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L'opera nasce da un progetto in cui si vogliono trattare temi religiosi della storia dell'arte integrandoli ad una visione
personale e contemporanea. I personaggi sono degli 'omaggi' a grandi artisti del passato che vengono integrati in contesti
motivati da una lettura personale. In questo trittico, che è il secondo di una serie di tre, l'annunciazione del
Beato Angelico viene inserita in una scena bucolica in alta montagna con una natura incontaminata.
La salita al trono vede una scena di Hans Memling inserita in un interno dove una parte dell'architettura
contemporanea di Santiago Calatrava viene elaborata digitalmente per creare una corte con piscina:
un luogo in cui l'intervento dell'uomo crea un equilibrio idilliaco.
L'Ascensione di Rubens vede infine Nostra Signora che lascia una terra 'corrotta' dallo smog e dai fumi delle industrie
che salendo al cielo divengono panneggi che con gli angeli innalzano la figura al cielo.
Mi interessa trattare questi temi per la loro 'contemporaneità'.
Sono inoltre molto affascinato nell'utilizzare tecniche moderne e tradizionali allo stesso tempo;
per questo i soggetti vengono decisi digitalmente ma le realizzazioni vengono eseguite con le tecniche
tradizionali dell'olio semitrasparente e stratificato.
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submission date: 05/22/2020
Grandi artisti di diverse epoche hanno desiderato immortalare il momento di
un bacio, l’atto più grande del primo contatto di due innamorati, il
momento più dolce di un rapporto, lo scambio alchemico di un desiderio cosi
potente da creare una esplosione di vibrazioni che cancella in un solo
istante ogni altro pensiero. Una tempesta di sistemi nervosi, ormoni, che
non hanno freni ma che desiderano solo perdersi in un amore infinito, dolce
e sensuale.
Il bacio di Tony Nicotra come il bacio di Francesco Hayez, Gustav Klimt,
Amore e Psiche di Antonio Canova, ha una visione quantistica, completamente
nuova, più scientifica ma anche molto romantica e tanto delicata .
Nicotra arresta il momento del bacio, un attimo prima dell'atto in se, un
attimo eterno che rimarrà tale, dove vi è il massimo del desiderio, non un
bacio mancato ma un bacio pieno di ogni energia pronto ad esplodere nei due
amanti eterni.
L’opera di Nicotra deframmenta con la sua tecnica quantistica ogni atto
figurativo della materia come abiti, caratteri somatici, eliminando l’abito
carnale della materia estetica e rappresentando in maniera magistrale ed
emozionante la pura Energia, le vibrazioni dei sistemi nervosi, di quella
energia che solo due grandi amanti possono percepire.
Due amanti che si uniscono in un solo corpo vibrante dove il braccio
dell’uomo avvolge con protezione ed infinta dolcezza la tanto amata. Questa
straordinaria immagine della donna totalmente saldata al cuore del suo
amato in un unico impulso cardiaco, dove il suo volto innamorato piegato
verso il volto del suo uomo, cerca il bacio dell'anima.
Lei legata da intrecci e impulsi nervosi al suo amatissimo uomo, si unisce
profondamente in un solo organismo.
Tony Nicotra is an Italian Artist that was born in Caracas Venezuela on 17 August 1971.
I have always exhibited an insatiable curiosity for the world that surrounds me, and have passionately tried to express my inquisitiveness through drawing and painting. As a young man after finishing my Fine Arts studies, (where by my talents were developed and refined), and with increasing recognition of my artistic skills, I was appropriated into the discipline of restorative art where I worked prodigiously for many years. During this period I won critical acclaim amongst my peers, for successfully restoring numerous important and prestigious Italian works of art and monuments including, The Arena of Verona, The Cathedral of Catania, The Royal Palace of Venaria in Turin as well as the Italian Embassy in Berlin, to name but a few.
Yet despite all these accomplishments, and still driven by my insatiable and ardent desire to fathom the truth and raison d’être of the existence of life, of humanity, and its relationship with its delicate environs, I elected to temporarily suspend my career, to commence a long period of introspective soul searching. I devoted myself exclusively to the search of inner wisdom through the pursuit of knowledge, with a view of liberating the soul within. During this endeavour, I became an avid scholar of various metaphysical and spiritual disciplines, and, despite severe financial constraints and hardships, found myself compelled to pursue a personal and arduous pilgrimage, by walking The Route of Santiago di Compostela, better known as the pilgrimage of St James Path, ending in Santiago Spain.
During this journey I became inspired to study the field of Quantum Physics, and coupled with the knowledge previously gained, I finally found the answers to my deepest questions. Renewed by this personal experience, my quest is to now share my new found understanding and wisdom, through the communicative medium of artistic works, literary prose, and poetry. To this end, I have currently devoted my artistic ability, to the pursuit of rendering tangible and visible, the enigmatic invisible energy fields that constitute the universe and life within it.
My aim is to awaken in all humanity, the awareness and wonder, of the interrelatedness of all that exists, through the interactive dance of fundamental energy forms that constitute both living and non living things. This knowledge is rarely acknowledged, nor experienced by the uninitiated majority. Thus, my mission as an artist, is to utilize my personal wisdom, my faith and my new found perception of self as a singular, liberated and enlightened being, to demonstrate the existence of life as a divine source of permeating energy, constantly pulsating through dynamic and cyclic interactions.
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submission date: 03/03/2020
For the first time in the UK, Le Dame Art Gallery present Italian artist Domenico Pasqua with “Indian Impressions”, a journey to India’s holy places, where different themes and expressive techniques that, although starting from the same idea, are shaped by the artist’s intimate inspiration.
Domenico Pasqua combines reality and imagination, figurative and abstract elements, photography and paintings. His works are compositions of thoughts, visions of seen and imagined things; games of colors that evaporate just like wishes, leaving only clues for us to build other thoughts and images.
Places and people are combined in architectural patterns, which are both linear and rich in elements, at the same time. Although statically photographed and painted, nature draws symphonies of movements, games of lines and colors, both matching and contrasting, like mosaics or kaleidoscopes giving off a sense of beauty and harmony.
Pasqua’s complex pictorial effort allows us to contemplate artworks of great aesthetic beauty, which are not only executed with great technical skills but also enriched with a deep poetic sensitivity.
Domenico Pasqua is an Italian and Belgian citizen who studied architecture at the University of Rome 'La Sapienza', where he graduated cum laude in 1985. He worked as architect mainly for Residential projects, and since 1990, he also worked as photographer for a studio in New York specialising in works on commissioned for International museums. As an artist, he had his first group show at the age of 18, in Florence. Since then, he has always been pursuing his artistic research.
In 2019 he participated in the 'Artrooms Awards', International Art Competition, winning the first prize with the work 'The Children of Mont Abu'. He currently lives between Rome and Antwerpen where he opened a new studio in 2015.
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6 Feb – 6 May 2020
Baglioni Gallery, Baglioni Hotel
60 Hyde Park Gate, Kensington London SW7 5BB United Kingdom
submission date: 01/28/2020
Patrizia Di Poce, was born in Rome, where she lives and works.
Her artistic course manifests during the years with a creativity in continue evolution, she moves with enthusiasm from painting to ceramics, choosing even common rocks or logs smoothed by sea or river waters as materials for her creations, all different techniques that nurture and develop the sensibility of her artistic expression to finally arrive to marble sculpture.
During the 2006, driven by her quest for an intimate and profound realization, she arrives to Pietrasanta(Lucca) in the heart of Apuan Alps, where she stays on alternate periods in order to realize her creations.
Her marble sculptures are splinters of matter transformed in language.
“ I choose that block of different dimensions (big, medium or small), by instinct, or maybe it chooses me. From this magical encounter, the rhythm of an ancestral dance is born that later manifests with my creations. Like this, that piece become “my piece” because I own its Essence and it reflects my free soul. Presently, to sculpt the marble my way, marble that I feel as a matter of great energy, is simply the realization of a natural talent that I had as a gift. I know I have arrived to the center of my creativity and I feel great. My creations are visible translation of what I feel intimately, a profound perception to which I remain connected and which accompanies me beaming towards the future, with consciousness of a mature woman and joy and enthusiasm of a curious little girl.”
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submission date: 11/21/2019
Dressed and undressed, curvaceous and angular, sleeping and watching. Over seven decades the Spanish artist Pablo Picasso depicts the female body as a colourful metamorphosis – full of longing and willpower, desire and eroticism. The exhibition Beloved by Picasso – The Power of the Model looks at the relations between one of the greatest painters in world history and his models, and reinterprets Picasso’s depictions of women. The famous artist’s portraits of women raise issues that are highly topical today as more and more people are discussing gender, privileges and identity in the context of equality and feminism. ARKEN’s Picasso exhibition focuses on the women in the portraits, their significance for Picasso’s wild changes of style and the comedy of his dramatic stagings.
Erotic thirst and burning desire
Pablo Picasso is famous for his talent for artistic innovation and notorious for his uncompromising life. Picasso’s artistic development and new stylistic departures parallel his love life – and it does not go quietly. In groundbreaking and expressive paintings Picasso interprets his family life, children, fame, artistic identity, love and crises. To one motif in particular he returns again and again: the naked female body, alone or in interaction with the artist. With a starting point in one of the most iconic motifs in the history of art – the painter and the model – Picasso depicts the desire to see and be seen. He shows our erotic thirst and eternal fascination with one another’s bodies as well as the lustful insistent looks that arise in the interaction between the parties.
More than muses
Beloved by Picasso – The Power of the Model challenges the balance of power between the artist and his models and takes a fresh look at Picasso’s pictures of those he loved. Picasso renders the women’s strengths, emotional life, pleasure and anger with great empathy, and stages his own role as artist with self-irony and humour. For the first time ARKEN’s exhibition tells the stories of Olga Khokhlova, Marie-Thérèse Walter, Dora Maar, Françoise Gilot and Jacqueline Roque as more than Picasso’s muses and preferred subjects.
Masterpieces from Paris
ARKEN’s Picasso exhibition presents numerous masterpieces from the unique collection of the Musée national Picasso-Paris. The exhibition includes paintings, drawings, sculptures and prints as well as historical film clips, photos, poems and a photo album. A magnificent Picasso experience awaits the visitor in the autumn, when Beloved by Picasso – The Power of the Model takes over ARKEN’s galleries from 12 October.
New Picasso research
For the exhibition a richly illustrated catalogue will be published presenting new research on Picasso by Danish and international contributors. ARKEN’s Curator Naja Rasmussen’s peer-reviewed article explores the women’s partnerships with Picasso, his stylistic developments and the gaze applied to them and himself. Émilie Bouvard, former curator at Musée national Picasso-Paris where she was in charge of paintings (1938-72), research and contemporary art, and recently appointed director of collections at Foundation Giacometti, examines Jacqueline Roque’s significance for Picasso’s late art. Wendy Steiner, author and professor emerita at Pennsylvania University, addresses current viewer positions and the Picasso model as an idea. Writer, scholar and curator Harri Kalha analyses Picasso’s erotic and humorous (self-)staging and his eye for body and gender.
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submission date: 9/30/2019
submission date: 9/9/2019
La competencia ofrece a artistas de América Latina, el Caribe y de la diáspora latinoamericana la oportunidad única de presentar su arte a un público internacional en el famoso distrito de arte de Chelsea, en la ciudad de Nueva York. Los premios (valorados en USD $ 55,000) incluyen la participación en una exposición en la ciudad de Nueva York, participacipación en una feria de arte en Estados Unidos y oportunidades de promoción en línea y premios en efectivo. Un panel de jurados especializados en arte Latinoamericano revisará todas las inscripciones en busca de grandes talentos. El Concurso de Artes Visuales Contemporáneas de América Latina es una plataforma espectacular para promover tu obra a nivel internacional. ¡Aprovecha esta excelente oportunidad para artistas latinos en cualquier etapa de sus carreras! Para obtener más información o para participar, visita http://www.agora-gallery.com/competition/latin-american/spanish
Contáctanos en coordinator@agora-gallery.com o en Facebook.
The Latin American Contemporary Fine Art Competition - June 25 to August 15, 2018
The competition offers artists from Latin America, the Caribbean and the Latin American diaspora the unique opportunity to present their art to an international audience in the famous art district of Chelsea, in New York City. Prizes (valued at $ 55,000) include participation in an exhibition in New York City, participation in an art fair in the United States, online promotion opportunities and cash prizes. A panel of juries specialized in Latin American art will review all the entries in search of great talent. The Latin American Contemporary Fine Art Competition is a spectacular platform to expose and promote your work internationally. Take advantage of this excellent opportunity for Latino artists at any stage of their careers! For more information or to participate, visit
http://www.agora-gallery.com/competition/latin-american
Contact us at coordinator@agora-gallery.com or on Facebook.
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submission date: 5/14/2019
I consider myself a visual composer who, with lightness, careless and without shame, utilises and mixes different techniques and visual arts.
I don’t go along or belong to any group, school or trend.
Groups and schools are prisons. Bounds are boundaries to the freedom, the freedom which is the base to try understand who I really am, who You really are.
Artistically I don’t have conscious influences. I usually improvise, in art so in life.
I don’t use to prepare and organise things before to do something. It’s tedious and I don’t have enough discipline for it.
In Italian I would say: Navigo a vista. Literally Dead Reckoning.
My interest goes to people and their faces, that’s why only love figurative arts in every style or form
I like to observe people which are the mirror of myself and the understanding of
Myself in their daily activities and emotions, and I keep myself ready. Sometimes, for few seconds, it’s like I can experience their momentary emotions, especially if it is frustration or sacrifice.
A stranger can make us feel emotions that don’t belong to Us. Empathy.
And it is that vision, in which I transcend, that I want to translate into something real using Art as a device tool. I use the others. I then confront them with myself. It can be seen often in my art where my portrait is often the background layer, hidden or drowned under other’s emotions.
I was born in Bologna, Italy, the 8th of August 1973 in a middle-class family, basically formed by Teachers, Doctors and Economists. I was forced to follow my parents steps so I graduated in Economics. Meanwhile, I was 18, I met and get along with Massimiliano Valli, a talented Film director and peculiar person witch I still admire. He made Best Boy in his movies. That’s where my love and dreams for Cinema light up. In secret I attended a Cinema university, DAMS Bologna.
During the university time in Urbino, I I get really well along with the Maestro Bruno Tontini, a contorted painter and sculptor, known in Urbino for being hot-headed alcoholic and untameable trouble maker. With him I spend 5 years of real friendship, interrupted by his incarceration.
Together we mostly experiment with the videocamera doing short videos using us as actors. He also teaches me the basic of sculpture and painting. I consider Bruno my first Maestro d’arte, even if his style didn’t influenced any of my works.
Bruno is in prison and I get my graduation. Back to Bologna I start to work in my parent’s business as business consultant. After 6 month I buy a ticket to Shanghai and I quit the job. Since that day I still wandering around asia doing videos, photos, drawing and tattooing.
Nick Suzuki (Nicola Suzzi)
submission date: 4/4/2019
Eugenio Galli nasce nel 1951 a Seregno (MB), dove lavora tuttora, e vive a Briosco (MB). Sin dall’adolescenza coltiva la passione per la pittura.
Terminati gli studi scientifici a Monza lavora per circa vent’anni nella bottega orafa di famiglia specializzandosi in gemmologia.
Dopo aver abbandonato la figurazione, agli inizi degli anni ’90 si sofferma sulla questione della luce approdando ad uno spazio creativo sottolineato da un colorismo fine e sommesso. Iniziano così i suoi cicli astratti, denominati materia e spirito, percezioni universali, iridescenza cromatica, sino ad arrivare alla recente produzione che sfocia in una particolare filosofia alla ricerca dell’universalità spirituale che va sotto il nome di “La trascendenza di Eugenio Galli”.
A questa nuova linea pittorica-scultorea appartengono l’elegia del bianco, le opere multimateriche e le sculture in materiali vari, specie in cor-ten.
Eugenio Galli ha partecipato a numerose personali e collettive in Italia e all’estero tra Roma, Firenze, Milano, Berlino, Lugano, Lione, Budapest, Sharjah (Emirati Arabi) e il Cairo.
Sue opere sono conservate in collezioni pubbliche e private, nazionali ed internazionali.
La trascendenza
…ecco allora la Trascendenza cioè l'”andare oltre”… quindi andare oltre la realtà dell’universo fisico, del pensiero e della ragione.
Questa mia linea pittorica-scultorea non prende perciò spunto da elementi materiali, da immagini o elaborazioni mentali, ma è l’individuo in quanto essere spirituale che crea scevro da qualsiasi interferenza.
È vero per fare ciò deve usare il proprio corpo, gestire i vari attrezzi e materiali ma questo non è pensiero ma unicamente automatismo che deriva dalla tecnica acquisita. Non si deve quindi confondere questa condizione con la casualità in quanto qui abbiamo la consapevolezza dell’essere.
submission date: 3/29/2019
It's myself art journey. Last 10 years to continue I am busy in myself search through the art and painting. For me painting is a language. It's need vision not any kind of texts ...
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submission date: 1/21/2019
Agora Gallery is pleased to invite artists from across the globe to enter the 34th Annual Chelsea International Fine Art Competition. Selected artists will receive prizes and opportunities that will grant invaluable exposure, boost recognition, and promote career growth.
“The Chelsea International Fine Art Competition has been an annual tradition within New York City’s vibrant art scene for more than 30 years. Artists from around the world can have their work reviewed by distinguished jurors and, if selected, exhibit their work in a major Chelsea gallery. It’s a marvelous opportunity open to all and we strongly encourage artists at every level of practice to participate!”
