Tag: art print
Alfred Gockel, Alexander (he goes by Alex, but his name is “Alfred”) was born in the coal mining town Lüdinghausen, Germany in 1952. Gockel’s first work was published when he was only eight years. He wanted to become an engineer, but at the age of 16 Gockel started working in the coal mines in Germany. When the mining industry has slowed, many locals found themselves unemployed.
The struggle Gockel felt at that time continues to do his work of art today. “I like to touch the soul of the viewer with my colors,” says Gockel. “Often in my paintings I use elements that reflect my difficult past, when a boy, I worked in coal mines. But my goal is to express my joy of life, and show that we can overcome many obstacles through the expressions of the beauties of life. ”
After more than two years in the army, Gockel refocused its attention on the arts and in 1973 he enrolled at the Polytechnic Academy in Munster, Germany. Gockel studied art and design and learned the techniques of lithography and serigraphy. After graduation, Gockel teaches graphic design and typography at the Academy. In the early 1980s Gockel has decided to concentrate on his art full time. In 1983 he and his wife Ingrid founded an art publishing company, Art Before, a player currently ranked in the abstract segment of the market, with customers in over 50 countries worldwide.
From its humble beginnings, Gockel has become one of the most prolific distributors of posters of modern art in the world. According to some estimates, sales in more than 10 million worldwide, they can be seen in design studios and private and large companies in the world. Gockel, was commissioned by the U.S. Olympic Committee to create an official piece of artwork for the 2006 Olympics in Turin, Italy.
Gockel’s unique style – boldly colored abstract images doubled in thick black on a white canvas – has become his signature. “The art in both culture and the influences he imitates,” Gockel said. “I’m influenced by colors, symbols, textures, fibers and models used by different cultures around the world. ”
Still active in his “spare time” Gockel plays tennis, walks in the German forests with his two dogs, or riding Harley Davidson with his wife. They enjoy spending time at their favorite spot on the island of Sylt.
Paul Cézanne was the boldest spirit in the circle of the Ecole de Batignolles that gathered round Manet. The essential principle among all of them was not color–this varied in every case–but flat painting as opposed to modelling in paint. In this Cézanne surpassed even the leader of the group. We may take it for granted that in periods of evolution the matter round which the efforts of all revolve will be fermenting at the same moment in individual minds, and that he who is most articulate will become the leader of the rest.
For this position Cézanne was in no sense fitted. He was a very reserved person; of the younger generation none ever saw him; artists who owe him everything never exchanged a word with him. His very existence has been doubted. Since his sojourn with Dr. Gachet he has never, as far as I know, left the South of France. He lives, I have heard, at Aix. Gachet describes him as the exact antithesis of Van Gogh, utterly incapable of formulating his purposes, absolutely unconscious, a bundle of instincts, which he was anxious not to dissipate.
The result with him was a purely sensuous form of art. He gave what he could and what he would, not a fraction more, and in external things not even so much as this. Occasionally he did not even trouble himself to cover over certain small blank spots on his pictures, and these are the despair of honest owners nowadays–others paint them over. But this superficial defect is really nothing more nor less than the frayed out corner of a splendid old tapestry. Sometimes, indeed, the whole tapestry is reduced to the warp. And even with this we cannot quarrel, for the fabric is always lovely, even when it shows but a few threads.
Cézanne’s whole character made for obscurity. It never occurred to him to sign his pictures, like Guys and Van Gogh; he never gave any sign of life beyond pictures, and these had to be taken from him almost by force. Small wonder, therefore, that he was an old man before it occurred to a few of his friends and compatriots to notice him. It is only for the last few years that he has begun to count at all in the art market.
Like Van Gogh, he owes this recognition to the little shop in the Rue Lafitte owned by Vollard, one of those remarkable dealers only produced by Paris, who are sometimes better connoisseurs, or, rather, have surer artistic instincts, than the connoisseurs themselves. The event that established his reputation was his friend Choquet’s sale at Petit’s in the summer of 1899. For three hot afternoons in the middle of the dead season, when there is not a soul in Paris, purchasers fought for his best things, collected by an oddity who had been laughed at as a madman a short time before.
Gaul, as a whole, began to participate in antique civilisation under the Roman rule. A highly centralised administration united the provinces which extended from the Rhine to the Pyrenees, from the ocean to the Alps, imposing a common existence and a common culture upon them.
When one travels along a Roman road it is very easy to understand how the dwellers in these regions were sensible of a distant solidarity. Their roads, even when disused, are not obliterated; they still indicate the ancient route across fields. Stretching in purposeful rigidity from point to point, regardless of mountains and valleys, they bore the legions to the frontier, and carried the will of Rome into the interior.
