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Washington, PA Website Website 2. Redheaded Girl in Evening Dress Jeune fille rousse en robe de soir. Photolope This piece has three main points of inspiration, all of which illustrate how times have changed since Dr. Barnes first acquired Renoir's "Bather Gazing at Herself in the Water": A few years ago, I was lucky enough to see Van Gogh's "The Starry Night" in person and was struck by how many people were simply taking photos of it on their phones and then looking at their photo, not the work of art.
That stuck with me and this work was partially inspired by how technology impacts our appreciation of art and natural beauty to the point that our surroundings no longer matter to us. Barnes' collection contains many works of women in various states of undress who appear comfortable with their bodies and their nudity at a time before society began telling us, women AND men, that curves and extra pounds aren't desirable. My photography has always been about capturing moments.
The beauty of an approaching storm, or the feeling of awe when immersed in nature, or the empathy that comes from a glimpse into the life of another human being. When I encounter these moments, I want what I capture to blossom into a moment in the viewer's day where they can see, feel, or understand just a little bit more.
Carissa Latona. Carissa Latona I immediately connected with Matisse's paintings, one facing the other in the collection, involving bold colors and figures whose minds seemed far away from the room they were in. I found this to be highly applicable as I originally thought of my own family sitting in the room Matisse depicted in "Two Young Girls in a Red and Yellow Interior".
My submission is a mixture of words, colors, and texture that represents my overall style as an artist, as I often configure individual words from literature into quotes and poems. The hinge represents two people bound together, with a theme in the room surrounding them, and barriers - perceived or apparent - that may hinder them from expressing their honest thoughts.
The electrical tape is present for its color, but also symbolizes electric synapses and the potential for synaptic dysfunction in the brain. The quote itself is my reflection on a caretaker-taker relationship that I was exposed to during my childhood and early adult life. I do hope you will enjoy this work, whether you find it relevant to your own story or can simply tie it to the inspiration piece.
I often weave my family history or current situations into my art as a way to express things often unexpressed in the past. To me, art is something that is deeply personal, but also provides the opportunity to connect with others. I have been working creatively for as long as I can remember and I enjoy making things that people can relate to - especially if they inspire motivation or reflection.
Davinica Nemtzow. Pots en terre cuite et fleurs exotiques. I think this focus, in combination with the fact that terracotta pots are still an object we find in almost every household, makes this piece relatable and timeless. Often incorporating plants, my work explores the expression of power and growth through a more "feminine" subject matter. At Moore, she found her identity as a feminist, leader, and artist. With a commitment to tikkun olam the Jewish philosophy of repairing the world , Davinica is passionate about using her illustration and graphic design skills to support nonprofits and companies with a social justice mindset.
After working as a graphic designer for the first few years out of school, she is returning to her illustration practice while running Creating United Empowerment, a nonprofit charitable online art gallery that she founded in Terracotta Pots and Flowers Pots en terre cuite et fleurs. John Attanasio. John Attanasio Observers are attracted to paintings that speak to them.
He exhibits regularly in group shows at several Philadelphia venues and has held solo shows at the Philadelphia Sketch Club and Twenty-Two Gallery. He has also studied portraiture at Studio Incamminati.
He has a bachelor's degree in economics from Harvard University and a law degree from George Washington University. Vincent van Gogh. The Smoker Le Fumeur. Homage to Renoir.
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I draw my inspiration from flowers that I press in order to preserve their beauty, for eternity. My search for new ways to restate the element of surprise that I experience when observing nature, is motivated by the magic that occurs after a flower is pressed and transformed into a two dimensional specimen.
Then, by combining photographic technique with nature, I am able to push the boundaries of an ancient practice. Miraculously, the anemone itself, unaltered by technology, is just as I found it inside my flower press. Flowers Fleurs. Patricia Moss-Vreeland. The Ordinariness of each day Became Heroic. I realized that it was observing men in this activity; and I wondered what the women could be doing. In response, I created a piece where women are working, sewing together, a historical gesture, and one of companionship in a different way.