-Eleni Cocordas, Director, Agora Gallery
The 2019 competition awards are valued at more than $70,000. In addition to cash prizes, other awards include participation in the collective exhibition, featured magazine profiles, valuable PR opportunities, and an honorable mention. A portion of the gallery’s proceeds from artwork sales will be donated to the Children’s Heart Foundation.
“My experience with Agora has been almost a dream come true. I never imagined ever exhibiting in a New York City Chelsea Art Gallery. I thought that would have been the extent of my reward for being selected but I was amazed at how much Agora was committed to the success of the artist… This was absolutely a dream come true. I highly recommend Agora to all artists, especially new and up-and-coming artists. I also reached out to my brother who is a painter and an old high school friend, a photographer. The best thing about Agora was that it reignited the fire in me to continue painting. Thank you.”
-Herold P Alexis Patrick, United States, 2018 Selected Artist
The 2019 Chelsea International Fine Art Competition will be accepting submissions between February 5th and March 12th, 2019. Results will be announced on April 16th, 2019, with the competition exhibition slated for August 10–20, 2019.
Are you ready to take your career to the next level? Apply to be recognized by Agora’s reputable jury. Visit
http://www.agora-gallery.com/competition/ for more information and detailed instructions on how to enter. You can also contact us at competition@agora-gallery.com.
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submission date: 1/8/2019
Siamo in presenza di un autore che sta apportando un contributo autentico. Enzo Marino, il cui gesto rigoroso può essere compreso soltanto guardando molto in dentro, non oltre la materia, ma dentro la materia, non oltre la pittura ma dentro la pittura.E’ proprio dei buoni pittori far vivere nell’opera una luce che sia quelle stessa della loro esperienza, storica e concettuale non meno che percettiva. Enzo Marino infonde la luce umida e blu, inconfondibile e non altrove reperibile, di una particolare area campana disposta sul mare e sotto un tremendo focolaio vulcanico. In questa luce l’esistenza persiste a rischio, è atletica, sfida potenze inumane, sopporta il travolgimento ma non ammette di non guardare avanti. Qui arte significa lotta: lotta per neutralizzare il soffocante statuto fisico delle cose e conseguire nella favorevole luce umida un respiro liberato dai giallori dello zolfo igneo, e così è enunciato il secondo estremo cromatico di questo abile colorista. Il Giallo è citrino, acerbo, bronzeo, dorato, diluito in biancori rosati, è la Terra in sussulto. Il Blu, appartiene alla profonda regione superiore, anticamente denominata «Etere». La comunione del Giallo igneo, terrestre, mutante, ansioso, e del Blu umido, aereo, stabile, costituisce il Verde, la vita. L’inumano si fa sovrumano, il sovrumano si fa inumano. Nel mezzo, sono i Mortali. Essi hanno dei corpi, quei corpi, segmentati da possenti linee di forza, che sono tema costante e centrale di Enzo Marino. Corpi eroici, corpi spirituali, sono in stretto nesso con l’Etere. Vi nuotano, vi si allungano e protrudono con le articolazioni per meglio penetrarlo. Esso risponde loro, sia che vorticando li accetti, sia che si condensi aureolando una testa in forma di trecce o foulard, sia che ne spinga qualcuno al suo bordo estremo per onorarlo consegnandolo a un destino di catastrofe sublime; esso precipita facendo propria l’imposizione necessaria mentre la rifiuta, con gesto di straordinaria tensione.
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submission date: 11/23/2018
Tony Nicotra is an Italian Artist that was born in Caracas Venezuela on 17 August 1971.
I have always exhibited an insatiable curiosity for the world that surrounds me, and have passionately tried to express my inquisitiveness through drawing and painting. As a young man after finishing my Fine Arts studies, (where by my talents were developed and refined), and with increasing recognition of my artistic skills, I was appropriated into the discipline of restorative art where I worked prodigiously for many years. During this period I won critical acclaim amongst my peers, for successfully restoring numerous important and prestigious Italian works of art and monuments including, The Arena of Verona, The Cathedral of Catania, The Royal Palace of Venaria in Turin as well as the Italian Embassy in Berlin, to name but a few.
Yet despite all these accomplishments, and still driven by my insatiable and ardent desire to fathom the truth and raison d’être of the existence of life, of humanity, and its relationship with its delicate environs, I elected to temporarily suspend my career, to commence a long period of introspective soul searching. I devoted myself exclusively to the search of inner wisdom through the pursuit of knowledge, with a view of liberating the soul within. During this endeavour, I became an avid scholar of various metaphysical and spiritual disciplines, and, despite severe financial constraints and hardships, found myself compelled to pursue a personal and arduous pilgrimage, by walking The Route of Santiago di Compostela, better known as the pilgrimage of St James Path, ending in Santiago Spain.
During this journey I became inspired to study the field of Quantum Physics, and coupled with the knowledge previously gained, I finally found the answers to my deepest questions. Renewed by this personal experience, my quest is to now share my new found understanding and wisdom, through the communicative medium of artistic works, literary prose, and poetry. To this end, I have currently devoted my artistic ability, to the pursuit of rendering tangible and visible, the enigmatic invisible energy fields that constitute the universe and life within it.
My aim is to awaken in all humanity, the awareness and wonder, of the interrelatedness of all that exists, through the interactive dance of fundamental energy forms that constitute both living and non living things. This knowledge is rarely acknowledged, nor experienced by the uninitiated majority. Thus, my mission as an artist, is to utilize my personal wisdom, my faith and my new found perception of self as a singular, liberated and enlightened being, to demonstrate the existence of life as a divine source of permeating energy, constantly pulsating through dynamic and cyclic interactions.
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submission date: 9/28/2018
An unprecedented and private look on some little-known works by the three giants of Italian Symbolism: Giulio Aristide Sartorio, Gaetano Previati and Pelizza da Volpedo.
'Intimate Symbolism' is an unprecedented and private look on some little-known works by Giulio Aristide Sartorio, Gaetano Previati and Pelizza da Volpedo. Faces and interior landscapes as a state of mind disclose a hidden and intimate aspect of the three greatest interpreters of Italian Symbolism.
All artworks but one come from the same private Collection, where they've been kept for half a century.
11 [HellHeaven] - Ars Perpetua 111
Via dei Coronari 111, Roma IT
Opening Time: Tue to Sat 12:00 p.m. - 6:00 p.m.
Vernissage: 23 June h.7:00 p.m.
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submission date: 6/14/2018
A new film shot in ultra HD 4K, based on the much anticipated exhibition at The Queen’s Gallery, Buckingham Palace
In cinemas nationwide from 26th September 2017
Directed by David Bickerstaff
Co-written by David Bickerstaff and Phil Grabsky
EXHIBITION ON SCREEN open its fifth season with Canaletto & the Art of Venice, an immersive journey into the life and art of Venice’s famous view-painter.
No artist better captures the essence and allure of Venice than Giovanni Antonio Canal, better known as Canaletto. Despite Canaletto’s close relationship with the city in which he lived and died, the world’s largest collection of his works resides not in his native Italy, but in Britain as part of the Royal Collection. In 1762, George III purchased almost the entire collection amassed by Joseph Smith,British Consul in Venice and Canaletto’s principal agent.
EXHIBITION ON SCREEN’s latest release will grant unique access to the Royal Collection’s exceptional holdings of Canaletto's work, much of which is on display as part of the exhibition Canaletto & the Art of Venice at The Queen’s Gallery (19 May - 12 November).
The remarkable group of over 200 paintings, drawings and prints on display offer unparalleled insight into the artistry ofCanaletto and his contemporaries, and the city he became a master at capturing. The film also offers the chance to step inside two official royal residences - Buckingham Palace and Windsor Castle - to learn more about the artist, and Joseph Smith, the man who introduced Canaletto to Britain.
From London, Canaletto & the Art of Venice will travel to the great Italian city to explore the origins of Canaletto’s art. Whilst appearing to be faithful representations of the city, Canaletto's skill came from his manipulation of reality. He moved buildings around or opened up vistas to create the perfectcomposition, and his paintings of Venice were highly sought after by Grand Tourists. His playful imagination extended into a new genre in which he excelled. The 'capriccio' combined real and fantasy architecture into imagined views. In this sense, Canaletto is more than a topographical artist - he is a master storyteller.
Cinema-goers will embark on their very own 21st century Grand Tour, visiting the sites enjoyed by their 18th century counterparts and immortalised in Canaletto’s views - from the Rialto Bridge to the Piazza San Marco, and the Palazzo Ducale to the Church of Santi Giovanni e Paolo. Guided by RoyalCollection Trust curators and the world’s leading experts in Venetian history, the film is not only a wonderful way to see the exhibition, but an opportunity to get closer to Canaletto and the city that inspired him.
ABOUT EXHIBITION ON SCREEN
Working with top international museums and galleries, EXHIBITION ON SCREEN create films which offer a cinematic immersion into the world’s best loved art, accompanied by insights from the world's leading historians and arts critics. Since launching in 2011, EXHIBITION ON SCREEN have released 16 films which have been shown in over 50 countries worldwide.
Submission date: 7/17/2017
The janinebeangallery announces the upcoming exhibition "Séance ", featuring artworks of the photographer Katrin Günter and the painter Tanja Selzer. January 9th – February 20th 2016
Kathrin Günter knows all about the illusions of eternal fame and of everlasting love. She is familiar with the mechanisms of the media and all the different forms of manipulated adoration. For more than 15 years Kathrin Günter has been observing and studying every celebrity moment, particularly the simultaneous longing for attention and a desperation to stay out of the permanent spotlight. Kathrin Günter sees and records everything for what we call eternity. Tanja Selzer lives and works as an artist in Berlin since 2003. Her paintings resemble snapshots of a dream, enchanted and unreal. Seemingly incoherent motifs are combined by the artist as a sequence of an ecstatic and dream-like plot, reflecting everyday sceneries, but continuously evading mere causality.
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submission date: 1/5/2016
BASEL, SWITZERLAND: Celebrating nine years in Basel, SCOPE Art Show returns to its pioneering location in Klybeckquai. A wellspring of cultural development for Basel Stadt, SCOPE is the initiator of extraordinary happenings centered on the New Arts District on the Rhine, including the founding of a world class Art & Culture Hall. SCOPE Basel will welcome 85 International Exhibitors alongside 10 Breeder Program galleries, and a selection of Juxtapoz Presents galleries offering a view of the contemporary art market available nowhere else. Exhibitors hail from four continents and over twenty countries including China, Mexico, Japan, Korea, Brazil, Italy, Iran, Russia, Turkey, France, Belgium, the Netherlands, Norway, Switzerland, Germany, UK, Spain, and Canada. Following its tremendous success in Miami, SCOPE is honored to present the second edition of Feature | Korea, in collaboration with the Galleries Association of Korea. Sponsored by the Korea Ministry of Culture, Sports and Tourism, this curated section offers a glimpse at the current art trends in Korea and shines new light on the country’s contemporary cultural practice.
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janinebeangallery: booth A13
artists: Inna Artemova, Grigori Dor, Dario Puggioni, Florian Fausch
June 16-21, 2015 - SCOPE Basel, Uferstrasse 40 CH - 4057 Basel, Switzerland
April 30th – May 3rd 2015 at St. Johannes Evangelist-Church | Auguststr. 90 | 10117 Berlin AMSTERDAM: Galerie AdK, Galerie Bart, Galerie Brandt, Cityscapes Gallery, Livingstone gallery, Vriend van Bavink, Galerie Wit BERLIN: C&Kunterwegs Galerie, janinebeangallery, Jarmuschek+Partner, lorch+seidel, Petra Riez Salon Galerie, seifert | lardon, Wichtendahl Galerie For the third time Amsterdam and Berlin based galleries organise a collaborative exhibition that displays current positions of Contemporary Art. Titled as I AMsterdam YOU BErlin works of international artists will be shown in the St. Johannes Evangelist church in Auguststraße. Parallel to numerous exhibition openings in Berlin, I AMsterdam YOU BErlin presents thereby a concrentrated insight into the vivid contemporary art scene of two cities with a rich background of artistic tradition. With 10 participating galleries and 4.000 visitors at one weekend, the second issue of I AMsterdam YOU BErlin has already been a great success. This year the sacral environment stirs again a special interaction with the space, whereby it invites to include the spacial component for the presentation. Works of 37 artists from 11 nations will be displayed. The focus is therefore set on painting and drawing, but also genres like installation, photography and sculpture are represented. Entitled as “Hidden Treasures“ the exhibition holds for the first time a concrete metatopic, of which every of the 14 galleries is inspired by. Therefor it creates on a superior level a diverse metatopic-related exhibition of different positions. The aim of this event is the intercultural exchange and the presentation and imparting of Contemporary Art. Each artwork is linked to the exhibition topic and of course can be purchased. The entrance is free. The project takes place in collaboration with the Kulturbüro Elisabeth. During the opening on 30th of April the artist and musician Melle presents at 8 p.m. a musical performance. read more »
www.iamsterdamyouberlin.com
Zaven Nevaz LIVE 2014 - Architettura Arte Contemporanea - October 11 - 31, 2014
E' una attenta riflessione sul mondo quella che Zaven traduce in forza e quindi in colore trasmesso con l'impeto del gesto con pennelli e spatole, per cogliere quell'attimo breve ed interminabile e fissarne l'essenza del segno.
Lo spessore della materia, nell'interpolazione tra colori primari, si mescola tra strati sovrapposti, componendosi e ricomponendosi fino al punto in cui la tela diventa luogo di creazione e concepimento.
Quella stessa gestualita' che intercorre tra la tela ed il colore trova l'esatta conformazione quando fissandosi staticamente sulla superficie la impressiona, come una pellicola fotografica attraversata dalla luce, permettendo cosi' all'anima di rappresentarsi e rendersi visibile al mondo che la contiene.
Colore come parole che parlano e scrivono frasi il cui senso raggiunge l'interno dall'esterno, il bianco dal nero. E' quella parte interiore che parla raccontando il complesso vissuto che separa microcosmo da macrocosmo, miniature da possenti pennellate, luogo dove il gesto misurato e sottile si dilata nell'impatto travolgente del tempo.
In questo modo, nelle opere di Zaven, tempo e materia si incontrano attraversando lo spazio per fermarne un frammento che racconta l'intera esistenza di quell'anima che stenta a farsi vedere e riconoscere ma che invece parla eloquentemente attraverso l'opera d'arte.
Un perfetto equilibrio tra realismi figurativi e trasformazioni astratte culminanti in un linguaggio simbiotico tra rappresentazione di un mondo apparente ed il suo profilo indefinito, intangibile, in continuo movimento, etereo ed eterno.
Artista armeno dedito alla ricerca del divino, che si esprime nell' arte figurativa delle icone e in quella dell'espressionismo dei suoi quadri.
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www.architetturaartecontemporanea.com
Amedeo Modigliani - L'occhio dell'anima - Architettura Arte Contemporanea from 20 June to 11 July 2014
Undici disegni realizzati in serigrafia (1912- 1919) con telai a mano su carta del Giappone in tiratura unica d'après.
L'occhio dell'anima, assente e smisurato, posto nel vuoto per descrivere l'immensità interna, è la via che è di noi spirito della mente. L'arte, attraversando disegno e corpo, racconta la possibilità di trasmettere ciò che è oltre la materia ed indaga, disegnando o astenendosi dal disegnare, aspetti del linguaggio dell'anima. Quegli stessi occhi, soltanto accennati da due semplici segni, ignari di cosa possa essere la bellezza dentro, sono in attesa di poter essere segnati e poter dire di se stessi; altri occhi pensanti e assenti, altri ancora indifferenti. Quello che divide lo spazio ne solleva la superficie e inizia a trascendere e svelare l'essenza, la matrice perfetta. Il segno, che porta con sè il dramma della vita, racconta e incide quell'ombra che ne determina il suo esistere. Abbandonati nella solitudine di un sogno dove tempo e spazio si spostano, i piani iniziano a frantumarsi e sciogliersi per svelare le forme dell'esistenza. Raccontano il vuoto e la luce come una cosa sola.
www.architetturaartecontemporanea.com
In 1997 and 1998 Filmmaker Bob Bryan singlehandedly created, produced & curated the "1st and 2nd International Graffiti Art Competition." This was a first ever event, celebrating Art creations from Spray-Can Artists all around the world. The IGAC took place in the downtown Museum of Art, Los Angeles California. This beautiful & impressive Collectors Edition (ART BOOK 1 & ART BOOK 2) commemorates the vast style diversity of the International submissions and winners. ART BOOK 1 CATEGORIES: ¨ Canvas ¨ Collage ¨ Cyber-Space Art ¨ Multi-Media Installation ¨ Old School ¨ Other Mediums THE GENESIS of GRAFFITI VERITE’: Read the Writing on the Wall "Truth Or Dare" (Featured Article in RAP PAGES MAGAZINE) Graffiti Verite’s Bob Bryan continue to prove that beauty is in the eye of the beholder GRAFFITI VERITE’, the incisive documentary on the lives of Los Angeles Graffiti Artists, blew up like no other graff video to date, leaving behind an unprecedented trail of award recognition, media exposure and education about the Art Form. Bob Bryan, director, producer and director of photography on the film, accomplished what no other videographer had yet been able to do: create a graffiti documentary with mainstream crossover appeal. “I managed to promote the documentary in a way that didn’t just reach some of the old heads that were already in the life, but ‘turn-on’ people that didn’t know anything about Graffiti Art or that had a prejudice against graffiti,” Bryan points out. The filmmaker particularly targeted gallery people, educators, librarians and institutions that could be an asset for Hip-Hop and Graffiti Art in a financial sense. Bryan’s aesthetic and technical skills have been acknowledged with film and video competitions worldwide, including the prestigious Council of Int’l Non-Theatrical Events (CINE) Golden Eagle Awards, as well as, a National Educational Media Network, GOLDEN APPLE Award, Cinema in Industry (CINDY) Awards (sponsored by the Association of Visual Communicators (AVC) - not to mention that he’s also up for an Emmy this year. This year also finds Bryan taking it to another level by legitimizing Graffiti Art on an international scale through the creation of the First Annual International Graffiti Art Competition. “I’m taking the credibility that GRAFFITI VERITE’ has established and bringing a lot of Graffiti Art to the attention of major institutions and educational organizations,” he says. “I’ve been successful with being able to bring Los Angeles Graffiti Artists up, and now what I want to do is bring the international community of Hip-Hop and Graffiti Art to the attention of a worldwide audience.” Bryan’s sole purpose for the establishment of the FIRST INTERNATIONAL GRAFFITI ART COMPETITION is to “...create a forum for the serious examination, illumination, appreciation and recognition of this worldwide Art Form and phenomenon...”
