of Millet graver, I might almost say more Lutheran. The ancient Greek spirit which breathes from many of Millet’s soft pencil drawings like a natural sound, gives place in him to a gigantic instinct, in relation to which the Millet form appears only as as oftening element.
There is nothing classical about him; he reminds us rather of the early Gothic stone masons; the technique of his drawings is that of the old wood-carvers; some of his faces look as if they had been cut with a blunt knife in hard wood. The ugliness of his personages, the “mangeurs de pommesde terre,” carries the primitive ruggedness of the older painters to the region of the colossal, where it occasionally resembles materialised phantoms of horror.
Heprojected such things as La Berceuse not for amateurs, but for common folks, and it was one of his–all too natural–disappointments, that no peasant would give himself up to sitting. In his painted portraits, the hard wood of the drawingsseems sometimes to be blent with gleaming metal. Schuffenecker owns the most masterly of his portraits of himself.
No-one who has seen this tremendous headwith the square forehead, the staring eyes and despairing jaw can ever forget it. It is so full of a terrible grandeur of line, color, and psychology, that it takes away one’s breath, and it is hard to know whether one is repelled by its monstrousexaggeration of beauty, or by the lurking madness in the head that conceived it.
Van Gogh’s self-destruction in the cause of artistic expression is tragic, because it was a natural sacrifice, not a self-defilement, the act of a perfectly healthy consciousness, shattered by insufficient physical powers of resistance. “The more ill I am, the more of an artist do I become,” he writes, with no thoughts of verse joys in his mind. He records the same simple fact with which Delacroix reckoned, and Rembrandt, “the old wounded lion with a cloth round his head,still grasping his palette.”
The tragic result was inevitable, because it fulfilled a natural doom. The only means by which he could escape despair, retain his self-respect, and repay the devotion of the brother who had spent so much on canvas and colors was, to make constant progress, to loosen more and more the slenderthreads that bound his individuality to a failing body, and penetrate ever more deeply into the mystery that dazzles the eyes, to give bodily substance to theartistic soul, even when it was parting soul and body.
It was heroism, becausethe result was hardly doubtful to him, a peasant’s heroism, because it went straighton its way without any dramatic gesture, simply and naturally. In one of hisletters Vincent speaks of a worthy fellow who died for lack of a proper doctor: “He bore it quietly and reasonably, only saying: ‘It is a pity I can’t have anyother doctor.’ He died with a shrug of the shoulders that I shall never forget.”
In some such fashion Vincent’s death must be explained. Even in the early days at Arles, when Gauguin was with him, be once threatened to cast off the weary flesh. He came to himself again, and went voluntarily to the Arles asylum, where he painted some wonderful things, among others the Schuffenecker portrait of himself, the cloistered garden of the asylum with the splendid flower-beds (belong shying to Hessel), and some beautiful flower-pieces.
In his letters to Theo he revealsa marvellous memory, clinging to childish recollections, as if to interpose his home between himself and the strange power that sought his life; he recovered so far, that he went to Saint Rémy, to find a new field of activity there. But his brother was in trouble, and when Vincent came to visit him in Paris he recognised his own danger, and looked about him for help. He found it in Dr. Gachet.
Gachet, who still pursues his avocation and his art robustly, had a comfortable, hospitable house at Auvers-sur-Oise, near Valmandois, where Daumier spent his lastyears of blindness. Daubigny painted there, Cézanne came thither in 1880 at Gachet’s recommendation, and lived there for several years, painting many finethings; to many others the happy land and the old artist-doctor’s table were a solace. Even Van Gogh seemed to have painted himself into health at Auvers. He came in the middle of 1889.
His Auvers pictures have not, of course, the intoxicating richness of strong colour revealed to him by the south; but on the other hand, he achieved an unprecedented development in his play of line. His own portrait and his portrait of Gachet are purely rhythmic works, quite free from hardness, marked by a perfectly conscious application of his unrivalled talent for decorative tasks. In the roses, and in the arrangement of chestnut leaves and blossoms, a happy harmonious spirit seems to be weaving its beautiful dreams, remote from all dramatic violence.
Karen Dupré was born in California. It is a self-taught artist whose first inspiration came from his interest in horses. This fascination quickly led her to translate the beauty of these animals and other wildlife through drawing.
At age nine, Dupré began working in pastels, which quickly progressed in the use of other means – primarily acrylic paints. Since his early years as an artist, Dupré has broadened her repertoire to include landscapes, still life pictures, and numbers, without ever abandoning the wildlife that first sparked her imagination.
In addition to painting and drawing, other activities include Dupre singing and archery. She spends much of his time behind the microphone and gave several public performances. In fact, when not at the easel painting, it is very likely that she is on stage in front of an audience and captivated.