And then I imagined their sewing becoming actual wings, which took flight all around them. The men sit around the table like one of his still lives, and my women form a row, a compositional banding that I employ, that integrates production, creativity, and transformation. Therefore my title, The Ordinariness of Each day became Heroic. I am attracted to how Cezanne used paint to carve out his figures and space, each becoming a facet in his exploration of creating a different pictorial space. My compositions are faceted, reflecting how I see reality, and how memory is formed by making connections between these disparate parts.
They formed an invaluable partnership, where these ideas could be woven into his art collection, making this available as a teaching tool. My work follows in this tradition. I use art and exhibition in public spaces, to engage people with the chance to look and learn, a successful relationship for art. Thomas, MN.
The Card Players Les Joueurs de cartes. Lisa Abaya. Ensemble of Cultures. Lisa Abaya This pair of earrings draws their inspiration from the Inagaki mask, a piece of anonymously carved wood with only a region and broad time span to define its origins. Are ideologies, context and conflicts lost or preserved through a beautiful object? The importance of conserving items of culture intrigued me to create an artifact of my own. My history is a culture of hybridity, a fusion of peoples that would not otherwise be connected. Both my mother and my grandmother built metaphorical bridges between Mexicans, Chinese and Serbians through marriage, with their offspring as an embodiment of this connection.
What is culturally normal for me, I now realize is abnormal for most of the world. These earrings combine precious materials of China and Africa, to symbolize the union of my marriage. I use jewelry because it is a descriptive artifact, not merely an item of adornment but a vehicle for narrating a new story through its beauty. These earrings are meant to be worn with the intention of interlocking form and history.
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Lisa Abaya is a native west coast artist based in Philadelphia. Her thirteen years of studying dance at the San Fransisco Ballet School has influenced her painting, enhancing her sensitivity to movement and fluidity of gesture. Lisa looks to her heritage of Mexican, Serbian and Chinese descent to revisit traditional symbols, motifs and themes.
Mask Gunyege. Monica Rose Fotusky. Primary Woman. Monica Rose Fotusky As I was searching for my inspiration, out of the many timeless artists that have a home in the Barnes, I kept being pulled in by Matisse. Matisse has truly helped define radical contemporary art. His mastery of the expressive language of color, and the feelings they emote to the beholders, are displayed in every piece throughout his whole career.
I really resonate with the emotions colors can influence. I, myself, work with bold colors for the same purpose. In my accession, piece 73, Seated Riffian the colors chosen are mostly primary colors. One might simply think these colors are dull, simple, childish even. But, when looking into the psychology of color, you find there is a lot more to it than what meets the eye. The use of red and orange invoke feelings of strength, passion, aggression, determination and dynamic energy. The use of yellow invokes feelings of happiness but, also can symbolize caution and trepidation.
Blue and green bring harmony to the warm hues. Blue invokes stability, knowledge, peace. Green represents prosperity and growth. Just by simply analyzing the use of color in 73, not only can you can start to understand what the artist and the subject are feeling in their mutual share of energy; but, you can also begin to feel the power of mixed, yet balanced emotion.
These strong, resonating feelings are what I look to invoke in my audience through my pieces. Monica Fotusky is a fine artist and actress in the greater Philadelphia area. Her work is a balanced flow of geometric and organic shape brought together by bold color. Seated Riffian Le Rifain assis.
Joseph Barbella. Portrait of Tim. Oil on canvas, Overall: 10 x 15 in. My initial thought of the painting was about the texture on the canvas. He seemed to care about the 3 dimensional space and the flat two dimensional pattern at the same time. So I went to my canvas and thought about texture and color blocking as well as Albert C.
I decided on a portraiture for my image and my partner Tim was my unsuspecting model. Most of my paintings are representational with a concentration in portraitures and still lives. The portraits are an attempt to represent a person and their emotion that arises in the process. I also sometimes apply a sculptural texture with the oil paint in gesso to add teeth to the canvas. One directional lighting is used to find the architecture of the body or object.