-- By Ben Higa, RAP PAGES
read more @ amazon »
submission date: 6/13/2014
Graffiti Verite' 25 (GV25) The International Graffiti Art Competition-Art Book 1: First & Second (1997-1998) - Collectors Edition (Graffiti Verite' Docu-Series) (Volume 25) Paperback – June 1, 2015
Amedeo Modigliani - L'occhio dell'anima - Architettura Arte Contemporanea from 20 June to 11 July 2014
Undici disegni realizzati in serigrafia (1912- 1919) con telai a mano su carta del Giappone in tiratura unica d'après.
L'occhio dell'anima, assente e smisurato, posto nel vuoto per descrivere l'immensità interna, è la via che è di noi spirito della mente. L'arte, attraversando disegno e corpo, racconta la possibilità di trasmettere ciò che è oltre la materia ed indaga, disegnando o astenendosi dal disegnare, aspetti del linguaggio dell'anima. Quegli stessi occhi, soltanto accennati da due semplici segni, ignari di cosa possa essere la bellezza dentro, sono in attesa di poter essere segnati e poter dire di se stessi; altri occhi pensanti e assenti, altri ancora indifferenti. Quello che divide lo spazio ne solleva la superficie e inizia a trascendere e svelare l'essenza, la matrice perfetta. Il segno, che porta con sè il dramma della vita, racconta e incide quell'ombra che ne determina il suo esistere. Abbandonati nella solitudine di un sogno dove tempo e spazio si spostano, i piani iniziano a frantumarsi e sciogliersi per svelare le forme dell'esistenza. Raccontano il vuoto e la luce come una cosa sola.
www.architetturaartecontemporanea.com
Documentary exhibition on the occasion of the 450th anniversary of the death of the great Florentine artist.
The exhibition Michelangelo. Incontrare un artista universale, covering the life and work of this colossus for all times, is to be held at the Musei Capitolini on the occasion of the 450th anniversary of the death of Michelangelo Buonarroti in Rome on 18 February 1564. In the heart of the city, in that very Piazza del Campidoglio which the genius of Michelangelo made unique in the world, over one hundred and fifty works, of which around seventy by the Tuscan artist, from many of the leading cultural institutions in Italy and elsewhere, are to commemorate the 450th anniversary of the death of an artist who was so magnificent as to have a lasting influence not only on the arts in Italy but also on all universally known culture.
An exhibition which overcomes the objective impossibility of exhibiting “non-transportable” Michelangelo masterpieces (a prime example being the frescoes in the Sistine chapel) by showing works which can be admired together. These works are in fact displayed, in many cases for the first time, facing each other and side by side in an extraordinary compendium of matchless artistic output, from painting to sculpture and from poetry to architecture, the four genres adopted by Michelangelo, which are to be linked up in nine display sections to focus in this way on the crucial themes of his art. One major example is the extraordinary presence in the exhibition of the great
work of art by Michelangelo in a political vein, Brut, on view alongside earlier classical busts, the bronze Brut from the Musei Capitolini and the Caracalla from the Vatican museum, at last on display in a direct comparison with two works which, in different ways and circumstances, were its inspiration.
The fil rouge guiding visitors to the exhibition is market by a series of thematic “opposites” used to highlight the difficulties of the man and of the artist in the devising and creating of his works: ancient and modern, life and death, the battle, the victory and imprisonment, rules and freedom, earthly and spiritual love. The contrast of earthly and spiritual love, for example, was particularly felt by Michelangelo, both in art and in life. This is demonstrated by a set of drawings and other works inspired by close friendships and elective affinities such as those for Tommaso Cavalieri and Vittoria Colonna. Each theme, as if mirrored, is to be analysed by comparing drawings, paintings, sculpture and architectural models, as well as a highly select choice of signed writings, i.e. letters and poetry, via Michelangelo’s full personal and artistic career.
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Michelangelo. Incontrare un Artista Universale. (Italian) Paperback – 2014
by Capretti E.,Risaliti S. Acidini C. (Author)
AAC is pleased to present a solo exhibition by Ugo Nespolo "Italian inventions" to reveal the richness and expressiveness of this Italian artist published in the prestigious encyclopedia Treccani and present in foreign museums with the largest number of exhibitions.
from 09 May to 12 June 2014
AAC e’ lieta di presentare la personale di Ugo Nespolo “Invenzioni italiane” per svelare la ricchezza espressiva ed appassionante di questo artista italiano pubblicato nella prestigiosa enciclopedia Treccani e presente nei musei stranieri con il maggior numero di mostre.
dal 09 Maggio al 12 Giugno, 2014
www.architetturaartecontemporanea.com
The shoes symbol of travel, but most of our introspective journey every shoe is a partial portrait of the wearer, a clue to his personality. The shoes as occasionally silent witness of our lives, our expectations, our identity obvious and hidden.
The shoes as a message sometimes obscured even to those who possess them, but ready to read those who can "drive".
The question I have asked is : the shoes are the diaphragm that separates us from the ground, protection from bad roads, but mostly because just that pair of shoes among 100 others?
For everyone the answer that best fits him.
When, 10 years ago, I found in a junk shop some forms of shoes in walnut-1950s, could not resist the urge to withdraw en masse despite not having the slightest idea what to do. What struck me was that on every pair of shoes was hand-written name of the person for which they were produced. This prompted me to imagine the life, character, inclinations belonging to the owners of those objects useless. The thought that these people have left behind a small memory, must have unconsciously touched my imagination.
After a decade I have had the desire to create for them a new pair of shoes, starting from their own forms and inspired by the themes of our daily lives.
Points of view
There are moments that leave us changed. Seemingly distant events that weave the web of life in our unconsciousness. Only later, passing over, we can discover the dense network that bound them. Three images of its history, a single framework: that's how I play the HARMONY OF A PASSAGE OF LIFE.
The images, assembled with great care, will move in a continuum of sequence able to recreate the excitement of the story, still alive every time you look with careful eyes.
About Angelo Franco Bartoli
Born in Monza on 11 .11.1967
Thanks to his grandfather a painter and a sculptor and his mother a painter he has been in contact since childhood with the art world. He has likened taste and techniques he then refined over time, developing a personal expression that has moved into his versatile artistic activity which includes photography, set design, painting, sculpture and interior design.
Over time it has developed a very personal ability to mix materials, with preference for those of recovery, to create objects and installations as expression and communication of its conceptual view of the surroundings.
Currently, in addition to the collaboration with manufacturing companies in various sectors as industrial designer, he continued his daily activities experiencing the development of innovative techniques for the use of industrial materials in the field of art.
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submission date: 5/11/2014
Lo staff di Architettura Arte Contemporanea vuole testimoniare e promuovere la cultura dell’impulso estetico ponendo uno sguardo incrociato nei vari ambiti disciplinari del campo visivo ed architettonico. La galleria, luogo di eventi non di silenzi, è uno spazio non unicamente espositivo ma un’agorà contemporanea dove vivere e far crescere l’emozione che l’arte in tutte le sue contaminazioni esprime. Punto dove si espongono artisti famosi ed emergenti con carattere, dove artisti e collezionisti possono trovare la loro collocazione ideale. read more »
architetturaartecontemporanea.com
Max Weinberg
Max Weinberg (86!) wurde 1928 in Kassel geboren. Seine Eltern flohen mit ihm und seinen Schwestern vor den Nationalsozialisten 1933 zunächst nach Belgien und schließlich 1935 nach Israel. Dort verbrachte er das erste Drittel seines Lebens und nach Abschluss des Kunststudiums kam er 1959 mit 31 Jahren nach Frankfurt am Main.
In Weinbergs Werk treffen das Irrationale und Rationale, das Impulsive und das Kalkulierte, das Chaos und die Ordnung aufeinander. Seine Kunst ist unberechenbar, ordnet sich keinen Trends unter und bezweckt, der Phantasie neue Spielräume zu öffnen.
Ruben Talberg
Ruben Talberg wurde 1964 in Heidelberg geboren. Er lebt und arbeitet in Offenbach am Main. Talberg ist Pataphysiker. Die Pataphysik ist eine Teufelskreis, in dem die schwefeligen Zeichen und Metamorphosen des Rausches verrückt geworden sind, ohne daran zu glauben. Sie entwickelt sich in einem parodistischen Universum, da sie die Resorbtion des Geistes in sich selbst ohne eine Spur von Blut ist. Jean Baudrillard.
The “wrong” side of the canvas becoming the “right” side. The material depth of wood, carvings, other miscellaneous textural and textual inscriptions. The big black scratch signature dipped in the pen of ashes (an imprint of tar). Beyond the visual to the tactile. Art of great significance for semiotic graffiti- style resistance against global capitalism and finance. Alan N. Shapiro, New York / hfg Offenbach.
13. April - 31. Juni 2014
Eröffnung am Sonntag, den 13. April 2014 - 14:00 Uhr
About Talberg Museum
The Talberg Museum was founded 2011 and considers itself as a long-term investment into the cultural landscape of the Rhein-Main area, a high-carat complement with regards to contemporary art.
Paramount is TAMU’s task to preserve, to explore and exhibit the art of Ruben Talberg, The TAMU sees itself as a permanent autonomous zone of dialogue which manifests itself through temporary exhibitions, permanent exhibitions and events. Special exhibitions are planned with regards to contemporary Israeli (Jewish) art. The building itself dates back to 1891 when Carl Kraushaar opened a carpenter's workshop. He died in 1939 as his son-in-law Carl Salzmann took over the firm. In 1944 the structure was completely bombed out like the rest of Offenbach. After the war it was gradually rebuilt from the ashes and 1951 on its 60years jubilee Salzmann could reopen his carpentry here.
About Ruben Talberg
Multiple media sculptor and contemporary artist, based in Offenbach/Germany and Southern France. The German-Israeli artist creates abstract works from various materials with hidden references to alchemy, Kabbalah etc. Website features biography, press, photo galleries and contact information.
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Friend someone working in our world for positive work by way of promotion to others . it is a very good thing or today it is very must for creation of peace and love in our world . we know some societies and NGO of our world are working in this way for promotion of true work of our world .
We know our contemporary communication way is online communication by this way we are connecting to our world in very short time . today its have a identity and we are calling to it web world . mostly all world is connect to this medium of communication for express or promotion . it is working in all sector of life , it is promoting and expressing to education, art, science ,business , or all subject of our life . people can get his or her interest level subject on this web world . it is a good way for positive action or that’s success.
Last six years to I am connect to this online communication web world as a art master. I have registered myself on this web world as a visual art master , on this way I have expressed my inner art sound and I have promoted to others art sound as a art master time to time. Because it is my art duty for our world art family .
On this way someone are observing continue to my art work and they are giving me space by promotional sound of them in this web world . I know in 2008 I were connected to a online magazine that’s name is www.ionone.com , when I were connected to this online magazine I were shared my first blog post ( Art Vibration-1 ) of this art vibration . they were observed to my true art sound in wrong English words .
Today 2014 they are connected to me and in this six years they were many time promoted to my art by this online magazine in our web world. I can say they have underline to my art.
Last week once again I saw a update from www.ionone.com on facebook.com they have shared a link with title Art From Around The World , in that update link I saw they have selected my art painting of MYSELF. I were shared that art painting image, in year 2008 with www.ionone.com . they have not forgot my true art work or that’s true art sound . after 2008 I have shared many other art work visuals with www.ionone.com but they have shared that first painting of myself like a underline work.
Here I am going to share that update link of www.ionone.com or a image of that update. I were collected that image from page of facebook.com. http://www.ionone.com/world.htm
in my heart I am once again thankful for team of online magazine www.ionone.com. they are noticing my art expressions or art visuals on online and time to time they are promoting to my art sound by web magazine of www.ionone.com . it is a big achievement for me because my art in underline of a world level online art magazine .
I hope this online art magazine will give me more art energy by right art promotion of myself art sound in front side of our world art family and I am promising to this online magazine or that’s team I will live busy in art continue just like past because I want to create love and peace in our world by way of art just like your team of www.ionone.com .
I am happy someone are working and thinking just like me in ourworld art family so I am with them as a art master of visuals art. I am happy they have underline to me or my art work .
so I said here underline to my art …
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Yogendra Kumar Purohit
Master of Fine Art
Bikaner, INDIA
This is a real fact and a historical recorder of my art journey . I am remembering when I were joined to online network and I were learning about this new medium. that time I were alone on online , no one for guide line and no one for help to me for my art communication . In that movement I were wrote a very first note on my art work of Myself . that was in 500 something words in English in that note I were wrote perfect impression of my heart and mind but my English was not perfect .
When I were wrote that note then I were started search for share to that art note for world art family. Because by mail process that was very complicated for me so I were found a blog space by google network . I were created my own blog by support of google .com, did I gave name to that first art post Art Vibration . but that time I were not knew one day this blog link will really vibrate to world art family by sound of my true art . after google blog post . I got a short link for share with all on online. i did shared that link to 5000 something web page of our world art family by online network . some one reply or some one not but i were busy in sharing work of my first blog post with our world art family continue . that was open challenge for me and i were completed that . here I want to share with you that first blog post link for your notice. http://yogendra-art.blogspot.in/2008/07/art-vibration.html it was published on blog in year 2008 .
In 2008 I were very busy in communication and in search of art web site links because in that movement I were not connected to any online network and I did not knew much more knowledge about online use, so I were working with safe mode , I think that was must for me and I were lived with that mode . one day I were found a website link that was world wide art web site . I got that web page mail id and sent my blog post link with a short information about my art journey . after a one week I were received a reply by that web site owner . the Director of That Web Site was wrote in that mail yogendra we have published your art work image and your art note on our web site blog so you can visit our web page link ionone.com , I were got happy because first time a international online web site was selected my art work and they were published my work with title of PAINTING OF INDIA. When I saw that page then I were felt proud on myslef because my art work was representing to my nation Name with my art sound . that day I were knew the real definition or meaning of online and I were knew my real duty on this online network , because on this network we are representing to our nation with our self vision so it was very responsible job for me, after that first online art publication . that was my first online art relation , it was started by this online network tool . I were noticed its fast result and impressive effect for true art.
After 2008, I am continue in touch of ionone.com and they are watching my art journey as a true art critic or as a art promoter . it's a natural art fact of my art journey. In 2010 I were connected to ionone web site page on facebook . on facebook I were visited lots of art concept and I observed idea of ionone for true art promotion . in this time they have been shared my many art visuals for world art family by ionone.com facebook page . that was a real art promotional work from ionone .com team about my art journey. So I am thankful for them .
IN this month Before two week I were completed my 1000 drawing on concept of Myself . that concept starting work image was published by ionone.com site in 2008 . After 1000 drawing work I were shared a post on this art vibration blog and that's link I were shared with ionone.com by luck last week they were visited and noticed to my blog post and my art energy or that's result . after that they have added my blog link on main page of ionone.com with my full name . It was a true reward to my art journey by team of ionone.com. international online art promoters .
This post is just a thanks to director or team of ionone.com and a special art news for my online world art family . because I have found a right art promoter in this true art journey in year 2008 and that day to till today a one international art observer is walking and moving with me on this international online art communication path .we were not meet live and face to face but our art sense is connected with deep feeling relation and its mixed in our daily art life just like water and fresh air .. so I am saying www.ionone.com
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My art vision Base is Myself..i think every human being live for self and its fact of human life. So i have start from basic of life through my art vision, I am master in painting and last 15th years to continue i am doing art work, like a painting, Design, Sculptures, Installation, Craft, Drawing, Sketching, Art movie and conceptual art work and this visual you can visit at www.yogendra-art.page.tl, then you can understand my art vision and my talking way about my art. I think art is a journey and its end with artist death.. The last point of the art journey is artist death. i know it, because i have lots of example in art history just like that, the artist Vinsent Wongong, Sezaan, Picaso, Kurbe, Michelangelo, Jamini Roy, Amrta Sergill, Liyonardo the vinchi and lots of artist in our world art.i can't write all Artist name so sorry.. The painting mean for me.. The painting is a very strong way for catch the self of artist and painting giving way of live peace full life journey with colour, with love, with feeling,with nuture, with self for others. In painting not importent if how to you painting it and what you paint it but its very importent why artist paint a painting, what he want from canvas,colours,forms and from his self.. its exapmple is Vincent Vangogn.. He Had paint a paint my shoe.that time vincent was very alone and he was feel very unfit. that time he saw his shoe and thought it, My shoe care my feet when , that time i was walk alone on the road..its mean he want to say thanks to his shoe because he feel the shoe care and support to vincent in alone time.so i want to say every artist live his art life and then he think somthing and then they paint, i can say ,i am also on this track from my art Vision .. as a painter ... as a master of art...art is giving a new way to stop life in every time and in any condition of human life,,art have power of life base..art have vision,, art giving creative life and thought and confidence!