Dupré’s artistic inspiration comes from a variety of sources, primarily several nineteenth century artists such as Gustav Klimt, Claude Monet, Frederic Remington and Auguste Renoir. She is particularly drawn to this period in art history when artists were challenging the established ideals and developing their own schools of artistic thought. Similarly, in his art, Dupré strives to expand her style both color and composition, not limited to conventional artistic standards.
Dupre paintings reflect her versatility in terms of subject, from landscapes to calm and serene settings table fat images of exotic animals and inviting entertainment scenes. Throughout her imagery, one can find a sense of harmony. This peace is partly the result of his soft brushstrokes and her talent to illustrate the play of light in nature and objects of human origin at a time. Dupre is an adept job of capturing a fleeting moment.
Italian artist Renato Casaro, born in Treviso near Venice, is a painter by passion whose whole life’s work is influenced by his search for the light.
First, he was drawn to the limelight. After many years as a movie painter and many awards, came recognition world-wide and a successful career as a movie-poster-artist. Many of these works are now cult items, much sought-after by collectors and a part of film-history themselves.
So in l985 Casaro was able to realise a dream: his Painted Movies cycle in which he transfers well-known works of art to modern times – such as the famous Invitation, inspired by da Vinci’s Last Supper, but in Casaro’s interpretation with 13 movie-legends at the table having supper in Hollywood.
Restless and searching for new impressions, Casaro found new light in the African bush and the wide desert skies of the Middle East. His African wildlife paintings are highly praised, and the desert scenes, mysterious and litmitless, are complemented by camels, falcons, bedouin people and horses, captured to perfection. And so to Andalucia.
After living for a few years on the Costa del Sol with its bright clear light he now presents, as result of his studies, his most recent paintings showing Andalucian women in traditional attitudes against amazingly detailed backgrounds of historic Moorish architecture. Casaro’s work proves once again the impressing variety of his art and leaves the spectator wondering – where will he go next’s.
1840-1926, French landscape painter, b. Paris. Monet was a founder of impressionism. He adhered to its principles throughout his long career and is considered the most consistently representative painter of the school as well as one of the foremost painters of landscape in the history of art.
As a youth in Le Havre, Monet was encouraged by the marine painter Boudin to paint in the open air, a practice he never forsook. After two years (1860-62) with the army in Algeria, he went to Paris, over parental objections, to study painting. In Paris, Monet formed lasting friendships with the artists who would become the major impressionists, including Pissarro, Cézanne, Renoir, Sisley, and Bazille. He and several of his friends painted for a time out-of-doors in the Barbizon district.
Monet soon began to concern himself with his lifelong objective: portraying the variations of light and atmosphere brought on by changes of hour and season. Rather than copy in the Louvre, the traditional practice of young artists, Monet learned from his friends, from the landscape itself, and from the works of his older contemporaries Manet, Corot, and Courbet. Monet’s representation of light was based on his knowledge of the laws of optics as well as his own observations of his subjects. He often showed natural color by breaking it down into its different components as a prism does. Eliminating black and gray from his palette, Monet rejected entirely the academic approach to landscape.
In his later works Monet allowed his vision of light to dissolve the real structures of his subjects. To do this he chose simple matter, making several series of studies of the same object at different times of day or year: haystacks, morning views of the Seine, the Gare Saint-Lazare (1876-78), poplars (begun 1890), the Thames, the celebrated group of Rouen Cathedral (1892-94), and the last great lyrical series of water lilies (1899, and 1904-25), painted in his own garden at Giverny (one version, a vast triptych c.1920; Mus. of Modern Art, New York City).
In 1874 Sisley, Morisot, and Monet organized the first impressionist group show, which was ferociously maligned by the critics, who coined the term impressionism after Monet’s Impression: Sunrise, 1872 (Mus. Marmottan, Paris). The show failed financially. However, by 1883 Monet had prospered, and he retired from Paris to his home in Giverny.
In the last decade of his life Monet, nearly blind, painted a group of large water lily murals (Nymphéas) for the Musée de l’Orangerie in Paris. Monet’s work is particularly well represented in the Louvre, the Marmottan (Paris), the National Gallery (London), the Metropolitan Museum of Art, and the Art Institute of Chicago. It is also included in many famous private collections.
The paintings of Paul Jenkins have come to represent the spirit, vitality, and invention of post World War II American abstraction. Employing an unorthodox approach to paint application, Jenkins’ fame is as much identified with the process of controlled paint-pouring and canvas manipulation as with the gem-like veils of transparent and translucent color which have characterized his work since the late 1950s.