My intention for the viewer is to focus completely on the subject matter with no peripheral distractions in a clean, uncomplicated, and stark environment alluding to a tranquil stillness in the painting. Sandi Pierantozzi. Sandi Pierantozzi I am inspired by the world around me. Nature, architecture, jewelry, metalwork, pattern and textiles, are constant sources for me.
I grew up around vintage jewelry and fabric, and those things continue to inspire my work. My choice of the French Fireplace Utensil as inspiration for my wire pendant, stems from my love of wrought iron work. Whenever I go to the Barnes, I am always impressed and inspired by everything on view. However, I gravitate toward the decorative arts, especially the iron work. It is such a resource for surface design on pottery, as well as a wealth of inspiration for wire work in jewelry. I have chosen to make wearable jewelry because it can communicate the mood or personality of the person wearing it.
In this "age of communication," where most communicating is done electronically, a handmade object such as jewelry, contains the soul and energy of the maker, and when worn, a human connection is made. These basic connections between people keep our souls alive. Sandi Pierantozzi was born and raised in Philadelphia, and has a background in graphic design and print making. Following her career in graphic design, her work has taken another path as a maker of pottery and jewelry, which she has been doing for over 25 years.
She has presented numerous workshops across the country, and has exhibited her work nationally and abroad. Her work is in both museum and private collections. Fireplace Utensil Servante. Mia Rosenthal. Not in the sense of a need to duplicate, but to explore, learn, select, organize, and build through thought and marks.
I enjoyed the opportunity to explore the Barnes collection and use it as the inspiration for a piece. What sets the Barnes apart is the unique way the works of art are hung, and the types of work that are displayed together. Non-traditional art objects such as hinges, forks and trivets are hung alongside furniture, pottery and paintings. Creating a drawing of one such ensemble allowed me the opportunity to carefully study each piece, and in doing so made new discoveries both in individual works and in the connections between them.
Because the Barnes collection is so large, with works hung much closer together than modern audiences are used to seeing, it can be challenging to truly take in the ensembles as well as study each piece as a unique artwork. My drawing flattens out the three-dimensional pieces, creating a unity between them and the two-dimensional works, as well as simplifying both the forms and color. The result is both a documentation of a Barnes ensemble, and a totally new, contemporary artwork. Michael F Secor.
Santa Ferverosa. Michael F Secor Painting is space, light, and time. I always think about these ideas in the making process. My paintings choose to depict images from my personal surroundings, spaces, objects, sometimes people, hoping to convey an appreciation for a moment that would otherwise come and go without consideration. He grew up in Kentucky. The keys to life are being outside, making drawings, finding the right people, and appreciating good food and drink.
Quill Pen Santero. Saint Michael San Miguel. Sarah Haenn. Above a doorway. An entrance to another space, imagining the movement of a person walking and looking up. A Transition. Invisible wind moving the boats. Colorful, Decorative Style. Felt connected to my own work, drawn from Experiences at the Beach, on the Water, with People.
My years spent at Sailing Camp. As an emerging artist, my work focuses on Experiences. Whether it be a specific Experience of a place, or to make work that the viewer can Experience and enter into metaphorically. I draw inspiration from places that have brought ultimate gratification and happiness to either myself, or another. As a textile designer and fine artist, I use silk screening - in an unconventional way - as my mode for making. This way of working has become a way of documenting and remembering times, spaces, and places.
In addition, I hope that the work evokes similar emotions for others whom view the work. Raoul Dufy. Gregory Maier. Reclining woman and child. Gregory Maier Nudes and goddesses have been represented throughout art history. Symbols have been found throughout Europe in cave drawings and figurine sculpture.
A timeless statement about feminine beauty,regeneration and the power of creation. Born and educated in Philadelphia where I studied art and design at Community College of Philadelphia. In the 's I moved to California and continued to work in different media including photography,pastels,and oils. In I returned to my roots in Philadelphia,where I engage in a vibrant art scene. I approach painting and drawing from the standpoint of having fun,enjoying the journey.