Yogendra Kumar Purohit
Master of Fine Art
Bikaner, INDIA
"Surrealism is not the way you live, act or feel. It's the way you dream. We, who call ourselves 'surrealists', are marked by the Lord himself with a slightest touch of insanity. Creative insanity that is, granting the freedom to transform reality, to reach beyond visible, and to display the possibility of impossible. My personal goal, as a surrealist, is to represent the unreality with maximum reality, trying to make you believe in what you see. This is what Salvador Dali did the best." -- Rezo Kaishauri
Having graduated from Nikoladze Art School (Tbilisi, Georgia) in 1994, Rezo Kaishauri begins to work as a designer for a company specialized in serigraphy printing. In 1995-1998 he creates his first surrealistic portfolios, called 'Body Language', 'Black Coffee' and 'Paranoia', representing the three different directions in his artwork. 'Body Language' contains the works which might be classified as erotic surrealism, while 'Paranoia' collates more symbolistically inclined artwork, based on visual insinuations. Yet, these two portfolios share the same impudency in style and are equally scandalous. As to the 'Black Coffee' series, inspired by the images from coffee grounds and based on earlier black-and-white sketches, this portfolio significantly differs from the other two, being closer to the spirit of classical surrealism. This same period Rezo, inspired by some fantasy literature and artwork, tries his skills in fantasy art genre, but soon decides to continue with his mainstream, returning to fantasy art only occasionally. Since 1998 Rezo Kaishauri becomes more noticeable as a designer. Having mastered computer graphics software, he abandons the serigraphy company and turns to offset printing. Trying several different advertising agencies and printing companies, finally he determines as an independent designer. Since 2000 he gradually widens the field of his activity and the range of customers, becoming a color separation specialist and trying skills as a web-designer. Presently Rezo tries to maintain the balance, continuing with his design work, but still finding some time to draw pictures despite his crowded schedule. He has many plans and projects for the future, so both sections of this website will be constantly updated with new works.
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Ruben Talberg (*1964 born in Heidelberg) Israeli-German painter, sculptor, photographer. He initially lived in Frankfurt, then in America and Israel. His first solo-exhibit was presented 1986 in Heidelberg. Talberg’s art constitutes an act of liberation. His family is related to Irving G. Thalberg, founder of the Memorial Award, Los Angeles. Talberg ranks among the most successful Israeli-German contemporary artists. He is reputed to represent Young Jewish Art (YJA). In his oeuvre he deals with antagonistic positions like Nature & Alchemy, Asymmetry & Dynamics or Eros & Thanathos. He works in various media such as: Painting, Sculpture, Photography, Video, Installation, Lyrics. During the last decade he intensified his interest for Jewish mysticism and magic. On extensive travels as recently to the USA and Spain he created new serials of photography that in turn generate the base for new painting cycles. Likewise the surfaces of his paintings teem with references to Aramaic letters, Voodoo or Egyptian symbols, Chinese economic numbers. Talberg is a member of the German Association of Fine Artists (BBK), VG Bild-Kunst, ROTARY International, New York Artists Equity Association, Inc. (NYAEA). Talberg lives and works in Offenbach and Miami. read more »
www.rubentalberg.com
Being a self taught artist, I have learned to use art as a medium for personal interpretation into my thoughts and experiences. My inspirations come from many different places, on many different levels, wearing many different faces, taking on many different forms. This is me...This is my life. read more »
www.kamiart.com
Elizabeth Mañasco, was born 1959 in Gibraltar. Graduated 1979 in Arts Applied in Corunna. Graphic Designer since 1992.
"With the computer I find a personal artistic tool and a means to express my sensibility, capturing scenes and special moments"
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"I am absolutely fascinated by cities. Because of this passion, I graduated in architecture in Rio de Janeiro. While at the university, I started my art studies at the Modern Art Museum of Rio de Janeiro and experienced different kinds of media and techniques, from oil painting to jewelry making, but after being fully introduced to watercolour it soon became another passion. I started off with small sized watercolours, then I moved on to work with large scale canvas and acrylic colours, trying to achieve the same effects as in watercolour. My works grew stronger, with more intense and explosive colours. It was while coordinating a group of geographers and urbanists that I developed a growing interest in the connection between maps and art, inspired by the aerial views and sattelite photos of cities which emerged from my computer screen. These beautiful abstract forms influenced me to develop the theme Urban Colours. I am now developing a new work entittled XXI Century Maps, an evolution of the series of Imaginary Maps. The XXI Century Maps are the future landscapes of a changing world." read more »
www.soniagil.com.br
Gregoire Debailly was born in 1961 in Dijon in côte d'or in France, resulting from a family of artist (Auguste Pinel painter portraitist and friend of Courbet). He expresses as of his childhood his taste and his aptitude for the drawing and painting. After studies of right, it is initiated with the technique of painting while following the lesson of Xavier de Langlais before perfecting its training in Switzerland with Zürich, then in Berlin where it takes part in many performances in the years 1990, before installing its workshop in Prague where it will remain until 2001. On its return in Paris he becomes member of the house of the artists. He exposes his works each Saturday on the market of creation. Painter side Artprice 2005 in the auction-room Drouot Neuilly, the painting of Gregoire Debailly strikes by the extraordinary promptness of his colors, the audacity of his pallet and by the quality of his work. Currently it lives and works in Paris. "For me the problem of painting, it is that of an effectiveness which has as an aim, by any means, the sudden appearance of an image, of something of new. This known as it is not enough to be expressed to render comprehensible itself the research of the direction is essential for a painter. The image reveals instantaneously all the contents, it is not like a history with a beginning, a development and an end, all occurs here, now, it is instantaneous. A picture it is the last image of a history the last tangible trace which begins its crossing of time. It is there the essential point of my work, it is that which holds all my attention, which I seek to seize on each one of my fabrics it is this moment: the moment when all is done and demolishes in a miraculous and transitory tremor, this vibrating moment of the urgency, the urgency of living." "For me the gesture of the painter remains more recognized who is because it is the gesture which consists in affirming its individuality while resisting the standardization, by being opposed to any form reductionnism. Worst spite than a table can make us would be to leave itself completely indifferent " read more »
galerieartpeinture.free.fr
www.pininapodesta.it
I was born in Lisbon in 1970, where I lived until the age of 6. From Lisbon, I moved to the south margin of the river Tagus, to Amora, a place at the Atlantic coast, where I've lived for 29 years. My interest in drawing and painting started at an early age. I remember me playing with colour pencils for hours and hours, at a time when it was even hard to handle the materials. I used to draw on most curious surfaces as the walls, the floor... everywhere I could. I believe I've always hated limiting frames and I certainly like to experiment on new materials. The material world is a giant canvas and an infinity of mediums, as well as the mind. Experimentation means to me real apotheosis, the quintessence of knowledge. I'm a perfectionist and maybe insane, although I'm conscious that I will never reach perfection. I've been enjoying this endless road. I've studied Art and Design at school, since I was 14. Later at university and always for a lifetime. To live is to learn, to learn is to experiment and vice versa. It's a constant in my life. I finished my studies at university some years ago and since then I’ve been working in my studio in Lisbon and as a freelancer. Simoultaneouly, I've dedicated some time to artistic activities as painting and sculpture. In 2003, as I was conscious of the importance of digital technologies and how they revolutionize the arts, I started experimenting several techniques in digital painting or mixed medium (traditional/digital). I believe that a new aestetics has grown and expanded from the digital media, allowing the artist more freedom during the creative act, in which the computer represents both, the material and the medium, being a powerful tool as fast as imagination. It's not easy to answer when I'm asked to define my art in a few words. I've always faced it as “... a product of dreams with eyes opened widely, a journey through the human brain, exploring its darker places, opening imaginary doors to empty imaginary rooms... or maybe not.” I'm a member of ARTES- Seixal Cultural Association and member of Surrealists (Surrealist International). I'm represented in several national and international exhibitions and I've some permanent galleries online
www.paula-rosa.com
I am 72 years old from Hindu family of north India settled in Hyderabad. I am an atheist in literal sense. Yet I have absorbed a good deal of mystical, symbolic and ethereal overtones from my culture as well as an over-view of other religions. I believe that too narrow a commitment to one's own religion often leads to denial of, and antipathy to, other religions. I believe in a universal 'religion of man-in-nature' that transcends the narrow limits of physical world (fragmented, distorted, and self-centred) into the world of sublime -- pervasive realm of beauty, love, social-good; and the eternal energy of creation, progression and destruction.
I was fond of painting from childhood. I was encouraged by famous artist Sudhir Khastagir of Lucknow to join Kalabhavan (Fine Arts College) at Tagore's university at Santiniketan. I joined Kalabhavan in 1951 but after three months I was shifted to graduate school due to family compulsions. "As an artist you will starve" my father said. While at Santiniketan from 1951 to 1957 first as a student and then as a schoolteacher, I was closely associated with Kalabhavan as a part-time student. I was close to Ramkinker and did many paintings and sculptures at the young age. Only few of those works remain with me now.
I lost touch with art after entering a long academic career in social science. After studying literature (M.A., Visva Bharati) and anthropology (M.A., Ph.D. at Lucknow University), I specialised in Medical Sociology abroad (D.Sc. Johns Hopkins University). I spent time whole-heartedly for research and teaching at five different universities including Johns Hopkins University and Howard University. I was in USA for 6 years and returned to Banaras Hindu University in 1976. I shifted to Central University, Hyderabad from BHU in 1979. I retired as Professor of sociology in 1994.
The highlight of my academic career was to study and promote the folk culture and practices of ordinary villagers - first in the field of health, hygiene and sanitation, and then in the field of forestry and watershed development. Understanding the richness and limitations of folk culture, and then facilitating development through active and direct participation of primary stakeholders, was my obsession. Despite a lot of lip service and private appreciation of participatory development, this is totally against the mainstream of administration and professions in India. Except for small-scale glimpses of the potential and possibilities of such an approach, particularly when working with voluntary agencies, I was a lone crusader and failed to get support of institutions, administrators & professionals in my mission. But for few close friends and colleagues who worked with me and understood me (or did they?), it was an exciting battle.
Getting back to my private world of fine art was a healing consolation for my aging self.
An exoposure to the works of great variety of digital artist on the internet, including Pygoya and Ingrid Kamerbeek has opened my eyes to the vast arena of cyber-art. They have encouraged me. I have visited digital art sites on the Internet and I am overwhelmed by the variety, depth and complexity of the digital art today. I am still learning and exploring the possibilities of the digital medium. What I have done so far is nothing but a beginning.
Here again perhaps I am up against the mainstream by choosing the digital medium and calling myself an 'artist'. What matters is that I thoroughly enjoy what I am doing. It fills my life with a sense of fulfilment. It has charged the lonely life of an aged widower.
Like all artists I like to share and learn what others have to say. During last one year I have displayed my works in a number of art related web sites. It is time I have my own website.
www.vijaybhai-digitalvisions.com
Mohammed Sherif born 11 March 1978 in Egypt. Hobbies : guitar, singing, movies. Education : BSC of Computer Engineering. Skills : Adobe Photoshop, Freehand, Flash, Html, Director Graphic Design & Web Design, Digital Art.
www.is.msherif.com
Founded in 1984 by a fine artist, Agora Gallery is a contemporary art gallery dedicated to the promotion of national and international artists seeking exposure to the New York art market. Agora Gallery connects artists with professionals, art collectors, and other artists to create an ever growing family dedicated to the world of fine art. Collectors are provided with a broad range of original artworks through our fine art sales website www.ARTmine.com our biannual art magazine www.ARTisSpectrum.com, and the Collectors Corner. read more »
www.Agora-Gallery.com
Jürgen Schmitz grew up in Cologne, Germany, and now lives and works in Ancona, Italy. Complete artist, Schmitz only recently decided to dedicate himself to digital art making in a professional way. Thanks to his vivid imagination, he creates works in which he combines formal compositions and various chromatic tones with singular textures of often materic effects. It's essential to the author creating his works with instantaneousness; all his works, unique and never reproduced more than once, are similar to 'snapshots': their birth, their elaboration and their realization is performed in a short time frame in order to take the best advantage from the immediacy, the instant, the magic intuitive and inventive moment.
Each phase of the creative process is personally followed with care and precision by the artist; like an 'artisan', he creates and produces his artwork up to the final part of the printing. Schmitz, inventor artist, gets inspiration by the experiences coming from his job in management for an international company, maker of electronic musical instruments, but, above all, by his innate and inexhaustible nature of creative, of searcher; his works reveal and introduce us in a world made of colours, figures, compositions and architectures, all products of an imaginative and immediate path.
Paola Trevisan
www.ad-esso.com
“With nationwide recognition, artist Michael Sprouse has established himself as an important fixture on the Mid-Atlantic and National "contemporary-realism" art scene. Sprouse’s work featuring his unique unmistakably haunting and emotive imagery can be found in galleries and private collections from cost to cost. read more »
www.sprouseart.com
September 11 is a day that will never be forgotten, as well as its consequences - war. The german artist Helga Kreuzritter´s paintings with the title "2001" ("2001 - The Attack", "2001 - Victory?"; "2001 - Peace?")are her contributions as reminders of this atrocious attack, but they also ask questions: Was the "victory" really a victory? And what about what was called "peace" at the end of the war? Helga Kreuzritter did create these paintings soon after the end of the Afghanistan war. In the meantime, the course of the political developments justifies her scepticism. These paintings are impressive examples for the language of an artist. A network of barbed wire symbolizes the powers of evil ("2001 - The Attack"); a banner at the top of a hill is a signal for victory ("2001 - Victory?"); a crucifix and veiled warriors are representations for the conflict between religions ("2001 - Peace"). These paintings, together with other paintings, sculptures and objects by Helga Kreuzritter, will be on display during an art exhibition in Vienna/Austria, at the well-known art gallery KANDINSKY, from June 6 until June 18, 2005 read more »
www.helga-kreuzritter.com
Marco Pessa was born in La Salute near Venice in 1947, and currently lives and works in Seveso-Milan. The nature of his native country gave him a palette gifted with red hot sunschines, black grapes pressed in vats and golden wheat stirred bare footed in barns; each colour a deep plunging, a direct physical intercourse. Painter as free as sensitive, Pessa is present in personal and group exibitions since seventies, at home and abroad. His favourite techniques are distemper, acrilic and enamel, both on paper an canvas. He likes graphic works too, artistic glass windows and researches abaut the unbelivable world of the light.
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Sent: June 21, 2005 From: Mohankumar.D
Its really very good eyecatching marvellous picture in the modern art. Regards
Mohankumar.D, Chennai India
Valeriy Grachov was born in Archangelsk, Russia in 1949. He went to school in Leningrad in 1956 and later moved to Dnepropetrovsk, Ukraine with the family. He graduated from high school in Kiev and entered Kiev’s Institute of Design and Architecture in 1966 with following graduation in 1972. The artist travelled, resided and worked in many places over mountains in Central Asia, Baikal, Far East, on the islands in Japanese Sea. He lived and worked in Jyvaskyla (Finland) in 1988, Trenton (USA) in 1989-90, Prague (Czech Rep.) in 1974-75. Presently lives in Kiev, Ukraine. read more »
www.valeriygrachov.kiev.ua
My name is Karen Jones and I live in the attic of an old Victorian house in the North West of England. Originally my main creative outlet was poetry and writing, until I came across fractal art and quickly found a connection with it, and the images I could produce, that seemed to be a more natural way of expressing my life philosophy and experiences.
I love exploring the infinite possibilities presented by working with Fractals in abstract and symbolist form. I came across fractals initially after researching truth theories which led onto the trail of Creation and then to Quantum mechanics and Chaos. Fractals fascinated me from the start and the more I learned the more I felt drawn to somehow use them in a creative way. The Fractal art you see on my site is computer generated. A computer program applies a colour to each pixel on the screen based on mathematical formulas. Benoit Mandelbrot first coined the term 'Fractal' and was the first to apply it to computers. His original formula, z^2+c, is called the Mandelbrot formula.
www.kazzy.co.uk
November 18, 2004 From: Emma Kirk
This work is amazing, creative and touches the soul. I believe her work will be enjoyed by many more individuals worldwide in the near future. Thanks to the magazine for allowing people to view the work of this unbelievable artist. Regards
November 17, 2004 From: Robert Maxwell
Karen Jones has taken technology into the realm of the sensuous. Whoever thought pixels could be so evocative? Marvelous work.
November 17, 2004 From: Stephen Whitehead
I'm so pleased to see you featuring Karen Jones' artwork on your site...it's a real tribute to your magazine, as I feel her work will change the world. Thank you. Stephen Whitehead
November 17, 2004 From: G Emil Reutter
Editors: I greatly enjoyed the presentation of the digital art of Karen Jones in your recent issue. The passion of this artist generates forth from each work of art produced and leaves the viewer wanting more. Thanks for presenting Ms. Jones in your magazine. Very truly yours, G Emil Reutter
November 17, 2004 From: Amanda Roberts
What a wonderful artist, the images are perfect and intriguing and unlike any I have ever seen! Good exposure, and I hope to buy prints soon.
Congratulations Karen Jones!
Alan King was born in Greenwich, South East London, in February 1952. At the age of seven or eight, at John Evelyn School in Deptford, Alan was already experimenting with perspective and drawing fairly complex buildings.
Moving from a post-WWII Pre-Fabricated House in Deptford to New Cross at the age of about ten he could often be found loitering at the back of lectures at Goldsmiths College during the summer where they were often held outside - and he could get through a convenient hole in the fence from the railway embankment ...
When he went to ELTHAM GREEN SCHOOL in 1963 (pictured below) he was lucky enough to have teachers who, although teaching the disciplines of Art, allowed the students to develop their own styles. It was here he invented the word ARTYTECTURE to describe his style of work.
