Tag: modern figurative art
Trish grew up in Minnesota in the world of art along side her mother who enrolled her in every art class and contests in which she would usually come in second place. This made her work even harder. Then on her own, she moved to Dallas fresh out of high school and graduated from the Dallas Institute of Art.
Pursuing her artistic dream, she secured a job as a textile designer and a fashion illustrator for a clothing manufacturer. She later moved to the J.C. Penney home office in the design department. After several years in the corporate world, she decided that it wasn’t for her, so went to work as a freelance artist. She was signed by a textile agent in New York City and continued to freelance for several years.
In the summer of 1996 Trish’s beloved Grandmother passed away and Trish was given an old cigar box full of vintage photos. She took the next couple of years to reflect and be inspired by these photos and realized it was time to pursue her dream of being a full time painter. Trish was signed by her publisher Canadian Art Prints, Vancouver B.C. in 2003 and produced over 40 images currently being sold around the globe. Her prints are sold in retail outlets globally.
After years of persistence and overcoming obstacles Trish’s rewards are coming to fruition. Invited to be the Official Artist of the 2008 Kentucky Derby and Kentucky Oaks, and as the Official Artist of the 2009 Westminster Dog Show, she is now fulfilling her lifelong dream of being an important artist.
Trish’s paintings reflect the Art Deco era to such a convincing degree you can’t help but wonder how she transported herself to capture that lovely era. Her motto is to inspire others, especially girls and women, helping them reach their goals by setting a positive example.
Trish has given back to the community by contributing original artwork to charity which has been more rewarding then any amount of fame she says. The organizations include Girl Scouts, Make a Wish Foundation, Shining Stars, Arts Net, Young Artist’s of Texas, Greater Southlake Women’s Society, Southwest Transplant Foundation, Westlake Academy, Greater Southlake Women’s Society and GRACE donating paintings to help raise funds. Trish donated the original artist’s proofs of her winning Kentucky Derby designs to Girl Scouts for the live auction at their fundraiser, Derby Day at Lone Star Park.
Picasso’s immediate motive for visiting Paris in 1900 was probably the Universal Exhibition; his first visits lasted from October to Christmas 1900 and from April to December 1901.
Almost at once his pictures became much brighter in colour and less literary in content, just as Van Gogh’s had done some fourteen years earlier. Sabartés writes of ‘the bright colours which blazed in his mind on discovering the lighting effects of the foot-lights and the coloured spot-lights used in cabaret performances’. This brightness was probably also due to the many Impressionist and Post-Impressionist pictures he was now able to see for the first time otherwise than in black-and-white reproductions or in the pastiches of Casas and Rusiñol.
Many of his works also have Impressionist themes; there are studies of flowers, of streets in Montmartre, of the Boulevard do Clichy and of mothers with their children in public gardens. One may suppose that Picasso at this time was absorbed in digesting the intense new experiences afforded by Paris and its galleries, and we know from Sabartés that on his return to Barcelona he missed them. ‘Naturally we went to the Salón Parés for there was no other exhibition to go to, but it seemed to us shallow when compared with our memories of Paris.’
During Picasso’s early visits to Paris the paintings of the Nabis were much in evidence. But the snug petit bourgeois life which they depicted and their interest in the sensuous surface of the world and in the play of light had comparatively little attraction for Picasso. In a sense they could be called the Mannerists of Impressionism, content as they were to develop and play variations on old themes, while Picasso felt the need for a new art appropriate to the new century.
It is significant that the literary contacts of the Nabis and the world of La Revue Blanche were somewhat archaising and looked back to the nineteenth century, whereas Picasso’s poet friends Jacob, and later Apollinaire and Salmon were more revolutionary and had all learnt something from the violent novelties of Jarry. Picasso was not quite untouched by the work of Bonnard and his friends, and their influence is probably detectable in his treatment of such subjects as race-meetings and bull-fights and perhaps in ‘Le Tub’, but on the whole Picasso did not forget the world he had left behind him and paid more attention to painters of the sordid and disinherited, such as Lautrec, Gauguin and in 1901 Van Gogh.
Lautrec’s well-known influence on Picasso has already been discussed. Reviewers of his exhibition at Vollard’s in June 1901 accused him of imitating this artist and this criticism may be partly responsible for the emergence of a new, more personal style towards the end of 1901. Gauguin had more to offer — a revolt against the tyranny of naturalism in favour of ‘le centre mystérieux de la pensée’, a clear-cut style not too difficult to assimilate and a picturesque life which had made concrete the current aspirations towards savagery and primitivism.
We know from Sabartés that Picasso and his friends discussed Gauguin with excitement, that Picasso owned and drew in Noa Noa, and also that their friend the sculptor Paco Durio had been a friend and disciple of Gauguin and owned several of his paintings and wood-carvings, some from the Brittany period. Although Picasso’s work is more obviously indebted to that of Gauguin in the Blue Period, in the idyllic classical phase of 1905 and in the trend towards the savage and primitive which followed, the heavy outlines of ‘L’Enfant au Pigeon’, ‘Clown’ and ‘Arlequin Accoudé’, all of 1901, have a Gauguinesque quality, as have several drawings of nude women crouched on the ground.
A large Daurmer exhibition was held at the Palais des Beaux-Arts in 1901, extending to over 470 items, but this was not Picasso’s first opportunity to see his work. He was represented in the Exposition Centennale of French Art in 1900 by thirty-five works, which included ‘Saltimbanques’, street-singers, laundresses and emigrants. Max Jacob had lithographs by Daumier which he gave to Picasso, and Manyac, Picasso’s first dealer, sold some to Berthe Weill, who was his second.