Learning along the way about mistakes,the process and what Kandinsky called the good accident. I feel most alive,when in the zone of creation,closest to my soul. Leroy Johnson. A large kitchen with wooden floors, a huge black cast iron, a wood burning stove, on which my mother cooked and heated that heavy, solid iron she used for pressing our clothes.
There was a large kitchen table around which the adults in my extended family ate their meals, read the newspapers and discussed current events and politics. Like Pippin's kitchen, my childhood home was filled with handcrafted items, quilts, blankets, rugs, crocheted and knitted doilies, clothing and the like. Horace Pippin's paintings in the Barnes collection illustrate for me the descriptions and stories told to me by my grandmother, who was born in the 's, about her childhood.
I see in the composition and palette of Pippin, a striving for harmony and security. Building a wall from which he can be an observer and recorder, simultaneously exposing his vulnerability and sensitivity to the viewer's gaze. A desire and need forged in migration, war, and existence in a nation where terrorism still confronted African Americans. Leroy Johnson b. A native of Philadelphia, his work is poetic and reflective of his many experiences in the inner city.
Francis Academy, in Baltimore. Horace Pippin. Giving Thanks. Steve Martin. Men playing checkers. Steve Martin I seek out striking expressions within nature as well as the manmade; contrasts of light, color, and space, the clashing of the stark and rigid against the soft and inevitable make for great subjects.
The suspension of pigment in oil is just the perfect medium for me to express my creativity through. Additional tools may strengthen a concept in its mark making, denying the paints smooth, luscious characteristic. Building the surface on which to paint on from scratch is an important process in making art for me, as it reinforces my connection to the work.
The finished produced is that much more mine to claim and offer. My experiences have had me living in a few eastern seaboard cities, their surrounding communities, and accented by frequent visits to various cities across North America and in Western Europe. The urban life contrasted by its immediate suburbs has become a familiar, comfortable, and inspiring setting upon which I feel compelled to share in my paintings. Robert Lotiron. Two Men Playing Backgammon. Jude Lang.
The image is sexual and violent. Soutine seems of our moment, but perhaps every moment is his. Being the outsider, culturally, esthetically, emotionally; people still actually physically shy away from his paintings. I want to embrace them. She balances an active studio practice with an on-going design business, exploring how they nourish and sustain each other. Frank Wermuth.
Escaping Eden. Religion, specifically the Catholic Religion has played a large part in my upbringing. I grew in, through and away from the church and it's beliefs. I now see it from a different perspective, the outside. I do believe in god but without the middle man. This religion has a long history of subjugating women.
Eve, the first, was at once a partner and life giver but also the deceiver, the devils tool. She was a creation of mans need to control his world within their gods creation, without the blame. Frank M. Wermuth I was born to a large Catholic family living in the Kensington area of Philadelphia in The third of nine children. In the sports oriented crowded house it was easy to diappearinto day dreams.
Around the age of twelve I found painting. I painted anything, from a neighbor dog, old family photos and album covers. In public high school I took every art class that I could. By senior year I had four of my seven courses were painting and sculpture classes. To this point my artistic influences were minimal. In the late seventies I attended Hussian School of Art. Unfortunately I was insecure and ill prepared. I struggled through the commercial courses but enjoyed the drawing and painting classes.
My work took on a surrealist tone wit Website Website 2. Gloria Rohlfs. Interpretation of the Allee of chestnut Trees by Cezanne. I was drawn to the subject matter of trees in nature and the colors, which felt peaceful. The art that I create is inspired by my interest in the environment, psychology, peace, sociology, human rights and earth-based spirituality.
She previously lived in Iowa; Munich, Germany; N. Rohlfs creates her art utilizing acrylics, fabric, photography and found objects. Her earlier work involved quilting. Her art is inspired by her interest in the environment, psychology, peace, sociology, human rights and earth-based spirituality.
PATTERN #1103 LADY MARIA VINTAGE CROCHET
Natasha Zeta. The New Synthetic Girl before a Mirror. Natasha Zeta If possible, please hang at eye-level height as this is integral to the concept. The New Synthetic is a departure into a third perspective --one that reflects and moves with the environment of the viewer; a real-time experience flattened into a two-dimensional plane. The Barnes organizes artwork not by period, style or media but by color, line and form--all indispensable components of cubism.
