Category: Best Sellers
Gabriella Benevolenza, a young woman of Italian-Finnish descent was born in Helsinki, Finland in July, 1968. She was raised in various countries finally settling in Alsace (France), where she lives and paints. She studied “Arts plastique” from 1992 – 1995. She is now a valued member of AIDA (Artistes Independent d’Alsace).
Always very “constructed”, her semi-abstract work is a search for transparancy and colour balance: light and the variations of adding different types of material. She uses plaster of paris, metal pigmented paints, various types of cloth, emery paper or printed collage material.
Gabriella Benevolenza always uses collages and sometimes a square stencil. She gives rythme to her paintings by using horinzontal and/or vertical lines. On a symbolised landscape, a horizontal division may suggest houses, a small harbor, bottles or a simple forms and colors harmony, that no title helps the viewer with orientation.
The artist, herself, often remarks that: “ I may not see anything”
The most important is not the title, but the harmony of the complete color palette : from warm colours to bright orange, smooth and delicate greys, astonishing beiges that illuminate a wide space. A red point may bring , in true freedom, the final touch.
Tanya Chalkin is a celebrity portrait photographer and image maker based in London.
Tanya’s love of photography began at a very early age when she travelled the world with her parents, snapping the exciting cultures & locations they found themselves in. With her passion fuelled, she went on to study a Foundation Course at Chelsea College Of Art and Design and gain her BA (Hons) in Photography at The London College Of Printing.
She has shot major fashion and editorial portraits for publications such as Dazed & Confused, British Esquire, The Face, Arena Hommes Plus, Attitude, FHM Collections, FHM, The Guardian Weekend Magazine, The Evening Standard and The Independent.
Tanya’s unique eye for shooting portrait photography has given her the opportunity to photograph such talent as Jamie Dornan, Professor Green, Katherine Jenkins, Diane Von Furstenberg, Isabella Blow. Mary Portas, Jamie Cullum, Suzy Menkes, Nadav Kander, Rory Mcilroy, Tomas Berdych, Tom Aikens, Darcey Bussell, Dawn French.
Her commercial Clients include PETA , Triumph Motorcycles, Universal Music, Warner Records, Universal Pictures, BBC, Telecoms giant ZTE, LOCOG (London 2012 Olympic Games).
As well as her editorial work, Tanya is also a creator of many top selling photographic merchandising images. Her image KISS is an iconic, global, top selling poster and several of her London-scape images were selected by LOCOG as official merchandising posters for the London 2012 Olympic and Paralympic Games.
Tanya lives in London where she can be found daily in the city’s parks & hills walking her dog Romeo.
Parisian French Historical Life Art Painting Art Print – End of 19th century, Beginnings of 20th Century European Parisian Lifestyle Posters Prints – Walkside Cafe Caricaturized Sketch Drawing Image Picture – European French People Life at Cafes of Paris France Paintings Prints. People Sitting on City Cafe, A Fountain at Center of Cafe Bar, Women & Men Drinking, Ordinary People Life in Paris Modern Stylized Drawing Artwork.
Bettie Page (April 22, 1923 – December 11, 2008) was an American model who became famous in the 1950s for her fetish modeling and pin-up photos. She has often been called the “Queen of Pinups”. Her look, including her jet black hair, blue eyes and trademark bangs, has influenced many artists.
She was also “Miss January 1955” one of the earliest Playmates of the Month for Playboy magazine. “I think that she was a remarkable lady, an iconic figure in pop culture who influenced sexuality, taste in fashion, someone who had a tremendous impact on our society,” Playboy founder Hugh Hefner told the Associated Press.
Her later life was marked by depression, violent mood swings and several years in a state psychiatric hospital. In 1959, she converted to Christianity, and later worked for Billy Graham. After years of obscurity, she experienced a resurgence of popularity in the 1980s.
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German artist Alfred Gockel has a unique abstract style featuring rich, bold colors, long, fluid brushstrokes, and intense movement. Gockel sold his first artwork to a German publisher when he was 8 years old, later studying typography, graphic design and advertising.
He became a full-time painter 22 years ago, creating daring, energetic works in his trademark style. His creative range spans etching to serigraphy, and his images have been used by the porcelain, carpet and sportswear industries.
This high-quality art print is expertly produced to capture the vivid color and exceptional detail of the original.
American Abstract Expressionist painter Jackson Pollock has long been recognized as a leading figure of this so-called “New York” school of painting. His fame skyrocketed after his death at age forty-four in a car crash on eastern Long Island. That gruesome death gave the Abstract Expressionist movement unprecedented public recognition, and conclusively transformed Pollock the man into Pollock the myth. But in doing so, it also obscured his specific achievements (and limitations) as a painter and thinker.
What link remains between the achievements of the early 20th century masters and the solutions proposed by those painters who have come of age (artistically speaking) and produced their maturest work since 1945? What is the relationship, for example, between Cubism and Action Painting? Or between Fauvism and French Abstract Impressionism? The words of Matisse quoted above point to the nature of this relationship, while the common denominator of all the investigations and experiments of 20th century art may be defined in the words of Mondrian.
“All modern art is distinguished by a relatively greater freedom from the oppression of the subject. Impressionism emphasized the impression of reality more than its representation. After the impressionists, all art shows a relative negation of nature’s aspects; the cubists delivered a further blow; the surrealists transformed it; the abstract artists excluded it.”
Freedom of expression, then, with respect to the subject, this is the commondenominator of art in our time, in our century. But this does not mean that the artist has ceased to express the shifting yet permanent sum of features and factors that go to make up the human situation in all its complexity. The fallacy of superficial detractors of non-figurative art is to suppose that it signifies a more or less complete abandonment of reality; on the contrary, it probes into reality more deeply than ever before.
This is as it should be. The artist cannot divorce himself from a state of society which, on the one hand, is profoundly disturbed by doubts and anxieties, but which, on the other, has achieved a great deal in the way of technical advances and social betterment. Why should painting reject new conceptions of time, space, matter and energy (and the new sensibility perforce bound up with those conceptions) when the other forms of artistic expression accept them?
Already in Proust we read of the painter Elstir, that his “effort to exhibit things, not as he knew them to be, but in accordance with those optical illusions of which our first glimpse of a thing is compounded, had led him to emphasize certain laws of perspective, thus rendered peculiarly striking, for his art was the first to disclose them.” And what is “le temps retrouvé” of the final volume of Proust’s masterwork, but a new dimension of the mind, a new sensibility, transcending the measurable, chronological lapse of years, days and hours? It is not for nothing that we find Proust writing in 1919 of “the great, the admirable Picasso.”
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