Picasso sketched a Daumier-like group of drunkards as early as 1900 and the similarity of Picasso’s ‘Les Fugitifs’ to Daurmer’s ‘Les Emigrants’, which was shown at the big exhibition of 1901, is too great to be accidental. Daurmer’s strongly outlined, silhouetted figures, which almost give the effect of stained glass, may have contributed something to Picasso’s style, and many of his subjects such as laundresses, mountebanks, mothers with sick children, spectators in a theatre and beggars occur in Picasso’s work. It is hard to distinguish between Picasso’s debts to Daumier and to Steinlen in his use of these themes, but the influence of the former is undeniable, and Picasso’s tragic clowns and pierrots are likely to have been suggested by Daumier rather than by Cézanne’s ‘Mardi-Gras’.
Picasso has told Roland Penrose that in 1901 the influence of Van Gogh was greater upon him than that of any other painter. This is particularly interesting, since at that time Van Gogh’s letters were practically unknown, his early works, which would have attracted Picasso by their subject-matter, were still in Holland, and even in 1902 Leo Stein, who had been introduced to the works of Cézanne by Berenson, had never heard of Van Gogh. Picasso, however, had probably been introduced to Van Gogh’s art by Nonell and could have seen his works with Bernheim Jeune and Vollard. Both these dealers had tragic self-portraits of Van Gogh which might have provided the stimulus for Picasso’s portrait of himself unshaven.
Some of Picasso’s vigorous close-up portraits of this year, such as that of Gustave Coquiot, and a very un-idealised ‘Femme hue étendue sur un lit’ are rather like Van Gogh, especially in the hatching; the increased feeling of compassion towards the end of the year may also be connected with the Dutch master. Picasso seems to have agreed with Van Gogh that ‘Les gens sont la racine de tout’ and at this time and later in his career he concentrated even more exclusively than the Dutchman on works with human figures to the exclusion of landscape and still life.
Picasso’s Rose Period
The Rose Period lasted from 1904 to 1906. Picasso was happy in his relationship with Fernande Olivier whom he had met in 1904 and this has been suggested as one of the possible reasons he changed his style of painting. Harlequins, circus performers and clowns appear frequently in the Rose Period and populated Picasso’s paintings at various stages throughout the rest of his long career. The harlequin, a comedic character usually depicted in checkered patterned clothing, became a personal symbol for Picasso.
The Rose Period has been considered French influenced, while the Blue Period more Spanish influenced, although both styles emerged while Picasso was living in Paris. Picasso’s Blue Period began in late 1901, following the death of his friend Carlos Casagemas and the onset of a bout of major depression. It lasted until 1904, when Picasso’s psychological condition improved. The Rose Period is named after Picasso’s heavy use of pink tones in his works from this period, from the French word for pink, which is rose.
Picasso’s highest selling painting, Garçon à la pipe (Boy with a pipe) was painted during the Rose Period. Other significant Rose Period works include: Woman in a Chemise (Madeleine) (1904–05), The Actor (1904–1905), Lady with a Fan (1905), Two Youths (1905), Harlequin Family (1905), Harlequin’s Family With an Ape (1905), La famille de saltimbanques (1905), Boy with a Dog (1905), Nude Boy (1906), Boy Leading a Horse (1905-06), and The Girl with a Goat (1906).
ballet dancers, dance posters, Female Artists, Figurative Art, Kitty Meijering, modern dancers, modern figurative art, spirit of dance
Born in Fife, Scotland in 1951, Jack Vettriano left school at sixteen to become a mining engineer. For his twenty-first birthday, a girlfriend gave him a set of watercolour paints and, from then on, he spent much of his spare time teaching himself to paint.
In 1989, he submitted two paintings to the Royal Scottish Academy’s annual exhibition; both were accepted and sold on the first day. The following year, an equally enthusiastic reaction greeted the three paintings, which he entered for the prestigious Summer Exhibition at London’s Royal Academy and his new life as an artist began from that point on.
Over the last twenty years, interest in Vettriano’s work has grown consistently. There have been sell-out solo exhibitions in Edinburgh, London, Hong Kong and New York.
2004 was an exceptional year in Vettriano’s career; his best known painting, The Singing Butler was sold at Sotheby’s for close to £750,000; he was awarded an OBE for Services to the Visual Arts and was the subject of a South Bank Show documentary, entitled ‘Jack Vettriano: The People’s Painter’.
From 1994-2007, Vettriano was represented by Portland Gallery in London but the relationship ended in June 2007. Since then, Vettriano has been focusing on a variety of private projects, including the launch of a new book, and painting of a portrait of Zara Phillips as part of a charity fund-raising project for Sport Relief, the experience of which was captured in a documentary broadcast on BBC1 in March 2008. Vettriano divides his time between his homes in Fife, London and Nice.
lollipop art print, renato casaro, renato casaro artworks, urban landscapes, decorative art prints, italian art, figurative art prints, modern figurative art
Abstract Art, abstract art buy, abstract art modern artists, abstract art original prints, abstract art painting posters, abstract art picture posters, abstract art projects, abstract artist, abstract artist contemporary, abstract define, abstract expressionism posters, abstract german art, abstract modern painting, abstract painting oil and acyrlic, abstract pictures, abstract theme posters, abstractionism, alfred gockel, art print, artist profile, best sellers, contemporary abstract image, decorative art, european abstract art posters prints sale, gallery artist, gallery modern art images, german abstract art contemporary, gockel abstract art gallery posters, modern abstract art work international, modern figurative art, multicolored abstract, original abstract art theme prints, prints of abstract paintings, red abstract, rhumba in red I, theme