Every halting-place along them was the nucleus of a future city of France. At the cross-roads we shall find the active centres of Roman art. A network of more natural and less geometrical highways, corresponding to the local geology, was related to this vast system of main roads. And yet the extremities, from Arles to Cologne, from Lyons to Saintes, felt that they were members of one body. Thus the solid causeways, built for eternity, were the channels of human intercourse during the Middle Ages; they transported pilgrims and merchants to sanctuaries and fairs respectively. From Burgundy to Provence, from Tours to Roncevaux, they maintained uninterrupted communication, even when these provinces were no longer united by Roman centralisation.
The conquerors brought their Latin habits with them; buildings akin to those of Italy rose in the cities where they established themselves; an official art, easily imposed on a country innocent of architecture, and immune from all local influence, manifested its identity at Narbonne, Bordeaux, and Reims: it was an urban and utilitarian art, created for the enjoyment of great cities. After the decay of Marseilles, Narbonne and Fréjus rose to importance, and close at hand, Orange and Nîmes, whose ancient monuments are among the finest in the world.
Arles, the Rome of Gaul, began her glorious existence as a capital, a city of luxury, art, and pleasure. But this municipal clvilisation soon outgrew Provence. Municipalities raised triumphal arches dedicated to emperors; Trèves, Reims, Besançon, Langres and Saintes have preserved these proud structures. Towns of second and third rate importance had their amphitheatres; the more wealthy among them boasted thermae. Temples were no doubt numerous; they disappeared to furnish columns for the new basilicas of youthful Christianity.
Around the great cities rose the rich villas of the Gallic aristocracy, and beyond these a vague population, the Pagani, long recalcitrant to Latinism and subsequently to Christianity. Roman culture had penetrated only into the towns; but monkish hosts ploughed the fallows of the countryside; after the municipal art of the Gallo- Romans came the rural art of the Romanesque epoch.
None of the colourists of Manet’s generation made men forget the colourist Delacroix; everything, or nearly everything, that tends to their glory increases his fame; he was their god. Delacroix’ colour had come too early for the weakness of humanity.
When the trappings of Romanticism were cleared away, his palette was thrown aside as one of its accessories. After the strong and healthy recognition of reality by the great landscape school of 1830 and the realism of the school of Courbet, painters were impelled to get at a right distance from Nature; this was the logical way between the two manifestations that had come to an end.
As soon as it was consciously recognised, the method of Daumier and of Delacroix was necessarily decisive. Why this way is modern, and why it achieves results which respond to vital and weighty needs, I hope at least to indicate in due course. The consciousness of this is a piece of modern culture. It is rooted in the postulate that Manet and his circle gave us not Nature, but the natural, and that all naturalisation of our instincts, i.e., all sharpening, purification, and amelioration, is modern.
Every joy is progress, and so therefore was Manet’s achievement. That achievement and its results had never occurred even to the magician Rubens, and, going through the whole history of art, we may find something similar, but never quite the same decisive consciousness. There are other values, the perfection of which put us to the blush, but in spite of this we would not exchange for them our own, the resplendent symbol of our best aspirations, our happiness, our epoch.
Manet discovered, to the horrified amazement of the world, that a fine feminine skin is neither yellow nor brown, but luminously white in the light, especially in juxtaposition to dark colours, and that blood pulses, that nerves and senses throb beneath it.
Millet painted the repose of life, and found greatness therein; he transmitted to the simple action he represented a very great and very simple thought, which was expressed in like terms by all his washerwomen, mothers, housewives, and workmen of various kinds, and finally carried conviction by constant repetition of the one sound in so many different forms. It was a generalisation that became the more impressive, the more deliberately it was set forth. In comparison, the realists were clumsy folk, more modest than Millet, for they allowed Nature to think for herself, more presumptuous and more limited, for they expounded what seemed to them the thoughts of Nature in their own narrow fashion.
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Photography, Still – science and art of making permanent images on light-sensitive materials.
The camera itself is based on optical principles known at least since the age of Aristotle; indeed, a filmless version was in use in the mid-1500s as a sketching device for artists. Called the camera obscura (Lat.,=dark chamber), it consisted of a small, lightproof box with a pinhole or lens on one side and a translucent screen on the opposite side. This screen registered, in a manner suitable for tracing, the inverted image transmitted through the lens. The human eye was the prototype for this device, which functioned as a primitive extension of seeing. Most experiments in photographic technology were directed toward perfecting the medium as a surrogate, more sophisticated eye.