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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 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.
Richie Fahey and His Photography
New York City photographer Richie Fahey paints his pictures in a cold water flat, surrounded by his inspiration: a huge collection of paperbacks in 1930-1960s, mold and pulp detective. With the help of a manual fan of post-war oil Coloring Pictures for fun and profit, he learned to transform photos into black and white to glorious color by bubbling with pigments on snapshots of the 40s .
Technicolor-style lobby cards as Fahey mentioned in the houses of old movies, novels and covers portraits dimestore star fan magazines such as screen and Photoplay. In defining his style, Fahey was inspired by pictures in magazine posed detective, director of photography for the 1940’s-50 as John Alton, portrait photographers like George Hurrell, and as painters and illustrators and James Leeteg Avanti.
In creating his images, Fahey plays with the stereotype of black beautiful women that has gone wrong and the men who love them. He is meticulous stylistic detail. Convincing the artistic direction, combined with lighting techniques and hand coloring vintage combine to create attractive, ambiguous works. The inability of the viewer to identify the exact time when a photograph has been taken Fahey, lends a certain timelessness to work from the artist.
Fahey has created book covers for Penguin, Scribner, Warner Books, Vintage, ST. Martin’s Press, Knopf and Simon & Schuster. Other commercial clients include Sony Records, Adobe Theatre Co. and Design Spot. His clients have included Sports Illustrated editorial, GOTHAM, bust, atomic physics and magazines Flatiron. Fahey produced and co-designed the cover for James Bond novels reissued.
Fahey was presented in juxtaposing art review, camera art, Yellow Rat Bastard and GARAGE. His work has been presented to the Robin Rice Gallery in New York’s Greenwich Village and posters of his work are available for purchase online at VintageArte.com. His 2004 calendar pinup, women in crime watch, beautiful women caught secretly commit various crimes fun.
Fahey studied painting at the University of South Caroline and photography at the Rochester Institute Technology.
The prime difficulty in most city planning until the 20th century was due to the fact that too few trained individuals had given specific thought to such problems as the regulation of traffic, control of the ingress of food stuffs, and the elimination of waste material. No one had considered the city as a greatly magnified human being which needed light, air, and exercise, as well as protection from the smoke and noise of the machine.
As cities simply grew, with the great concentration of population in the slums and with the advent of the skyscrapers, daily drawing their thousands of occupants from suburban areas, the problems of congestion and health control eventually forced the architects to think in terms of the efficiently planned metropolis. In the 20th century, a few enlightened industrialists also began to perceive that well-housed, healthy workers are a necessary part of the long-range planning for a stable industrial civilization.
In the America of the 1950s, it has been said, “each householder was able to have his own little Versailles along a cul-de-sac”. For the first time, many middle-class American families could afford to buy their own house, set in its own plot of land with an integrated garage.
The growth of suburban living brought with it a new lifestyle, in which leisure took on a new significance. A wide range of new domestic artefacts appeared as symboIs of this “affluent society”.
Desire for the new lifestyle goods was created and communicated by the mass media in magazine and television advertisements. As well as the readily available mass-produced additions to the household there was a growing tendency in interior decoration for householders to “do-it-yourself” to achieve a luxurious “modern” interior at a fraction of the price which it would cost to bring in an interior decorator.
The suburban “dream house” had its roots in Iate 19th-century America: Frank Lloyd Wright’s turn-of-the-century “Prairie” houses provided a model for later developers to emulate. By the early postwar years the “dream” had been made available to a new sector of the American populationý through improved methods of building cheap standardized, pre-fabricated houses and mortgage schemes provided for former members of the armed forces. A major justification for suburbia was the fact that it was safe for the children of the postwar baby boom. lncreased automobile ownership also helped to make suburban living a practical proposition.
The kitchen was the most important room in the suburban home of the 1950s as appliances began to take over from the automobile as the prime symbols of living in the modem age. The automatic washing-machine, the deep-freeze and the dishwasher were essentially products of the postwar era. They faciIitated living in the new settingý provided consumers with the latest technology in their own homes and filled the ever expanding space that constituted the kitchen area in the new suburban house.
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Spontaneity. With no pretense, or explanation, Ruth Palmer paints contemporary abstracts by feeling her way through the process and connecting to the soul of the subject, without concern for distinctions between representation and abstraction.
Born and raised in Edinburgh, Scotland, Palmer now resides in Calgary, Canada. While her primary influence is spiritual, based in Christianity; her art is also influenced by the richness of Manet’s impressionist works and what she deems the “colorful play and balance” of Kandinsky’s. Like Kandinsky, for whom spiritual influences counted heavily, there’s a certain intentional separation with Palmer’s art that allows viewers to participate in creating the artwork. The disunion is repaired when the painted form connects to the viewer’s soul.
Ruth’s works are extremely popular in print, particularly in the design market and hospitality industry. Her paintings and digital renderings can be enjoyed in many hotels and corporate offices worldwide. Recently Ruth was asked to create a collection for installation on one of Pullmantur’s new cruise ships and one of her best-selling pieces “Luscious Red” can be found in the new release of “The Spirituality Of Sex” by Wood Lake Publishing – a Canadian Christian Publisher.
Original paintings are currently in private collections throughout Canada, the United States, Australia, England and Scandinavia.
Josefine Jönsson is a photographer and fantasy artist based in Sweden. “I want to create a world that exists between dreams and reality. Where I can go my own way and let my feelings and thoughts take part in a piece of art.” Josefine’s work is absolutely amazing, and a mix between classy and psychodelic worlds.
Please enjoy this inspiring collection of expressive photography, let us know which one is your favourite in the comments below. Or check out her website for more inspirations.
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.
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Mary Whiton Calkins, whom is best known for two things: becoming the first woman president of the American Psychological Association and being denied her doctorate from Harvard. However, these two aspects only make up a small portion of what she accomplished in her life. Her entire life was dedicated to her work, especially the development of her “psychology of selves.”
She founded an early psychology laboratory and invented the paired-associate technique. She passionately delved into the new field of Psychology but also was highly active in the field of Philosophy. She was not deterred by being a woman and used her struggles to gain a voice to speak out against women’s oppression.