Born in Kansas City, Missouri in 1923, Jenkins was raised near Youngstown, Ohio. Drawn to New York, he became a student of Yasuo Kuniyoshi at the Art Students League and ultimately became associated with the Abstract Expressionists, inspired in part by the “cataclysmic challenge of Pollock and the total metaphysical consumption of Mark Tobey.”
An ongoing interest in Eastern religions and philosophy, the study of the I Ching, along with the writings of Carl Jung prompted Jenkins’ turn toward inward reflection and mysticism which have dominated his aesthetic as well as his life.
Related Link: View more Abstract Art posters and prints
The rise of Hollywood signaled the arrival of America’s urban-industrial age, a period when traditional values and established notions of family and community, of the social and political order, and of individual freedom and initiative were radically transformed. Hollywood movies were among the first and were certainly the most widespread and accessible manifestations of an emergent “mass culture” which brought with it new forms of cultural expression.
Businessmen began to realize the financial potential for movies. While movies were first shown as part of other forms of entertainment, they soon became the featured attraction themselves. By 1905 the first nickelodeon had opened in Pittsburgh, where customers each paid a nickel to see a full program of a half dozen short films. The opening of theaters completed the elements necessary for an industry: product, technology, producer, purchaser, and distributor.
As the United States became an increasingly child-centered culture, concern grew about the moral effects of popular culture on the young. This was not simply a matter of its content: many educationalists shared philosopher Charles Horton Coolef’s disquiet about its “expressive” function in stimulating emotions. The “rapid and multitudinous flow of personal images, sentiments, and impulses”, he feared, produced “an overexcitation which weakens or breaks down character”.
One man who learned his trade from Griffith was Mack Sennett. Sennett worked for Griffith for a few years as a director and writer, but his interests were more in comedy than in melodrama. In 1912 he broke away and began to work for an independent company, Keystone. Here he learned to merge the methods of stage slapstick comedy with the techniques of film; the results were the Keystone Cops, Ben Turpin, and Charlie Chaplin. Sennett’s films used only the barest plot outline as a frame for comic gags that were improvised and shot quickly.
From the Sennett method, Charlie Chaplin developed his own technique and character. He began making shorts under the direction of Sennett, but in 1915 he left and joined with Essenay which agreed to let him write and direct his own films at an unprecedented salary. Here he fleshed out his tramp character; one of his first films for Essenay was The Tramp (1915). He continued making films that combined his own comic sense and acrobatic movements with social commentary and along with Mary Pickford became one of the first “stars.”
Luis Royo was born in 1954 in Olalla, a small village in Teruel, Spain. As a child, he moved to Zaragoza where he studied technical design, painting, and interior design. By 1972 he began painting, exposing his art to new forum. In 1978 he became a comic artist and soon triumphed internationally.
Samples of his work appeared in some of the most important magazines of the time and were later compiled into the following books: Luis Royo (Rambla, 1985) and Desfase (Ikusager, 1986). In 1983 he moved onto illustrations, were he produced his greatest achievements. He achieves this success with the help of Norma, his publisher and editor that distributes his work to the entire world.
In 1992 his first book, Women, appears, followed by Malefic (1994), Secrets (1996), III Millennium (1998), Dreams (1999), Prohibited Book 1 (1999), Evolution (2001), Prohibited Book 2 (2001, Conceptions I (2002), Visions (2003), Prohibited Book 3 (2003) and Conceptions II (2003). Along with these titles, six collectors cards series were released, five collectors portfolios, posters, and a tarot card set called The Black Tarot. The increasing popularity of Royo´s images allowed for the publication of postcards, calendars, playing cards, t-shirts, album covers, video games, mouse pads, and even sculpture.
With such a wide range of products, Royo has become an authentic cultural phenomenon. His books have gone through numerous editions and have been translated into French, English, Italian, Russian, and Portuguese. Magazines like Stampa, Airbrush-Action, and Penthouse have dedicated entire articles to him. Festivals, art galleries, and specialty stores continuously organize expositions honoring his work. He has received the Spectrum Silver Award (United States), Cartoomics (Italy), and the Pilgrim Prize (Russia), amongst many others.
The success of Royo is due largely to the originality of his work, which has broken through traditional barriers and revolutionized the world of illustration. He has a keen interest in fantasy themes, though he experiments with other themes like the western, historic epics, and romance. Setting aside his themes, his innovative style breathes power while radiating a fragile, almost mystic transparency. Royo´s treatment of the human figure, especially his women, endows the body with a soulful brilliance. His use of color, from the most saturated gamma to the most despoiled gray is contrasted with an intense touch of chrome, creating an aura of fascination that invites us to enter his world.
