Tag: american art
Photorealism is the genre of painting bassd on making a painting from the use of a photograph. The term is primarily applied to paintings from the United States art movement that began in the late 1960s and early 1970s.
As a full-fledged art movement, Photorealism evolved from Pop Art and as a counter to Abstract Expressionism as well as Minimalist art movements in the late 1960s and early 1970s in the United States. Photorealists use a photograph or several photographs to create their work of art and it can be argued that the use of a camera and photographs is an acceptance of Modernism. However, the blatant admittance to the use of photographs in Photorealism was met with intense criticism when the movement began to gain momentum in the late 1960s, despite the fact that visual devices had been used since the fifteenth century to aid artists with their work.
The invention of photography in the nineteenth century had three effects on art: portrait and scenic artists were deemed inadequate to the photograph and many turned to photography as careers; within nineteenth and twentieth century art movements it is well documented that artists used the photograph as source material and as an aid—however, they went to great lengths to deny the fact fearing that their work would be misunderstood as imitations; and through the photograph’s invention artists were open to a great deal of new experimentation. Thus, the culmination of the invention of the photograph was a break in art’s history towards the challenge facing the artist – since the earliest known cave drawings – trying to replicate the scenes they viewed.
By the time the Photorealists began producing their bodies of work the photograph had become the leading means of reproducing reality and abstraction was the focus of the art world Realism continued as an on-going art movement, even experiencing a reemergence in the 1930s, but by the 1950s modernist critics and Abstract Expressionism had all but minimalized realism as a serious art undertaking. Though Photorealists share some aspects of American realists, such as Edward Hopper, they tried to set themselves as much apart from traditional realists as they did Abstract Expressionists. Photorealists were much more influenced by the work of Pop artists and were reacting against Abstract Expressionism.
Trish Biddle is published internationally, and is collected around the world. Born in Minneapolis, Minnesota, American artist Trish Biddle studied at the Dallas Institute of Art, before beginning her career as an illustrator and textile designer. Her process of drawing, painting and designing eventually melded onto canvases, creating romantic images and her unmistakable Art Deco figurative paintings.
Her expertise in capturing nature and light creates richly colored, breath-taking canvases. With a well-defined style, broad, romantic strokes and vibrant color, Trish paints figurative, floral, fashion icons and children’s art. She travels the world and enjoys translating her experiences into oil on canvas.
Showcasing her sense of design, Trish captures the Art Deco style of fashion, elegance, sophistication and the simplicity of the era. Tamara De Lempicka who defined Art Deco painting as we know it, Argentinean tango dancers and depression era dance marathons have all inspired Trish’s vintage, figurative paintings. The faces are obscured purposely to allow the viewer to identify with the images of the graceful dancers their own romantic notions. Backgrounds are evidence of textile, ironwork and architectural designs extracted from her own designs and travels. Trish currently resides in Westlake Texas
Trish Biddle paintings are in corporate and private collections around the world, and she has been published internationally by Encore Art Group – Win Devon, Canadian Art Prints, Portal. Her art is available at most major retailers including Bed Bath & Beyond, Wal-mart, Target, Tuesday Morning, Michaels, TJ Maxx, and e-tailer art.com. Trish has had over $1 million in retail sales and been commissioned by Hilton hotels, Churchill Downs, Westminster Kennel Club and Del Mar Thoroughbread Club. Actress Eva Longoria Parker is a fan of Trish’s work, and used her art for her charity, Padres Contra El Cancer in Los Angeles.
Born in Salt Lake City, Utah in 1953, Ken Bailey has painted most of his life andattendewd the University of Utah. In addition to being an artist, he has owned Bailey Nelson Gallery of Seattle, WA since 1987.
Cats and dogs are fantastic subjects. While they appeal to people who appreciate the graphic form and historical connotation, they also attract animal lovers who share an emotional connection. Ken Bailey uses cats and dogs as subject matter in his work for several reasons. He enjoys the variety of breeds from a technical standpoint, and finds them versatile subjects. However, his goal is not to paint a representational portrait, but to portray a deeper emotional connection that makes people laugh- reminding them of a loved friend.
In general, Bailey creates his work in three structures. The first is reminiscent of a vintage poster where the dog is the primary character. These pieces evoke the feeling of vintage advertising, and involve wit and humor. The second form contains the elements of dog dreams and fantasies. Usuallly two-part works, one section is representational of the animal while the other shows it doing something fantastic or unusual. Connected by thought bubbles, it is clear that the animal is dreaming of the extraordinary fantasy. The third structure is free form-depicting the dog by showing it in an act that summarizes his personality.
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.”
20th century travel art – Vintage American air travel companies advertisements – Air transportation ads in United States of America
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Thomas Kinkade, one of the most popular artists in America, has died at his California home, his family said. He was 54. Family and friends recalled the artist as a generous man, who inspired others and will missed.
“He had a rare ability to exude a sense of warmth, a transcendent light,” said Robert Goodwin, who wrote the book “Points of Light: A Celebration of the American Spirit of Giving,” with Kinkade. “He had a great commitment to inspire others — one who was nurtured in his early life by family and friends and church to really be an example of selfless acts of service,” he said Saturday.
Kinkade’s death at his Los Gatos home appeared to be from natural causes, according to the family. “Thom provided a wonderful life for his family,” his wife, Nanette, said in a statement late Friday night. “We are shocked and saddened by his death.”Art from the self-described “painter of light,” adorns many living rooms in America. It emphasizes simple pleasures and warm, positive images of idyllic cottages, lighthouses and colorful gardens. “My mission as an artist is to capture those special moments in life adorned with beauty and light,” Kinkade said in a message on his website. “I work to create images that project a serene simplicity that can be appreciated and enjoyed by everyone. That’s what I mean by sharing the light.”
Kinkade painted more than 1,000 pieces on various topics, including cabins, nature scenes, seascapes and classic Americana. In 2006, the artist recalled one of his earliest lessons during an interview with CNN’s Larry King.”When I was a young boy, my mother told me, ‘Your talents are God’s gifts to you, and what you do with those talents are your gift to God,'” he said.
THE PHYSICAL FACE of America, seen with complete candor, is the material of Edward Hopper’s art. But with all his objectivity he is essentially a poet-one who finds his poetry less often in nature than in man’s creations, in the structures and cities man has built and among which his life is spent. Hopper’s work is an intense expression of that poetry of places which has been a theme of artists through the centuries, from Guardi to Meryon.
Born in 1882 at Nyack, N.Y., studying art in New York, Hopper made three trips to Europe before 1910 which had little effect on his art. As early as 1908 he began painting the American scene, but it was not until the 1920’s that he achieved recognition.
Hopper has discovered for art those man-made features which we now see as most characteristic of the American landscape, but which had been shunned by his more tender-minded predecessors. He likes American architecture in its most frankly native phases, especially the bare white wooden houses and churches of New England. He likes stark, structural things: factories, bridges, the simple immaculate forms of lighthouses. He likes railroads, highways, gasoline stations.