It was at Eltham Green that Alan was introduced to the Art of Dali, Tanguy, Reutersvard and Escher, plus the architecture of the great Frank Lloyd-Wright (all a great influence)
Leaving school in 1968 with just "O" Level Art he pursued a career in commercial Art with an Advertising agency in London's West End: Disappointingly, his commercial art career was cut short when he was transferred to the accounts Department and he left shortly afterwards. He was lucky enough to get some commissions during the Late 60's and early 70’s and exhibited and sold his work in local shows in London. He was fairly loose about the whole thing and has no idea where any of them are.
He moved away from London in 1977 and now lives in Milton Keynes, Bucks, England. His current style of artwork only really developed in January of 1999 when he decided to experiment with combining photography with his ARTYTECTURE with the aid of computer software. The rest, as they say, is History
In August 2002 Alan founded MILTON KEYNES DIGITAL ARTISTS and held the post of Chairman from August 2002 until May 2004. He regularly exhibits in and around Milton Keynes and is proud to be invited to attend schools as Artist-in-Residence for special projects
January 31, 2005 From: Rodica Sandra Miller
Your work is so wonderful, Alan.....Congratulations for this spectacular presentation at Ionone.
www.sandramillergalleries.com
www.KingART.co.uk
Anna Ivanova was born in Tashkent in 1971
1993 graduated from Tashkent State Pedagogical institute (art faculty)
1994 - exhibition in the gallery on Cork street, London
1995 - Youth exhibition, Tashkent
since 1995 participate in almost all republican exhibitions
1997 - one-man show, gallery "Master", Tashkent
2000 - Exhibition "East-West. Dialogue at time", Tashkent
2001 - participation in "Art-Salon" exhibition, Moscow
2001 - Exhibition in the theater "Ilkhom", Tashkent
2001 - participation in "Biennale 2001. Tashkent"
2002 - Youth exhibition, Tashkent
2002 - exhibition in the gallery "World Fine Art", New-York
2003 - exhibition in the gallery "Art.Domain.com", island Majorca, Spain
2003 - one-man show in the Center of contemporary art, Tashkent
2004 - Exposition collective "Quebec: le nouvel orientalisme", Centre d'experimentation et de diffusion en arts visuels et mediatiques, Universite du Quebec a Montreal (UQAM)
annaivanova.artistportfolio.net
An aproach to the digital canvas creating directly from the stylus in the digital canvas, sketching, drawing and painting into the screen allowing me to capture the gestual energy involved, then processing with a wide range of digital tools, not emulating art techniques with the digital media instead of using them to create a digital creation itself and through a wide range of processing techniques. When i work at the same time in a series of digital Artworks, i keep different versions to alter them in a later session, creating an environment in which shapes, color, lights, textures are merged with the background, expressing energy and motion, with Digital Art tools and techniques, remaining the digital handraw inpulse as the main source. The Computer as a tool for the creative process is fascinating as you can merge and manipulate scanned sketches, draw, animate or paint directly on the screen with a pressure sensitive tablet, capturing the moment with gestual expression. My aproach when i face the digital canvas, and the processing of creating takes an attitude towards the bottom line, crossing throug my expectations, to witness and unfold my gestual traces, discovering new forms. The Digital Animation is a process in which takes a longer time to achieve the result, thus my aproach is a gathering process of ideas and images, transforming throug time and frames,a kinetic idea or script. The link between the still image and the moving picture comes when both became one, as you can see a still image but suggest you that is in motion, a parallel process in which both capture its essence. I have experience with digital video, stick figures drawings, old sci-fi movies, 3D, digital animated painting, exploring new ways to aproach digital Animation, in my own environment.
I have participated as a Computer Graphics Creative in Animation Films Festival since 1991 and recently at The Prix Ars Electronica (1998 ), Linz, Austria - The Darklight Digital Film Festival, Dublin, Ireland, ( 2000 ) - IFCT ( International Festival of Cinema and Technology ( 2002 ), Toronto, Canada, with the nominated Animated Shortfilm " The Rope". I have Lisenced in Fine Arts in Santiago, Chile Between 1981-1984, then Computer Graphics and Animation techniques at the CCAC in Berkley, San Francisco, USA(1985) - Sao Paulo, Brasil, ECA ( 1987) animation techniques, Computer Graphics at New York Institute of Technology NYIT, Computer Arts , USA ( 1988). Also i work as a Freelance Digital Artist / Animator /Designer in Film Productions, TV, Press, and i have showcase my digital Animations over Shortfilm Festivals and Internet.
www.ivandomeyko.co.nr
From Skagen painters to Damien Hirst
On 26 January 2008 the new ARKEN is opening. The premiere exhibitions offer new light on the Skagen painters, a solo show with the bright young thing Andreas Golder and not least: A new hanging of ARKEN’s Collection, now for the first time exhibited permanently and including a unique Damien Hirst room.
At last! After 2½ years of construction ARKEN can open wide its doors to the new extension. 5,000 m2 of exhibition space will be the end result – twice as much as now, making ARKEN one of Denmark’s biggest museums. The new ARKEN will continue the course of shedding new light on the classic modern art. At the same time the focus on contemporary art will be intensified through both special exhibitions and a permanent exhibition of the museum’s collection.
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In the future world, one will be able to take a miraculous journey into a painting. Special high-tech computerized equipment will create a holographic space for our intelectual enjoyment. Through this program- a sound, color and light show - people will satisfy their need of painting in the future. The painter will become "a magician." But what else is painting other than magic? With several colors and a brush, a painter can create a world of forms, ideas and feelings, and you are invited to explore or travel in the artist's world of thoughts. Above this holographic space, an artificial brain will gather the thoughts and emotions of visitors through sensors and will be able to change the composition of the painting on request. The painting will live by itself like in a sort of dream room. In the future, people will evolve through knowledge and will get closer to God..." Rodica Alecsandra Miller. " Adventure in Immortality" screenplay for computer animation film, experience in art and technology, 1995.
www.sandramillersurrealism.com
'An analysis of Yeat's 'Leda and the swan' against the background of his work and the history of art'
Whatever your stance on Yeats’ poetry, you would not deny that the man has written a poem the charms of which no devotee of art can possibly resist: the unparalleled ‘Leda and the swan’ which sounds as follows
LEDA AND THE SWAN
A sudden blow: the great wings beating still
Above the staggering girl, her thighs caressed
By the dark webs, her nape caught in his bill,
He holds her helpless breast upon his breast.
How can those terrified fingers push
The feathered glory from her loosening thighs?
And how can body, laid in that white rush,
But feel the strange heart beating where it lies?
A shudder in the loins engenders there
The broken wall, the burning roof and tower
And Agamemnon dead.
Being so caught up,
So mastered by the brute blood of the air
Did she put on his knowledge with his power
Before the indifferent beak could let her drop?
THE TECHNICAL BEAUTY
of this poem just catches the eye.
To begin with, there is the structuring of the whole episode. The poem may be divided in two halves. The first comprises the violent encounter of Zeus and Leda ending in ‘a shudder in the loins’, whereas in the second both spatial and temporal perspectives widen into infinity.
This partition matches the division of the sonnet into octave and sestet. Which is marked through the similarity of the two bold phrasings summarising the event in its constituent elements: ‘A sudden blow’ initiates the octave and ‘a shudder in the loins’ the sestet. It also coincides with a shift in the temporal perspective. The octave is in the present tense; the first half of the sestet at once projects us in the far future ‘(Agamemnon dead’); from this vantage point we look back on the violent encounter (‘did she put on his knowledge…?’) that now is irrevocably referred to the past. And this binary structure is echoed in the grammatical construction: each half comprises two sentences, each encompassing a single strophe, the first and the third of which are affirmative, the second and fourth interrogative. The alternation of affirmation and interrogation goes hand in hand with a change in the commitment of the reader, who seems to identify himself with the swan in the affirmative sentences, whereas in the interrogative ones he seems to ask himself how Leda might experience her brutal overpowering.
Over this apparent articulation in two halves is superposed a second, this time asymmetric, binary structure. It is marked by the typography: ‘being caught up’ is referred to the second half of the sestet. In the first half of this partition the unstoppable unfolding of the proceedings is depicted into its furthest consequences: everything is rendered in the present tense. In the second shorter half, written in the past tense, the deeper meaning of the event is fathomed.
A further counterpoint to the central partition is the shift in spatial perspective. No swan is staged, but ‘great wings’, ‘dark webs’, ‘his bill’ ‘his breast’, ‘the strange heart’ ‘the brute blood of the air’ ‘the indifferent beak’. And also from Leda we only catch a glimpse of ‘her thighs’, ‘her nape’, ‘her helpless breast’, ‘those terrified fingers’, ‘ her loosening thighs’ and ‘the strange heart’. In short: a perspective familiar to all those who happen to be cast by the spell of the flesh. Only with ‘body’, but foremost with ‘the feathered glory’ and its the counterpart: the ‘staggering girl’, does the camera seem to zoom out. But it is only when we are faced with the consequences of such promiscuous entangling of body parts that we are allowed a panoramic view on the whole: ‘The broken wall, the burning roof and tower and Agamemnon dead’. Thus, the temporal partition in present and past tense is joined by a spatial partition between the more involved close up and a rather contemplative panoramic view.
As far as meter is concerned, it is apparent that the diction only unwillingly complies with the train of the iambic pentameter. We have to first witness the forceful resistance of the ‘great wings beating still’, the ‘dark webs’ and her ‘nape caught’ – an accumulation of stressed syllables wonderfully echoing the ‘sudden blow’ of the swan’s wings. But even when the metrical order seems to be restored, the asymmetry of the grammatical structure continues to oppose the regular flow on a more abstract level. Most conspicuously in that masterly - unforgettable - first half of the sestet:
A shudder in the loins engenders there The broken wall, the burning roof and tower And Agamemnon dead.
The rhythm determined by the alternation of adjective and noun as it is initiated in ‘broken wall’ and ‘burning roof’, is not carried on in ‘tower’, which has to manage without adjective. But the latter surfaces again in the consequent ‘Agamemnon dead’, albeit this time after the noun. Over the repetition in the word rhythm a second pattern determined by the alternation of adjective and noun is superposed: a rotation from initial position to end position. To the unparalleled rhetorical effect that the whole procedure of begetting life is turned into its very opposite. To which we shall return below.
Next to the word rhythm and the alternation of adjective and noun also the sonorous body of language is summoned up to evoke the encounter. Think only of the way in which ‘he holds her helpless breast’ unabashedly renders Zeus’ heaving. Not to mention the ‘broken wall, the burning roof and tower and Agamemnon dead’, the infernal sonority of which only joins the solemn stride of the meter to a veritable funeral march reminding of Wagner’s ‘Siegfrieds Tod’.
The theme
But let us first introduce the theme. The story of Leda stems from Greek mythology. Leda is the Spartan king Tyndareus’ wife. When she saw her chances, she did not hesitate to exchange her royal husband for a god: Zeus, even when he approached her in the shape of a swan. Which yielded her four eggs. Out of which not only hatched Castor and Polydeukes as well as Clytemnestra, but first and foremost the Helen of the Trojan war.
Of old, the theme has been very popular in the plastic arts. It will turn out to be very fruitful to first examine how it has been handled there.
The representation of loving couples has always been a problem in the plastic arts. For the obvious reason that of a couple intertwining – Brancusi’s animal with the two backs – the most enticing fronts are hidden from view. Literature knows not such problem. When reading Ovid’s verse ‘ Leda is lying between the swan’s wings’ (Metamorphoses VI, 109), not only do we see before our mind’s eye the pair of wings embracing Leda, but the body covered by these wings as well, not to mention the experience of the most diverse bodily sensations. In painting or sculpture, on the other hand, we are not faced with malleable representations for diverse senses, but with a concrete visual image. The painter that from the encounter of Leda and the swan would only show us the sight of spread out wings would not show at all: he rather would hide from view precisely what we so dearly wanted to see.
The classical solution consists in staging the bodies immediately before their entwining. But such is not a becoming solution in the case of Leda and the swan: we precisely wanted to witness the proceedings after the encounter! And to make a picture thereof raises a lot of problems.
To begin with, there is the tension between the impressive figure of Zeus and the rather humble shape of the swan wherein he is transformed. Especially since the little bird also has to mount the huge female body. Before the mind’s eye we inconspicuously adapt the shape of the swan, as with the already cited verses of Ovid. But when the scene is graphically depicted there before our very eyes, the discrepancy between the mighty Zeus and the rather humble shape of the swan catches the eye. It must be granted, though, that the very same humble shape also yields an unexpected gain: the beast with two backs has on one side exchanged a broad back with a slender neck, to the effect that nothing any longer prevents the full exposure of Leda’s enticing front (see Corregio’s Leda, 1530, Berlin Dahlem).
But whoever might reconcile himself therefore with the humble elongated shape of the swan, cannot possibly let it pass for the mighty Zeus. Unless he focusses on Zeus' mighty member: only of this true Adam can the swan be the becoming metamorphosis – the long neck then stays for the stem of the penis, the head for its glans, the winged trunk for the scrotum. And such life-sized organ cannot fail to head straightforward towards its goal: also in the real world the stretched out neck of a swan reaches to the genitals of a woman standing. Although the beak of a real swan, as opposed to that of reckless goose, happens to rather modestly bend downwards.
La figura serpentina
Of course, the painter might proceed to adapt the shape of the swan to Leda’s body. But he then faces new problems. To begin with, also the wings grow accordingly - and they come to stand higher at that. Would we let them play the role of the lover’s arms embracing his beloved, her beauty were hidden from view by a pair of wings again. Far more interesting, then, to let them flap and express the superior strength of the swan. The task of subduing Leda’s body is then relegated to the beak which has to catch Leda in her nape. This solution has been chosen in the Hellenistic relief above. The swan’s body, running out in the slender neck, no longer embodies the erect member, but the entire body of Zeus. To the effect that the penis is relegated to the lower regions where it is reduced to its former proportions. But there again it comes to face still other problems. Although of all the winged beings the swan has perhaps the biggest penis – rather: something that can be called a penis – it does not end up in a vagina, but in an arse – and that was not precisely what Zeus was after. In the Hellenistic relief the dorsal approach implied by the catching in the nape is replaced with a frontal one, as is more becoming to men – let alone gods! But the swan seems not to be able to cope with the frontal approach: Leda has to adjust something or other with her hand! The frontal twist in the lower regions finds its counterpart in a dorsal twist in the higher spheres, were the slender neck graciously bends downwards to catch Leda’s nape from the back. To the effect that the swans’ webs are no longer stamping on a feathered swan’s back, but on Leda’s white thighs. Also on the Roman representation below, where the artist has equally chosen for blowing up the swan, the focus is on the proceedings in the genital zone. And also here things seem not to work properly: Leda has to pull the swan's legs to get things straight. So, only after some considerable twisting, turning and adjusting can they find each other, Zeus and Leda.
In the ancient representations, the focus is on the problematic nature of the encounter of beast and man. We have to await the heathen Renaissance to witness a deepening of the approach and the corollary invention of more convincing solutions.
Da Vinci's Leda
It is da Vinci (1452-1519) who sets the tone for the new approach. In his first drafts of the theme he tries to solve the problem of the shape by letting Leda bend, as parents do when trying to adapt to the small stature of their children – or Mary when kneeling before her holy son. But on the eventual painting (only known through its copies), Leda is standing again, and she is approached by the rather impressive swan on her side.
The interesting thing is that, in both versions, the beak no longer reaches to the navel, but to Leda’s very lips. It is no longer out at penetrating the vagina, let alone to catch Leda in her nape: its declared aim is bluntly Leda’s mouth. One of the formerly flapping wings now gently embraces Leda’s hip. And such entwining does hide nothing from view. On the contrary: since the encounter has shifted upwards, Leda can be taken under the arm from behind, to the effect that her magnificent front remains visible in all its splendour. It appears that the oral approach meets some resistance: although Leda willingly coils herself in the swan’s wings and turns her breasts toward the swan, she teasingly withdraws the lips in her face. And the same goes for the hesitating hips and her hanging leg.
Michelangelo's Leda
In his painting of 1530 for Alfonso d’Este, which unfortunately enough has only come to us through the copies by Rosso Fiorentino, Rubens and Bos, Michelangelo (1475-1564) opted for a totally different approach. In sharp contrast with the Ancients and da Vinci, Michelangelo has his Leda lying supine. Therein she is a further development of the ‘Night’ from the Medici chapel – where another bird is paying his respects under the knees before the entrance of the gate: the owl Athena. But Michelangelo equally pushes ahead with da Vinci's innovation. While da Vinci’s Leda rather modestly opposes the indecent proposals of the swan, Michelangelo’s willingly abandons herself. No loonger needs she to be forced by a bit of a beak in her nape: she is laying there for the kissing. To the effect that Zeus has a free neck: his beak no longer has to catch Leda in her nape, his is about to kiss the lips – or to penetrate the mouth? And the complicity of the half-sleeping Leda is further emphasized by the wriggling of her fingers, betraying a nearly concealed enjoyment. Only the right arm of the swan seems to refrain the endeavours of the swan – or does it rather press the warm, feathered body against her womb?
And that reminds us of the fact that Michelangelo’s swan is granted its natural proportions again. Which induces it not only to penetrate the mouth with its beak, but also the vagina with its penis: it suffices to get a glimpse on the position of the tail, which is spread like a fan over the vagina and the black web bluntly plopped down on the soft inner side of Leda’s white thighs. Although the dark tone of the tail may be motivated through its position in a shadow zone, it first of all seems to be the emanation of what it conceals: the black penis of the swan – vicariously made visible in that equally black web. Also another colour has shifted to the periphery: the red of the equally concealed vagina. The red draperies whereon Leda is spread are the nearly concealed representation of a vagina (see also the print of Bos). Not only Michelangelo is fond of making rather obscene representations shimmer through seemingly neutral draperies...