In process, I rigorously rearranged these elements, but also introduced mirror. In galleries of seemingly mismatched objects devoid of explanatory labels, the Barnes forces viewers to create their own relationships. The New Synthetic relinquishes control similarly: the boundaries of the painting expand beyond its frame; the viewer constantly experiences a new image and relationship. Native and new Philadelphians, international visitors and those who make Philadelphia beautiful and inspiring are all part of this experience.
Multiple perspectives, backgrounds, and stories held present in one frame. Natasha Zeta was slung from one side of the globe to the other at a young age, forcing her to create and recreate her origin story with varying complexity. Fixated on repressed narratives, Zeta redefines the malleable parameters of realism and traditional portraiture in an attempt to capture subverted memories and sensitivities. Susan Krisch. Hemlocks at Dusk. There is something about the way he communicates the emotion of the space, the figure, the subject in such a simple but visceral way that I felt I needed to connect to.
Despite my career, I often find myself struggling to process, fully feel and express states in such a clear way - it is a process of struggle and letting go. I decided to undertake this, and to let Soutine's work "Group of Trees" carry me as I took a trip into the woods after a particularly difficult week. Susan Krisch is an artist and art therapist based in South Philadelphia. Susan received a Master's in counseling and art therapy at Drexel University, and utilizes this in work with community mental health, to assist others as they process, explore, learn and share about their experiences, their struggles, their inner strength.
Susan believes in the power of art to help those in our community find their voice, and to communicate those things which are often too difficult to put into words. As an art therapist, the healing nature of art-marking and its connection to identity, experience and emotion are inseparable from the act of creation. Susan seeks to create spaces and work within the community that make art accessible to all. Group of Trees Groupe d'arbres. Christa Walck.
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Runaway Fruit. Christa Walck I have a strong affinity for the still life. In , I conducted an intensive study of the still life genre, and was intrigued by contemporary interpretations of the genre in painting and photography. To prepare for this submission, I studied all of the still lifes in the Barnes Collection. Petersburg decades ago. I chose this painting because of Matisse's vibrant colors, its many blues, and its composition of colorful fruit with an interesting object on a table. I used a similar but simplified composition, retaining the angled table, fruit and an object, but highlighting the S-curve that starts on the upper left with floral wallpaper, curves into the fruit on the table, and then cascades down the tablecloth on the lower right in a dense blue pattern.
I recreated this S-curve exclusively in fruit that appears to hover above the table, climb the wall and cascade to the floor. I also simplified the composition to make it more contemporary, akin to the reductive still lifes of Tom Wesselmann. Christa Walck is a recently retired university professor now engaged in the study and making of art. After working and exhibiting in fiber arts for a decade, she recently returned to painting acrylics , drawing colored pencil and iPad , and photography digital and film.
She resides in Philadelphia and spends summers in the Upper Peninsula of Michigan. Blue Still Life Nature morte bleue. Leila Ghasempor. Listen to the Silence. Leila Ghasempor On one hand, my own works reflect my deep concern about the destruction of war and violence on human beings and universe especially mothers and children. On the other hand, my style is curvilinear and close to Matisse's style.
I decided to combine my own style with Matisse and bring a new concept to this musing dance scene. My concept is about the power of women and their resistance to do everything in war to save their children. No matter how much women have been brutalize by instigating male powers, who are depicted as black shadows of men who standing for ISIS; mothers always stand up to save their chilren. Here in this composition women are tormented by their interaction with the dark figures.
Women have been brutalized by ISIS in many ways and at the same time these evil rebels believe they will go to the hell if they be killed by the Kurdish Peshmerga Women Soldiers. Which here the power of women is highlighted more. What I show her is the dynamic power and courage of women to fight against darkness and hope to overcome that. In addition, arches that Matisse made reminded me of mosques's arches which are symbolizing a victory of goodness against evil, which here I kept that to highlight the concept more.