Despite the consistent use of certain elements, Royo´s style reflects a clear evolution. When reviewing his work chronologically, one can see a refinement in his style and the reinforcement of his theme, as each composition becomes even more poetic and graceful. The apparent simplicity of his drawings is deceptive, allowing for a complex plot and a range of artistic options. His permanence on the front lines in the world of illustration and his increasing success is the result of his constant, subtle, and effective experimentation.
Royo has made the myth of “beauty and the beast” his principal theme, effortlessly moving from horror to the lyrical. Whatever the theme, his characters waltz effortlessly between epic and erotic. The subject´s flesh is overlaid with a defiant and threatening tone, marking them more exciting. As Royo knows all too well, when the dark ghost of death looms over the hero, the suggestion of sex becomes more intense.
When studying his characters, one notices that he places the subject on the border of tragedy, where they can shine more brilliantly. Their frozen position anticipates a destiny as attractive as it is cruel. Clutching their weapon, they await the next attack. Their intensity and the tautness of their muscles make them even more beautiful and dramatic. In the blink of an eye they can disappear, having been devoured by the danger that encircles them. But the immediate future doesn´t interest Royo. He portrays that penultimate moment, when the inner soul of the hero is revealed.
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The 76-carat Archduke Joseph Diamond sells for well above the expected $15 million.
Christie’s auctioned off the Archduke Joseph Diamond for nearly $21.5 million Tuesday night, a world auction record price per carat for a colorless diamond.
The Archduke Joseph Diamond was the first of two out-of-this world diamonds being auctioned off this week in Geneva. Sotheby’s on Wednesday will auction what it calls an exceptionally rare fancy deep blue briolette diamond of 10.48 carats expected to get up to $4.5 million.
Christie’s kicked off Geneva’s jewelry auctions, held in five-star hotels along the Swiss city’s elegant lakefront, that seem a continent if not a world away from the grim austerity gripping much of Europe.
The Archduke Joseph Diamond went for $21,474,525 including commission at Christie’s auction. That was well above the expected $15 million and more than triple the price paid for it at auction almost two decades ago. The 76.02-carat diamond, with perfect color and internally flawless clarity, came from the ancient Golconda mines in India.
The seller, Alfredo J. Molina, chairman of California-based jeweler Black, Starr & Frost, said immediately afterward that there were two main bidders and that he was delighted with the result. Molina said the winning bidder, who wished to remain anonymous, is going to donate the diamond for display at a museum.
“It’s a great price for a stone of this quality,” Molina told The Associated Press. “It’s one of a kind, so it’s like saying ‘Are you pleased when you sell the Mona Lisa?’ Or ‘Are you pleased when you sell the Hope Diamond?’ It’s all what the market will bear, and the stone sold for a very serious price.”
Named for Archduke Joseph August of Austria, the great-grandson of both a Holy Roman emperor and a French king, the diamond passed to his son, Archduke Joseph Francis, who put it in a bank vault, then to an anonymous buyer who kept it in a safe during World War II. From there it surfaced at a London auction in 1961, then at a Geneva auction in 1993, when Christie’s sold it for $6.5 million.
It wasn’t the only mega-diamond to go under the hammer at Tuesday’s auction in the hotel room packed with well-heeled bidders. Beneath a row of three enormous chandeliers that cast panther-like shadows on the ceiling, the participants eagerly pounced at the jewels while competing with bidders from around the world calling in to Christie’s employees seated in rows on both sides of the room.
But perhaps the buyers weren’t entirely immune to the harsh financial climate in Europe — or at least some Geneva version of it. Two plus-sized diamonds did not sell Tuesday night. A yellow diamond with 70.19 carats failed to sell because the final bid was 2.8 million Swiss francs, just slightly below the reserve price. A 12.16 carat pink diamond didn’t sell because the final bid was 1.8 million francs, well under the reserve price.
Let walk far away from CES 2012 for a second! We need to refresh our mind with something different. How about this one, a gold edition of Apple iPad 2? I knew iPad 2 is no longer a hot thing to be discussed. Do not get wrong, maybe you are not an Apple fan boy, but it is from Amosu.
Every time someone hear about Amosu, it’s common feel so excited to talk it. It might be because everyone could not afford to buy their products. Anyway, this time Amosu reconstructed the Apple logo using pure silver and adding the 360 Swarovski stones on it. Surely, it dazzles the glamorous and luxurious into your eyes, more, it placed in middle of 24-carat gold casing. In short, Amosu has succeed in turning the original Apple iPad 2 64GB into something that could change every woman heart.
Amosu iPad 2 64GB Gold Edition with Swarovski Apple logo is available now in MSRP 2,800 GBP. Like always, Amosu could personalize the device with other option according to your request.