Thus, da Vinci’s swan as well as Michelangelo’s is resolutely turning perverse. But both masters immediately keep it on the straight and narrow. With this conflict corresponds the ambivalent filling in of the body of the swan. Although da Vinci’s swan takes the shape of a full-fledged human body, Leda only has to disappointedly turn away from a void, while at the same time the swan’s greedy beak is deliberately out at her lips. And even when Michelangelo’s swan remains a small bird, not only does its agitated body stubbornly try to penetrate the vagina, even more eagerly does the greedy neck edge its way between the breasts toward the mouth.
Leda's eggs
The perverse move away from the genitalia to the neck and the beak finds its counterpart in the equally perverse move away from fertilisation and birth. No longer do penises or vaginas come to spoil the fun of begetting. And with birds also birth is no longer a question of repugnant slime, but a clean affair of white shells: the immaculate conception of the white egg (see: ‘La Cane et son omelette', forthcoming’).
And that holds especially for our story. The four children springing from the encounter of Zeus with Leda were not precisely born, they rather hatched out of eggs. Already in his drafts does da Vinci throw Leda her offspring in the face. With Michelangelo, where the swan is nevertheless rather busy down there, no eggs are to be seen, at least on the copies of Rosso Fiorentino and Rubens. On the print of Bos already one egg has hatched and another one on the foreground is on the verge of doing so.
Even when the emphasis on the consequences of the deed is in line with the genital-fertile defence against the perverse proceedings of the swan’s neck, the fact that birds have to do without a penis and a vagina perverts their reproductive efforts from within.
And that equally holds of Yeats. Even when no eggs are mentioned in his sonnet, in ‘Among school children’ the poet stages a ‘Ledaean body’ wherewith he feels united as ‘the yolk and white of the one shell’. And that reminds us that we are dealing here with Yeats’ Leda. But only now are we ready to tackle the sonnet properly.
Yeats' completion of the image
According to Charles Madge* the above mentioned Hellenistic relief would have inspired Yeats. Which is evidenced by the flapping of the wings, the emphasis on the web on Leda’s thighs, but foremost by the way in which the swan catches Leda’s neck and presses her face against its breast.
But equally right are all those who traditionally maintain that the poem is inspired by Michelangelo’s Leda. To begin with, Yeats’ Leda does not stand upright, as she does on the Hellenistic relief. She is lying supine, as with Michelangelo. And even when the webs on Leda’s thighs may also appear on the relief, marble has no colour, and it is precisely the resonance of that colour black that is more than echoed in that splendid ’her thighs caressed by the dark webs’. But foremost those ‘terrified fingers’ betray that also the painting of Michelangelo lies at the roots of Yeats’ sonnet. Even when they ward off, rather than wriggle out of pleasure. The mere fact that Yeats’ Leda uses frail fingers rather than full arms to ward off the brutal swan, at once reminds us of the fact that also on the Hellenistic relief Leda does not ward off. With her full arm she rather eagerly extends a helping hand – her wriggling fingers being hidden from view through the thighs.
It is apparent, then, that Yeats must have been strongly impressed with the greediness of Michelangelo’s swan and the complicity of his Leda, but foremost with the eagerness wherewith the Hellenistic Leda helps the swan reach its goal. Which does not prevent that this erotic fervour equally unleashed a strong counter-current in Yeats. Which departs not so much from the proceedings under Michelangelo’s fanning out of the tail, as rather from the more convincing proceedings between Leda’s thighs on the Hellenistic relief. Through such regression from the ‘Renaissance’ to ‘Antiquity’, the pushy beak that effortlessly reaches its goal, is whistled back to the place where it belongs: between the thighs. And to seal the genital metamorphosis Yeats also borrows the most striking gesture of the Hellenistic relief: the compelling force wherewith the swan catches Leda in the nape, which neutralises the organ of lust into a mere instrument. And the crowning glory of this work are those ‘terrified fingers’, wherein Yeats utterly negates the seemingly denied complicity of da Vinci’s Leda and the nearly concealed complicity of Michelangelo’s Leda.
It seems as though Yeats reduces the ambivalence between perverse and fertile strivings to the sole genital proceedings. The scale seems to resolutely tip in the direction of the pole of negation. In line with this negation Yeats stresses the reproductive consequences of Leda’s encounter: the ‘shudder in the loins’ ‘engenders’ – an echo of da Vinci’s emphasis on Leda’s eggs.
The honey of generation
But that very ‘engenders there’ following the ‘shudder in the loins’ puts a heavy damper on the triumph of the member foolhardy. What is begotten there is not precisely suited to welcome the deed of procreation: whoever would like to be the father of ‘the broken wall, the burning roof and tower and Agamemnon dead’? Which of course is a reference to the Trojan war waged on occasion of the unfaithfulness of Helen, one of Leda’s chicks. The fratricide is represented through another pair of chicks: Castor and Polydeukes. Also on da Vinci’s painting the hardly hatched mortals are already attacking each other. And the role of the fourth chick is played by Agamemnon, who was murdered by Helen’s (twin) sister Clytemnestra (in Aeschyles’ version).
In that ‘Agamemnon dead’ resounds still another reproach to the deed of begetting. In ‘Among schoolchildren’ Yeats complains the ‘youthful mother’ ‘honey of generation had betrayed’:
What youthful mother, a shape upon her lap (...)
that must sleep, shriek, struggle to escape (...)
Would think her son, did she but see that shape
With sixty or more winters on its head,
A compensation for the pang of his birth
Or the uncertainty of his setting forth?
What the honey-sweet ‘shudder in the loins’ engenders, is not so much life, rather death. Not to mention all those minor burdens that the poor mortals lift on their shoulders for the lust of one moment’s sake. In the short term the ’pang of birth’. In the somewhat longer term: the care for their progeny ‘that must sleep, shriek, struggle to escape (…)’. And at long last the growing realisation that all these offers have been in vain: we only beget to doom to death. For the sole taste of honey’s sake!
No wonder that love recoils in the face of such dreadful perspective! Yeats, though, never speaks out this truth. He rather prefers to state without any further explanation that love is merely an transient transport – or to phrase it with Schopenhauer: a cunning of nature that is merely out at eternal reproduction. Time and again Yeats stresses the transience of love. In ‘Never give all the heart’ he holds that:
it fades from kiss to kiss;
for everything that’s lovely is,
but a brief, dreamy, kind delight
That is precisely why he warns us ‘Never give all the heart’. With as an encore:
‘He that made this knows all the cost,
for he gave all his heart and lost’
Which of course causes the soul to leave her limbs, as in ‘The lady’s second song’:
Soul must learn a love that is
Proper to my breast,
Limbs a love in common
With every noble beast.
Which again sheds a new light to the swan as ‘the noble beast’
Intermezzo : the dove
Also in ‘the Mother of God’ a woman is impregnated by a bird, equally ‘wings beating about the room’. Although this time it is a dove, and although this time not a daughter is hatched, but a son. Destined to death by his very father…
What is this flesh I purchased with my pains,
This fallen star my milk sustains,
This love that makes my heart’s blood stop
Or strikes a sudden chill into my bones
And bids my hair stand up?
Herein Yeats joins a tradition that we swept under the carpet to allow ourselves a rapid transition from Antiquity to the Renaissance. But just as only as a metamorphosis of Mary Venus is reborn on Botticelli’s painting, just so the genuflection of da Vinci’s Leda before her eggs is a nearly concealed echo of Mary falling on her knees before her son Jesus. Who was brought to the world to redeem us of the sins of precisely the fratricidal twins that hatched from the swan’s eggs…
The metamorphoses of Leda
Indulging in the kind of love he has in common with ‘every noble beast’ leads to man’s fall. The endeavour to break the fall unleashes the perverse move. The tempestuousness wherewith the unruly procreative violence, embodied in the flapping of the wings of dove and swan alike, is enforcing itself, unleashes an even stronger unwillingness to surrender. For only at first sight does Yeats negate Renaissance’s perverse strivings. In fact Yeats faces us with the central conflict that sets alight the perverse fire, while at the same time allowing the perverse counter-move to expand in ever wider circles.
To begin with, Leda is overpowered by a ‘noble beast’ and not by a mere man or god. The metamorphosis of man into bird releases the male of precisely the source of all evil. And even when Yeats neutralised Michelangelo’s greedy swan neck to a compelling beak, the perversion literally returns through the back door: the catch in the nape implies an approach from behind. In ‘Crazy Jane talks with the Bishop’ (Words for Music Perhaps, VI) Yeats himself betrays what is performed there in the lower regions as the counterpart of the ‘nape caught in his bill’ and under the guise of a ‘shudder in the loins’:
Love has pitched his mansion in
The place of excrement.
The obliteration of the penis is completed by the vagina’s metamorphosis into a cloaca.
But the repressed returns not only through anal channels. The process of desexualising strides further along a path that also here has been paved by painters. Michelangelo’s Leda is completely naked. The impression of nakedness is only enhanced in that Leda’s hair is covered with a skin-coloured headgear. And neither is there left any trace of the pubic hair: it is covered by the fan of the swan’s tail. Which only enhances the contrast between the white-feathered body of the swan and the utterly naked body of Leda. But the very sharpening of the contrast unravels a secret affinity. Precisely because Michelangelo smoothes away the difference between naked skin and hair, it all the more comes to catch the eye that Leda’s body ends up in a horny headgear – a nearly concealed echo of the way in which the feathered swan’s body changes in the horn of the beak. Such surreptitious assimilation of the ‘Ledaean body’ is further enhanced through Michelangelo’s emphasis on those wriggling fingers and those remarkably agile limbs. Also da Vinci’s Leda seems eager to become a swan: he lets her whole body – la figura serpentina – balance in opposite directions alongside diverse axes. An echo of the above described convolutions that had to be performed to make Leda’s and the swan’s body match?
But the metamorphosis of Leda in a swan does not halt with the smoothing out of her hair and the voluptuous posture of her body: Leda also lays eggs. That seems to go for itself. But on a closer look we would rather expect eggs when a human male impregnates a female bird. When, conversely, a bird impregnates a woman, it would be more obvious that she would cuddle little swans in her womb, until at last little swan beaks would protrude from the vagina rather than children’s heads – in a variant of the story it is Nemesis that lays the scorned eggs… after her previous transformation in a goose. Not only in her alluring demeanour and her voluptuous gestures has Leda become a swan, her metamorphosis comprises her organs as well: she lays eggs and has become a bird. The metamorphosis from vagina to cloaca was only a prelude to the metamorphosis from mammal to winged bird, the sequel to Zeus’ becoming a swan.
The hermaphrodite
Also Yeats seems to be ridden by the desire to smooth away every difference between the swan and Leda. The metamorphosis of the loving couple into a couple of birds is an old dream of Yeats’. Does he not sing in 'The white birds':
‘For I would we were changed to white birds on the wandering foam: I and you!’
With Yeats, the smoothing away of the difference between man and animal seems to encompass the smoothing away of the difference between man and woman. An obvious solution is their metamorphosis into a swan. It is rather impossible to tell a male swan from a female: both share a virginal front. And that sheds a new light on the fact that it is Zeus that presses Leda’s breast against his: ‘he holds her helpless breast upon his breast’. On the Hellenistic relief Zeus does not press Leda’s breast against his breast but Leda’s face. And this is also the case in a former version of the first quatrain:
A rush, a sudden wheel, and hovering still
The bird descends, and her frail thighs are pressed
By the webbed toes, and that all-powerful bill
Has laid her helpless FACE upon his breast.
Leda’s face upon Zeus’ breast: this immediately reminds us of a mother breast-feeding her child. But it is not Leda who breast-feeds Zeus as on Bacchiaca's painting above. It seems as if through his metamorphosis into a swan Zeus is at the same time turned into a mother. As if the desire of the mouth, that the beak had to give up to catch Leda in the nape for copulation’s sake, surfaces again in the shape of the nipples growing out of the breast of the swan – which, otherwise than with mammals, shows no sexual difference between male and female.
But Yeats must have been equally disturbed by the difference between mother and child as by the difference between man and woman. That is why in the second version is restored the reciprocity that previously existed between beak and lips: Zeus no longer presses Leda’s head against his breast, but her breast against his. To be more precise: his breast without breasts against Leda’s breast with two breasts. And to also smooth away this last asymmetry, they both feel the same in that region: if not each others bosom, than at least each other heart beating!
And how can body, laid in that white rush,
But feel the strange heart beating where it lies?
Which immediately reminds us of the already quoted verses from ‘The lady’s second song’:
‘Soul must learn a love that is
proper to my breast,
limbs a love in common
with every noble beast’
Whereas on the level of the limbs protrusion and hole oppose each other, on the level of the soul two hearts feel each other beating. From beast to breast, the journey goes through three stations: from sperm, through milk, to blood. From the feeding breast to the beating - pumping - heart: such shift is indicated in the already cited verses from ‘The mother of God’ where Mary complains about her godly son:
This fallen star my milk sustains,
This love that makes my heart’s blood stop
A similar shift is at work in Luca della Robbia’s Leda, where the swan is not out at Leda’s breast, but rather at the place beneath it where Christ shows his wound:
And that is how Leda turns into something of a Jesus Christ. Who in his turn is often represented as a pelican feeding his young with the blood flooding from his heart – the very reversal of the image of Mary with the divine child on her breast. It seems as if we are landed up in a veritable whirl of the sexes and the generations.
But there is more. The first version sheds a new light on some oddities in the second version, that otherwise might have inadvertently escaped our attention. With the image of a swan descending from heavens in mind, we are ready to read the ‘in’ in ‘laid in that white rush’ as a ‘by’. But that very same ‘in’ cannot fail to suggest that it is not the swan, but Leda who descends from heavens ‘in that white rush’. And that lends only its full weight to the wording in the second quatrain of the first version where Leda is bluntly laid ‘on’ that white rush:
How can those terrified vague fingers push
The feathered glory from her loosening thighs!
All the stretched body's laid on the white rush
And feels the strange heart beating where it lies.
In line with such increasing osmosis of the sexes lies a second shift. In the first version ‘body’ refers to Leda’s face pressed on Zeus’ breast . But in the second version ‘body’ refers to the embracing bodies as such - Leda’s body as well as the body of her swan:
And how can body, laid in that white rush,
But feel the strange heart beating where it lies?
The incipient metamorphosis of Leda turns out to be the mere prelude to a further metamorphosis: Zeus’ transformation in a woman/mother and Leda’s concomitant transformation in a man. Or to be more precise: both come to partake of the hermaphrodite by incorporating each other. And hence can eternally entwine, like Aristofanes spherical beings, hinted at in the verses:
‘For nothing can be sole or whole
that has not been rent’
which – significantly enough – immediately follow the already cited ‘Love’s mansion in the place of excrement’ (Crazy Jane and the Bishop). Also in ‘Among School Children’ the reunification in the egg is described: ‘
and it seemed that our two natures blent,
into a sphere from youthful sympathy,
Or else, to alter Plato’s parable,
Into the yolk and white of the one shell
The hermaphrodite is only a figure of the denegation of multiplicity as such. Its completion is the self-sufficient solitary – the one and only God – hinted at in ‘A prayer for my daughter” where ‘the soul’ learns at last
that it is self-delighting,
Self-appeasing, self-affrighting,
and that its own sweet will is Heaven’s will;
The symbol
And so we have laid bare all the roots and ramifications of Yeats’ magnificent image. It appears that Yeats has with unparalleled mastery condensed the central conflict of human existence, far more concisely - since brought to a head - than da Vinci and Michelangelo.
With this reading in mind, many an accepted interpretation rather evaporates. Foremost Yeats’ own interpretation. He believed that the age of democracy was going to its end and that a government ‘from above’ would be installed to subdue the anarchic masses, as in Russia. But Yeats himself betrays how, when working on his Leda, he was so caught by the image of the bird and the girl, that ‘all politics went out of it’ (Cullingford). And we readily believe him. Did he not write himself (in ‘Politics’):
How can I, that girl standing there,
My attention fix
On Roman or on Russian
Or on Spanish politics?
And the same holds of other interpretations: from the Platonic, through the Nietzschean, the… , to the feministic (Cullingford). Idem for the interpretations of Michelangelo’s Leda. Whatever might have been the meaning intended within the context of Alfonse d’Este’s diplomacy (Wallace), every attempt to reduce the meaning of this work to mere diplomatic symbolism would overlook that already da Vinci had introduced the new theme within a totally different context. Here we stumble on the ‘immanent’ lecture of genuine art, which is out at throwing off the yoke of symbolism laid upon its shoulders (see: 'Are Rubens and Beuys colleagues?').
Which did not prevent Yeats from giving a transcendental twist to the very image he so brilliantly knew to bring to a head and at the same time to amplify. Did he not let it end on the question: ‘Did she put on his knowledge with his power?’ Whereby he caused his creation to become vulnerable: after all no human creation is perfect. We already described how a second asymmetric partition overlapped a first symmetric one. Were it not for the overall rhythm of the sonnet to ask for its further unrolling, the breath of Yeats’ image has irrevocably breathed its last when also Agamemnon has given up the ghost. Perhaps a vague consciousness of such a rupture induced Yeats to typographically separate the second half of the last verse of the first half of the sestet and to refer it to the last – ‘added’ half.
I would like to spare myself the effort of answering Yeats’ question in terms of his worldview – which is utterly alien to mine. And I do so all the more eagerly, since also this addition is susceptible to a lecture that is perhaps rather non-Yeatsean, but nevertheless not less imposed by the logic of his own image. On its wings the swan is carried into the skies, but with its webs it paddles in the waters - where the cold-blooded fishes reign. The skies and the waters wherein the amphibious swan is at home are thus opposed to the earth. And even though also a swan can waggle on its webs: it is man that naturally walks on the earth’s surface. Only from the surrounding waters and skies – the outer-human world – does the ‘brute blood of the air – come to invade man’s world and make him – Leda – stagger, if not fall as if (s)he were a second Eve.
Against this background the question ‘Did she put on his knowledge with his power?‘ acquires a new meaning. At first sight its seems to fit the classic opposition between man as spirit versus woman as body, which without doubt governed the (also political) conceptions of Yeats, as is evidenced by ‘on Woman’, where it is written:
May God be praised for woman
That gives up all her mind…
But in the light of that damned ‘honey of generation’, an unexpected overtone comes to accompany those ominous words. God in the shape of a swan - that is no less than the reproductive drive, that willy-nilly pursues its own goals without bothering about the poor, blind mortals abused as mere instruments. Merciless does it load a heavy burden on the shoulders of the very men and women that think to dedicate themselves to love and equally merciless does it deliver them to war, decay and death. Alongside the entire way of the Cross, poor overpowered Leda – in this lecture as well as in the ancient one: mankind – lets herself deceive through ever new chimera’s, whispering into her ears that man can pursue his own - human - goals: if not the divine ‘shape on the lap’, then at least the merger via the ‘loosening thighs’, or if need be ‘the feel of the heart beating’ – and since this is doomed to remain utterly ‘strange’ – at last: 'self-delight’. In this second lecture of ‘Leda and the swan’ no longer the sexes are opposed: the divine and beastly rape the human. Before being the metamorphosis of Mary and her dove, Leda (da Vinci’s ‘figura serpentina’) and the swan (‘the brute blood of the air’) are the metamorphosis of Eve and the serpent (‘the cold blood of the waters’). The feathered swan in the skies as the counterpart of the slimy snake in the waters. Or the cold-blooded fish: after all, just like the swan has to waggle on man’s earth, so the serpent can only snake on it.
And herein is to be found the very power of this poem and the merit of its poet. For according to the good old romantic tradition the poet, not otherwise than Leda for the swan, is only the vehicle of a wisdom that manages to edge its way through the musings of the poet. And – as is already implicit in the structure of this essay – Yeats did not succeed on his own. He is merely the last - albeit the supreme - link in a long chain of forebears, that one after another laid bare ever new coordinates wherein the constituent forces of the image come to nestle. Until they are condensed in a dynamic whole of strongly opposing forces. Which is a pinnacle that cannot be surpassed anymore. Similar highlights are the Don Giovanni of Mozart and da Ponte. Or better still: the Salome of Oscar Wilde and Richard Strauss. For the latter has in common with Yeats’ Leda that it were equally painters who paved the way.
It suffices to cast a glance on the countless Ledas painted since Michelangelo to convince oneself of that truth. Only in Yeats’ sonnet did Michelangelo’s Leda find its accomplishment. And no poet will probably ever surpass it.
© Stefan Beyst, october 2002
* cited from Cullingford.
CONSULTED TEXTS:
BEGHELLI, Chiara: 'Leonardo and the myth of Leda. Models, memories and metamorphosis of an invention', Telematic Bulletin of Art, September 1th 2001, n. 281.
CULLINGFORD, Elizabeth Butler: "Pornography and Canonicity: The Case of Yeats' `Leda and the Swan,'" in Representing Women: Law, Literature, and Feminism, ed. Susan Sage Heinzelman and Zipporah Batshaw Wiseman (Durham: Duke Univ. Press, 1994), 165-87.
HARGROVE, Nancy D. "Esthetic Distance in Yeats's 'Leda and the Swan'.", The Arizona Quarterly 39 (1983): 235-45.
HOLSTAD, Scott C.: 'Yeats's 'Leda and the Swan': Psycho-Sexual Therapy in Action, Notes on Modern Irish Literature.
WALLACE, W.E.: 'Michelangelo's Leda: the diplomatic context' in: Renaissance Studies Volume 15, Issue 4, December 2001: pp. 473-499.
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On March 1st, 2008, Asher Neiman Gallery made its foray into the art world. While we are a fine art gallery, our definition of 'fine art' is expansive; that is, in addition to paintings and photography, we aim to house, purvey, and promote: hand-made jewelry, sculpture, music, and film. Our artist stable contains an ever-increasing variety of mediums and methodologies. Our gallery takes on a separate identity in the evenings. We host meetings, small corporate events, live music, budding artist showcases, as well as fundraisers for various charities. Asher Neiman Gallery is located in Red Bank, New Jersey, a unique and charming enclave just 5 miles from the Jersey shore and 45 miles from NYC. We're honored to inhabit 16 Monmouth Street, the former location of Art Forms Gallery, a beloved Red Bank landmark for 23 years. "I want to disseminate beauty and to stir the soul of any who are curious, to bring a fine aesthetic to peoples' homes and to fill the gallery walls with spectacular examples of creative spirit in a range of color and form." — Emily Asher Neiman, owner read more »
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"Painting for me is a dynamic process of self-exploration and a constructive way to give form and meaningful expression to an internal experience. I take on a philosophical and postmodernist approach to the art-making process, investigating problems on a personal and intuitive level. This process is what fuels my mind and informs me, raises new questions, and gives my work resonance. My subjects range from contemporary celebrities in today’s visual culture to metaphorical objects as storytellers. Celebrities bring a sense of decadence and theatricality to my work, while working with objects as metaphors on psychological level often extends meaning deep within my work. The final product becomes a passionate reflection of all that was revealed to me about my subjects during intense moments of personal clarity."
As a professional artist, Michael Bell has painted narrative portraits, by commission, some of the most powerful and famous people of our time, including the late John Gotti and for numerous cast members from HBO's "The Sopranos" and "CSI:Miami." He exhibits regularly throughout the country and is prominently featured in numerous celebrity events and high-profile charity benefits, always promoting the arts and his philosophy of art education. Bell is currently the 2004-2005 Anne Arundel County Teacher of the Year and one of twenty-four selected Maryland State Teachers of the Year. He also teaches the Anne Arundel County Gifted Visual Arts Program and has pioneered the concept of "Visual Journaling", which he has presented to art educators from throughout the country for the National Art Education Association. Bell has a documentary film out on this process vs. product artistic journey.
Michael Bell has a Masters degree (M.ed.) in the Fine Arts from Towson University, working with Dr. Jane Bates, (Thesis Advisor and the Director of Art Education), while studying in studio under Nora Sturges, (Assistant Professor of Painting), Michael Weiss, and Dr. Ray Martens. Michael Bell is a National Art Education Association (NAEA) member served as the Maryland Art Education Association (MAEA) Secondary Division Director from 2002 - 2004. Michael is listed in the 7th and 8th printed editions of "Who's Who Among America's Teachers" and was the 2001-2002 recipient of the MAEA Most Outstanding Career Arts Educator Award. In 2002 Michael created the MAEA's Artists Capturing Mentors Exhibit and in June, 2003 Michael Bell's student artists were commissioned by the Discovery Channel to create 35 works of art for the 15th Discovery Communications, Inc. Art Education Grant Program Exhibit. Michael is founder and current President of ArtQuest, Southern High School's nationally sponsored and professionally juried student art exhibition. Michael's community involvement is extensive, creating partnerships between schools and communities through collaborative projects at Discovery Village in Shady Side, MD, and mural donations for the YWCA's Men Against Domestic Violence. Michael currently instructs the Gifted Visual Arts Program for Anne Arundel County and is represented by Michael Sprouse and the Zwaanendael Gallery of Art in Lewes, DE. Michael has been named the 2004 - 2005 Anne Arundel County Teacher of the Year and was a Maryland State Teacher of the Year Semi-Finalist.
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Mr. Bell is my teacher at Southern High School. For the past couple years everyone has talked about him and how great he is and how extraordinary his work is. I never really took the chance to meet him or to go to art quest at school to see his work and his students work that he had a part in. Now I have Mr. Bell as my 2-D art teacher and I was looking forward to his class all summer, but when school started and I received my schedule I noticed that his class wasn't on my list of classes. I jumbled up my schedule just to take one of his classes and see what everyone was ranting and raving about, not having any love, respect or trust in him or his work. Now that I have been in his class for almost two months I respect him as a person, a teacher, and an artist. He has done some of the prettiest, original, and breathtaking artwork that I have ever seen. Just last week a student asked him why he was a teacher and not making millions upon billions of money doing his artwork. He had said that he wanted to be around people and create inspiration and help open up peoples minds to different things and create their own artwork. He had also said that he wanted to teach people how to draw and paint what they feel and what they want to. Art is supposed to be relaxing and enjoyable not stressful. Mr. Bell has helped me understand and see that my artwork is all my own and nothing can take that away from me. Mr. Bell if you read this I want you to know that I respect you so much and I look up to you because what you are doing right now in your life and as a living, this is what I have wanted to do since I was little. I just never thought that it would happen, but now I see that it can happen if you fight for it. Thank you so much.
Sent: October 12, 2005 From: Jaime Tucker
Heinz Sterzenbach is a german artist who lives and works in Berlin. His Online-Gallery shows 300 "Views of Berlin". The pictures are originals and in different mediums: etchings / watercolor and oil on canvas. In the gallery you`ll also find a catalogue with 600 surrealistic pictures in various mediums (oil on canvas, mixed media, acrylic, pastel, gouache, watercolor, etc.). The E-shop enables you to purchase original works of the artist. Also you will find a link-list with top voting and rating system. read more »
www.gallery-sterzenbach.com
Sylvie Robert was born in Paris in 1964. Her love develops mostly in the areas of figurative Art (realism), first classic then contemporary. Although degreed in business administration, Sylvie has accelerated her passion for art thought the use of modern computer technology.Refining her classical and esthetic taste she has develop a fantasy vision that would make Salvatore Dali jealous as she continues her experiments in digital imagery.Her works are a fusion of dimensional speech that evolve thought time and space covering “expressionism ipormali” (ipoformal expressionism) and post realism. She mixes emotions of the purest esthetics with the timeless recognition of the evolution in technical landscape reaching the ultimate in contemporary digital expressionism. Sylvie Robert has joined the elite class of the Digital Artists Her elegant use of color combined with fluidity of forms and her originality of backgrounds (neoclassic and futuristic) will delight even the hardest critic. Owning a painting by Sylvie Robert is not only a good investment and pleasure but also a glimpse into the world of fantasy and good taste. read more »
www.sylvierobert.com
In "Ten Years After: The Warhol Factory" the artistic achievements of six of Warhol's associates are featured. Gerard Malanga, Billy Name,.Ultra Violet,.Allen Midgette and Christopher Makos are included in the exhibition, as well as Warhol's nephew, James Warhola, who carries on the artistic tradition within the Warhola family. Laura Rubin joins the artists of the Warhol Circle with select photographs from the factory years. This multimedia exhibition examines the artistic and cultural achievements of six living artists, who first gained prominence through their association with Andy Warhol, and who continue to practice their arts to the present day. The group comprises several generations of Warhol's associates. It begins with those who played an integral role in founding the famous silver Factory in the early 1960's (Gerard Malanga and Billy Name) and those who were attracted to Andy and his studio in the early years (Ultra Violet and Allen Midgette); extends to one who entered Warhol's circle after his move to Union Square in 1968, and then to the final location on 33rd Street (Christopher Makos); and concludes with Andy's own nephew (James Warhola), who carries on the artistic tradition within the Warhola family. Each artist is represented by a mini-retrospective of ten works, surveying the varied media and phases of his or her career. These include themes of human sexuality (homosexual, heterosexual, transvested); spirituality (Christian subjects and Zen philosophy) and death and disaster (guns and car accidents); a fascination with famous people and Native Americans, with physical beauty and international travel, and with conceptual art and its progenitors (especially Marcel Duchamp, Man Ray and John Cage); the union of word and picture (in concrete poetry, and in poetic/photographic memoirs); and the appropriation and replication of images (through photography, photo silk screening, and photocopying). Laura Rubin joins the artists of the Warhol Circle with select photographs from the factory years. read more »
www.audartgallery.com
Since the end of 2002, I´ve dealt intensively in creatively
combining digital photography with different rendering and image-processing programs. With the motto „everything is possible! – possibly is everything nothing?“ I feel my way ahead, image for image. My own photos, foreign material – exchanged through the web, altered or left unchanged, partially or completely taken over... To give fantasy free rein, to unabashedly refuse to reject unusual material to the cyber-bin, the possibility to continuously change and yet adhere to the original idea – all this has led me into a new wide-open territory. Wide-open territory with unforseen creative possibilities. Wide-open territory restricted only by one´s own fantasy. Wide-open territory where for me now, no limits are in sight ...
Georg Hübner, born 1962 in Vienna. In 1993, after many years in music, I turned to photography. Impressed by the expressiveness of high-quality fine art prints, I devoted my initial years to the fundamentals of photography and my interest for positive and negative techniques, as explained in the literature from Ansel Adams. Several years later, after excursions into various segments such as infrared, landscape and spontaneous snapshot photography, I developed my own style, influenced by Czech photographers Michal Macku and Jan Saudek. In November 2002 I began combining "classical" analogue and digital photography. Many of the expressive possibilities, before only obtained through incredible efforts in the dark room, were now at hand, and yet more precise and time-saving than previously. Pictures occupy my thoughts long before they are transposed. Experiences, feelings, dreams.... these are the material from which the real forms arise. With the aid of files of my own and others, as well as 2D and 3D - program, the final picture is created. The challenge for my finished images is to project and represent those fleeting moments of joy and fear, of high and low spirits, of fun and madness ...
www.pixart.at.tf
Contemporary living is bringing people back into the city as older areas are regenerated including post industrial areas, factory units comprising apartments for living. artandfurniture offers you the opportunity to help yourself in choosing suitable and innovative pieces to enhance the style of living you have chosen at a price you would consider reasonable, to own unique Art or Design or Craft forms. With no allegiance to previous art or design or craft movements, artandfurniture offers bold statements of design which refer quite comfortably to modernism.
artandfurniture.com
Detailed Paintings and Pencil Drawings: Lithographs, Prints; Expressing Spiritual and Personal Truth. read more »
www.petrusboots.com
I paint to amuse myself, I paint what I like, I like to experiment with different painting techniques. I like sharp definitive lines and geometric shapes. I like to paint eyes. I like to 'Paint Pretty' even though it angers Art Instructors and Art Critics. My favorite medium is acrylic. My favorite art period is Art Deco. My favorite word is Glamour. My love for Architecture and Design is equal to the love I have for Fine Art. I am most attracted to people that are connected to or passionate about the arts.
I discovered at an early age that I had the ability to express myself through drawing and painting. As a young adult I was forever enrolling in art classes. But I was unfocussed , distracted, and not taking my art seriously. From my native Detroit, I moved to San Francisco, to New Orleans, to Houston, to Honolulu, and then back again to San Francisco. In my late 20's I re-committed myself to further my art education. I have studied Architecture, Interior Design, and Fine Art at Houston Community College in Texas and also at the College of Marin in California. It was at the College of Marin that I took my first figurative painting class and I heard my calling, I have been at the easel ever since.
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We are not just material beings. There are too many questions that have inadequate answers. There are too many happenings which are outside the 'norm' of existence. And our individual lives seem to be filled with quests and drives that move us to seek a more fuller, truer way of living. Yet we are never satisfied! I believe that this is because we keep every single personal experience deep within our minds, and at the same time those experiences are matched together to form a specific creative labyrinth of wisdom which in turn regularly pushes the very bounderies of our understanding. Neither are we alone in these endeavers. I believe that not only is there a spirit world, but it is relating to our everyday lives - now! challenging us, and assisting us in a progressive way. So it does not surprise me to hear about more and more examples of individuals finding positive steps in their present lives, giving them insights and experiences which seem to move them on from the purely physical environment. It is for this reason that I am compelled to produce these pictures, which I believe are simple but relevant aids to be observed and remembered. More specifically, I feel that once the picture is seen, then the mind stores the image - permanently. The visual, being an indelible element, will be unravelled at the appropriate time. I liken this 'process' to the ancient form of chemistry - Alchemy, inwhich the alchemist was driven by the thought that gold could be made from base metals and that there was a material called the philosophers stone which was a vital ingredient to producing the elixir of life. These pictures are my attempt at being a metaphoric alchemist! read more »
www.ablot.com
Bernard Dumaine, born in France in 1953. I studied in Angoulême Fine Arts school, I have been upgraded from the Angers Fine Arts school in 1977 (sculpture - with a distinction for drawing). Since this date, I did many drawing and painting local exhibitions (hyperrealism or surrealism). When I first began to work using a computer, these collages were made with pictures collected by chance over the Web and then rebuilt in Photoshop. Nevertheless, some works were entirely created, such as the "Fragments" set. I have progressively abandonned this way of working, and I actually use scanned photographs taken from magazines or freeware images from commercial CDs. Finally, I use these e-mages as sketches and I paint some of them with oil on canvas. Since the beginning of the year 2001, I produce less images than I did before, for I spend much more time to realize them. I use now a graphic tablet which permits me to work and almost to draw with a larger accuracy.
My work is about graphical experiments; I have been drawing for years, mostly "organic" shapes without any preliminary plan. Actually, I create pictures using Photoshop and I sometime use them as sketches to paint
www.e-mages.fr.fm
part from the catalogue of the international exibition "Science reflected in the Arts"(Hungarian Academy of Fine Arts, Budapest) "The fine arts - just like art in general - has developed parallel with other spheres of learning thinking. The manner of expression in the works of the fine arts corresponds to the way man has seen things, to his aesthetic world of taste in different epochs. The materials and means have followed the new possibilities continually being offered by science, and the thoughts and feelings presented in the works have always been strongly influenced by the spiritual questions of the time, and the attempted answers to them. In the recent decades the development of the electronical communication and computer technology have caused a revolution in the way images are produced. Kovacs-egri takes full advantage of the new technology in producing his works, while sticking faithfully to the aesthetic norms of traditional graphic art. Computer technology has multiplied the means of the artist, enabling him to realize his graphic concepts faster and more precisely than ever before, and bringing experiments in the world of forms and colors out of the restrictions of pencil or brush..."
I was born in 1951. I live in Budapest. In the past years I participated in different national and international exhibitions. My affiliation: Association of Hungarian Creative Artists.
web.axelero.hu/kegri
It is not my aim to create realistic reflections of my surrounding environment. I would rather like to show the things between and behind and to make my thoughts and perceptions visible. My works are frequently very strong related with personal and social conditions, experiences and emotions.
I was born in 1948 in Wiedenbrück, Germany. Since 1969 I'm married with the graphic designer Karl-Ludwig Kuhlmann. We live and work in Verl, Germany.
After leaving school in 1967 with a secondary degree I concluded a professional education as a photographer and graphic designer. At first I was an employee of Bertelsmann publishing house and worked some years in the publicity department of the Nobilia factory, a furniture and kitchens producer. Since 1976 I have been working as a freelancer for several publicity agencies and advertising departments and shaped every kind of publicity resources, like prospects, mailings, advertisements and product designs. As an example I cared for a club-journal for Radio Télé Luxemburg (RTL) for several years.
In 1994 I discovered the computer - which had been that far only a working tool, as my personal artistic medium. I gained the necessary knowledge for it in a self taught manner. Between 1994 and 2002 I extended my activities on three fields:
1. The graphic work with own photos: Digitally edited photo-collages of flowers and landscapes, frequently completed with paintings, expressing the connection between the perceptible picture and imagination. Most of them have been awarded in the annually hold Corel World Design Contest.
2. The work with 3D-programs: 3D-illustrations and landscapes in a surrealistic manner also digitally edited and supplemented with paintings.
3. Experimental and abstract works: Since beginning to use the computer as a personal artistic tool in 1994 I tended more and more towards abstraction. Especially the game with geometric forms and the research into the visual and emotional possibilities of several graphic methods are of great interest for me. i.g. to work with fractals which are always the visualized solution of a complex mathematical problem - but viewed in isolation of mathematical questions and contents they are graphic patterns as a snapshot of the infinity. Drawing by algorithmus depends widely on coincidence. However generating and selecting of dynamic forms, their editing and coloring, is based on what psychologists may call "subjective perception". Mathematical art is - although it seems to be a contradiction in terms - a very intuitive and individual kind of work.
My subjects are human relations as well as personal and social conditions. [ . ]
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I am the Editor of Digital Photography & Design magazine,
an Australian magazine covering digital photography, digital video, web design and digital art. I am also Technical Editor of Capture - Commercial Photography magazine, a bi-monthly serving the needs of professional photographers. I am the Founder and Director of Digital ImageMakers International, and Publisher and Editor of their magazine. DIMI is an international organisation serving the needs of both professional and amateur digital image makers, irrespective of what medium they work in. Thus, this one organisation aims to exploit the convergence between digital photography, graphic design, web design, 3D graphics and animation and digital video. I am also a freelance writer for several other publications, including The Age newspaper and Desktop, a graphic design magazine. Lastly, I am the Director for 2003 of the International Digital Art Awards. I made the switch to full-time writing some six years ago, following the death of my second wife after a long battle with cancer. As one does in such situations, I examined everything I was currently doing and decided to make more room for writing and my art. Prior to this I was a Senior Lecturer in Computer Science at Swinburne University and Head of the Computer Graphics Research Group. I was an academic for 17 years there, specializing in parallel computer graphics rendering, computer architectures for graphics and mathematical and algorithmic art. I created my first computer graphics image in 1979, built my first computer in 1980 and constructed my first digital camera in 1986. Parallel to all this I was actively working on my photographic and art skills. I cut my teeth on photography as a child doing astrophotography, hooking my cameras up to the telescopes I had and built. This grew into a general interest in photography and art. I also started painting around the same time. It was during my time with my late wife that the passion for art photography and digital art really developed and I owe her a huge debt for guiding my development. I am now happily re-married and have a delightful daughter. I have exhibited my photography and digital art (predominantly mathematical and fractal imagery, up until quite recently) in group and solo shows within Australia, including invitational survey shows. My digital artwork is currently going through a period of major change and development. I also run a small graphic design and professional photography studio, with my wife and we also sell fine art materials to the local professional artists. My wife is a pastel, acrylic and oil painter (as was my late wife), and I paint in watercolours, mainly on Yupo plastic papers, as a relief from the computer work. My digital art work draws inspiration from my many interests. For my whole life I have had deep interests in, and made active studies of, philosophy, the esoteric, ancient history, esp. Egyptian, Greek, Roman and Celtic, comparative religions, mathematics, astronomy, quantum physics, paleontology, the origins of man, psychology, art and modern history, esp. European and Asian.
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www.artinyourface.com
Ireland's rich heritage of ancient calligraphy in manuscripts such as The Book of Kells, was inspiration for Denis Brown as a schoolboy. Later, his rigorous formal training in traditional calligraphy was at London's Roehampton Institute with Ann Camp. Now his work explodes from, and extends, those traditions in the form of innovative modern works of art. Widely travelled with his work, he has won awards and commissions on four continents, and is internationally recognised as a world leader in the field of letter arts. read more »
www.quillskill.com
We Cyberartists have tunnel vision. Through our art, best fitted to the digital network that the spidery Web is, we pipeline our "cyber"-works for "cyber"-culture's sake that is globally prevalent. When I first established a presence on line with my "Truly Virtual Web Art Museum" in 1997, I had difficulty finding good digital art online to fill the virtual gallery spaces with international computer art. It was pretty much a vast e-wasteland. Cultural experience back then was more about taking up residency in free "home"-pages such as Geocities, and flirting in then novel online "chatrooms." But the Internet held the near term promise that scores of digital artists would soon arrive to claim this new realm of art opportunity. And yes, today, they pervasively inhabit this exciting, proliferating cyberspace! There is now such a diverse richness online of cyberarts that I am proud to be part of this pioneering first generation of artists that are providing culture unique to the Web. Here is art found nowhere else but on the Web.
"Cyberart," according to my perspective and mission, is digital art that is created exclusively for viewing, appreciation, and experiencing, on the Internet. Imagine the power to now be able to transport your feelings, ideas, as artist with anybody on the planet, bypassing the physical bottlenecks that museums and galleries are, through a democratic, distributive vehicle for public visibility and consumption. All one has to do is conform to the medium of expression that best fits this electronic modality, the computer, the network, the boxy screen. Not all artists, especially the sculptors, take naturally to this beckoning new art medium . But for me, like a fish to water, it was a logical extension from "computer artist" (1985-96) to "cyberartist" (1997- present). It just took a change of commitment from printing-framing-nailing-hanging-on-the-wall to merely uploading new works to my web pages. With the advent of this new portal for artistic visionaries, the Internet's Flash, Java, and multimedia integration developments guarantee future visual delights for all cybercitizens.
For 2002 a new milestone for all cyberartists - the EHCC World Tour of Cyberart www.lastplace.com/EXHIBITS/EHCC/ICE2002/ art of disciples for Internet Art- is downloaded, printed out, framed, and exhibited to reveal themselves to those who only "see" in the "real world"- outside the domain of online culture. With the stewardship of Ingrid Kamerbeek of Germany, it is our plan to establish a "web ring" of worldwide museums that recognize, and support, the virtues of Cyberart. Hopefully this will accelerate the pace of opening "unwired" eyes, leading the way to the hidden dimension of edge art just a fingertip away, lying buried, like hidden treasures, within the new landscape of ubiquitous desktops.
Pygoya (aka Rodney Chang, M.A., Ph.D) December 5, 2002
Rodney Chang, better known as the Internet's Pygoya, Cyberartist, was the first digital artist to exhibit in Honolulu, back in 1985. Since then he has exhibited around the world, including Paris, New York City, Russia, Germany, England, India, and Japan. His 1988 solo show at Shangahi Art Museum was China's historic first computer art exhibition. In 2002 Dr. Chang curated and organized East Hawaii Cultural Center's first International Cyberart Exhibition and World Tour. Through the 1980s-90s the artist completed his first major project of computer art (over 150 large painted canvases), "PaintOuts" (as in "printouts") or "Cyberpaintings", before dedicating his creative works solely to digital online display , as content for his virtual 3D museum, The Pygoya Webmuseum, established in 1997. His latest major contribution to the visual arts of the Web is "100 Cyberbabies" (as in new art born on the Internet) exhibition.
Currently the artist is curator and director for his online virtual reality Truly Virtual Web Art Museum, webmaster for Las Vegas Art Musuem Web site (until 2002) and the East Hawaii Cultural Center Pygoya made history in organizing and traveling to Calcutta for India's first ever international digital art exhibition (1999). In early 2002 Truly Virtual Web Art Museum proudly greeted its 1 millionth visitor.
The computer serves as assistant in discovering new art visions for Pygoya. The artist, over the years' parade of changing personal computer systems, always attempts to reinvent his developed "style" on the computer, as much his own input as the evolving technical tools. Then, instead of a hard copy printout that other computer artists exhibit and sell, an intermediary actual painting on canvas is produced to "dedigitize" the work This is done in order to remove a purely technical feeling of computer graphics, which some consider a bit "sterile". Then the working painting is photographed, "redigitalized" and modified through editing refinements by the artist. The "final" work of art are either Giclée or Epson archival inkjet prints or such derived digital cyberart is placed online for exhibition in Internet cyberspace virtual reality galleries, such as the 3DPygoya Webmuseum . Most recently, purely digital images are garnered from 3D software and posted as art created for the Internet to contribute to the global visual arts online cyberculture. As such Pygoya's 100 Cyberbabies in 2002 were inspired by the online life of the artist.
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Pygoya about Ingrid Kamerbeek: "Born in 1952 in Gummersbach, Germany. Currently lives in the romantic area of Bavaria. The beautiful landscape not only attracts many foreign tourists worldwide but also provides inspiration for Kamerbeek's art. After high school the artist embarked on a very special education in graphic arts through tutelage and apprenticeship with her grandfather and father, two previous family generations of professional painters. Kamerbeek owned galleries in Kaarst near Düsseldorf (1978 - 1980) and in Mönchengladbach (1980 - 1982) before creating her own web site which assists other cyberartists to gain exposure for their work. A true inspirational leader and motivator for the cyberarts. Much art exhibiting, on earth and in cyberspace. One of her works, "Global Consciousness", was inducted recently into the online Cyberculture Art Museum. The artist finds time to maintain the position of Co-coordinator for East Hawaii Cultural Center's International Cyberart World Tour and Coordinator of CenterofCyberspace.com". read more »
www.artingrid.de
I just finished my major project "the seven prayers" which dominated my life for the better part of the last four years. Many changes in my life accompanied and influenced the work. Deep inside me sometimes I started to doubt that I would ever bring it to an end. The whole series consists of 21 large sized pictures, each one 180x180 cm. Using a specially designed alphabet based on circle segments the seven tryptichen take up motifs of the buddhist Lotus Sutra and represent them as text-pictures. The old geometrical symbol of perfection, the circle as the smallest denominator for unity, is cut into segments, to form a script. Variations of the no longer as text defined words and word fragments are stripped of their semantic meaning and become indecipherable. But this destruction of the upper layer of language bares a deeper level of meaning which only reveals itself after the habitual attachment is overcome. The series consists of seven prayers: to the sun (2000-2001), to the earth (1998), to the fire (1999-2000), to the wind (1998), to the lotus flower (1998-1999), to the sea (1998) and to the moon (2000). The choosen colors are in harmony with the seven factors of inspiration of the buddhistic philosophy. The Pollock-Krasner Foundation, New York, supported the project through a one year grant during 1999-2000. All the 21 paintings of the finished work are published as an artcard book with the title "the seven prayers" by the Edition Ursache & Wirkung, Vienna, in 2001 read more @ amazon.de »
www.studio-sandor.com
Digital art is an extraordinarily exciting new medium that closely resembles the digital revolution in music and the way music is created, recorded and archived-so much so in fact that I could not resist applying some of the techniques that I use in composing electronic music to my digital paintings. Instant gratification is nice, and I experienced much of it at first, but as anyone will tell you who has used professional graphics programs like Illustrator or Photoshop and tried to create faithful and enduring prints of their work, the learning curves can be very long and very steep indeed. So I can't say that the transition from electronic musician to digital artist was a smooth one. But I am pleased to report that the migration of the techniques went surprisingly well and that nothing could please me more than to one day combine these two disciplines in one dynamic work. Sometime in the near future, perhaps... My formal training in art derives from classes in art and architecture at Pratt Institute, the University of Cincinnati, Wesleyan University and Queens College (SUNY) and covers, though not always in the greatest depth, everything from ceramics and sculpture to painting and figure drawing. Warren Furman
web.axelero.hu/kegri
Art, unlike science, is not measured by its progress.
Its evolution reminds one of concentric circles on the surface of water that has been disturbed by a rock. Similarly, arts of cultures and civilizations stand independently, but at the same time they are unified by their common striving for order and harmony; a tendency that can be observed not only in art but in all organic life. Art is the physical manifestation of the sensual perceptions of the world as interpreted and organized by these various groups of peoples. This is why, when compared with one another, the ancient and contemporary, the Western and the Eastern, the primitive and the modern, in spite of their many differences, each still has its own inherent qualities to which the terms better and worse do not apply.
To climb to the top of a mountain one must start his ascent from its fooot. To reach the top of another mountain one must first descend. Like a river that has rapids and stagnant pools, the history of art of every culture at has rapids and stagnant pools, the history of art of every culture and civilization consists of periods of renaissance alternated with periods of decline. For instance the first half of the twentieth century was marked by an unprecedented upsurge in the evolution of art. Then followed a period of absorption and transformation of the previous achievements on the one hand, and their total neglect and denial on the other. it is sad, but this latter current dominates in the art world today. The goal of making money prevails over the goal of making art. The importance of an art object is reduced to a minimum with the emphasis given to the spectator's perception.
Therefore an art object plays the role of a stimulus which takes its final form in the specta There is also a tendency in contemporary art toward the merging of various heterogeneous elements of styles of the past with no attempt at correlation between these elements or submiithese elements or submiandards of art to the level of comprehension of the man on the street. "Painting is a thing of intelligence" Picasso once said, meaning that its understanding requires some knowledge and ability to understand. The only art is that which serves itself; the ssion of them to the wholeness of the composition. Such a work becomes a tangle of contradictions, where disorder serves no purpose except to shock the viewer. Thus many so called artists paint eclectic works in which they are guided not by any degree of purposefulness, but rather merely by chance. Synthesis, not eclecticism, should be the goal of a thinking artist whose every detail should exist and function in harmonious union with the whole. There is also the tendency toward lowering the sttttrest is only a surrogate. A work of art contains its own intrinsic qualities which possess certain meaning and purpose.
Art functons as a mirror where the conscience of each generation is reflected in a concrete form. At present, we look at some of the reions as a mirror where the conscience of each generation is reflected in a concrete form. At the present we look at some of the refll ections with fear and repulsion, like Pasiphae at her hideous fruit of love. However, in opposition to the artistically weak and morbid creations, the principles of the other current are based on the inner structure of an art work and the cohesion of its elements that function as a whole. In this case, a work of art carries a perceptually self evident expression which a spectator does not convert into expressive and harmonious images in his mind, thus completing it; but is instead an independent entity.
The goal of evolution is improvement. Only the finest can survive this battle; an eternal battle which takes place among the representatives of each generation. The rest settle, after a time, to the bottom like det and sink into oblivion. Like all living thientatives of each generation. The rest settle, after a time, to the bottom like detritus, and sink into oblivion. Like all living thing s, an artist has a purpose. One of the meanings of his life consists of the development of his talent like a seed's purpose is to become a flower. To find his purpose in life an artist must uncover his potential. To make his life meaningful, he must fulfill that potential. The objective of a true artist is the development of a specific artistic system. He is similar to a criminal, who does not obey the old rules, but breaks them, creating hh hl, who does not -obey the old rules, but breaks them, creating his own and revealing his ego. A creator is duty bound to rethink everything with honesty, talent and ambition, creating images which correspond to his conception of reality.
When an artist paints, he does not imitate reality, but creates a new one, based on its own laws and its own principles. Also, the aim of art is not to represent the inward significance of things, but to represent the inward significance of the artist through the inward significance of the objects he paints. In the course of his work an artist relies on his intuition, knowledge and skill. With the aid of these he expresses his own conception of the ultimate reality, bringing it to perceptual level. Philosophy is the foundation on which the building of art is erected. Thus a work of art is a representation of a philosophy in a concrete form.
As snow is the crystallization of water, an art work is the crystallization of the artist's feeling; a feeling that is captured in a cage of colors and lines, in the case of painting, or by other means in other art mediums. The radiance that emanates from a work of art takes as its source that caged feeling. Like the rays of light or waves of sound which we perceive with the help of our eyes and ears, we sense this radiance through our minds and souls. It vibrates, moving and touching our senses, giving us intellectual pleasure. A true work of art is a creation of a mind for a mind. It is a harmony of symbols, which is itself a symbol.
After its completion, an art work becomes free of itits creator. It does not depend on the spectator's perception. It lives its own independent life according to its own laws, laws upon which its unity is built. In short, a work of art is an entity by itself that relies on its own qualities.
Alexander Chubar
www.PaintingsDrawings.com
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