That is the story that my work "Listen to the Silence," depicts. Leila Ghasempor Kurdish b. Her conceptual oeuvre in diverse media—paper, sculpture, installation, performance—has a strong social and poetic component. Her work draws from her experiences growing up in the midst of the Iran-Iraq War , during which time her family was displaced. Her expressive and emotional works reference both universal and culturally specific symbols of human pain, especially how war effects children. S and Spain.
Study for the Dance Mural.
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Ed Bronstein. Harold Haskins after Cezanne. Ed Bronstein I have recently been painting portraits of an older friend of mine, Harold Haskins. Having been in the Barnes Museum many times, beginning when it was still in Merion, I have always been drawn to Paul Cezanne's work. His "stretched" vertically, and his crossed arms struck me as being similar in attitude to Harold, who at one time was a Vice President at the University of Pennsylvania and cuts an impressive figure, not unlike the Peasant in Cezanne's painting.
I have lived, worked, and helped to raise our children in Center City, Philadelphia since I practiced Architecture for over 30 years, including stints with Louis Kahn and Robert Venturi, and taught Architecture at Drexel University from to Cavin Jones. The Garden. Cavin Jones In response to Matisse's dance mural which evokes his cut paper collages of his late style I chose to do an actual cutout collage on canvas. Barnes' collected works on the second floor all have a flat surface quality to them that is very modern. I play with this "flatness" while simultaneously evoking a sense of space and environment, just as the dance mural does and this idea is in most of the other paintings.
I wanted to do this with my submission. I kept my forms simple and direct using the formal qualities of shapes and line. I play with some of the negative cut out shapes so that they actually read as positive shapes and vice versa. I have exhibited my artwork in museums and galleries locally and nationally.
Notable venues of exhibitions include; the Woodmere Museum, Phila. I have received and executed various private mural and portrait commissions in Philadelphia, West Virginia and New Jersey I have artwork in various private and public collections such as The Princeton Museum of Art's Prints Collection.
Joseph S Klimczak Jr. Distant Memory. Joseph S Klimczak Jr I have had the privilege to be a guard for the Barnes Foundation for 3 years, and in that time I've spent a great deal of time with the art and allowing it to influence how I take my photos. When I went on a trip with some friends I had two artist in my mind when taking those shots. William Glackens and Paul Cezenne as these were the two artist in the collection that I really connected to. When I came upon this path of trees.
One of the images that popped into my mind was the Cezenne's painting Allee of Chestnut in Gallery 2. Creating depth of field in photography is a tricky technique. Doing so in a painting had to be an equal challenge but Cezenne pulled it off in this painting. The other is the uses of the bench in the shot which is another Cezenne technique. Where I placed an object in my composition that not only helps balance the image but also helps tell the story. Born and raised in Upper Darby Pennsylvania. Joined the Navy right out of height school, attended Delaware County Community College for photography, been shooting photography for years, Been working for the Barnes Foundation as Security Guard for 3 years.
Tim Barton. Tim Barton My rested upon art form is creating boxes. My most recent work has been exploring Pennsylvania Dutch hexology symbols, which is why I selected the PA painted slid lid candle box from My piece, "Captured", reflects the candle box both in its "aged" look and in the hexology symbols from the PA Dutch tradition. Barnes related these PA painted antique pieces with what was then cutting edge modern art. What I wanted to do was to take it a step further and blend the antique form with the modern aesthetic within one piece.
While still adhering to the Barnes ideal of symmetry through placement, line, space, and color. There are other references to the Barnes collection in this piece too such as the tryptic format and gold leaf used in religious iconography. As well as the idea of boxes being viewed as a less high art form much like the way Cezanne's work was viewed when he was creating it. I think I "Captured" it in this box.
Like the "letsconnect" project the title of my piece is the jumping off point. Allowing the viewer a foot hold with which to start and using their unique experiences be able to explore my art and determine what it could say for them. I continued my studies at Connecticut College taking independent studies courses in their print making department between my Navy deployments. My work has been selected for many juried shows and is in the permanent collection of SUNY,the Holy Roman Catholic Church, as well as private collections across the country.
I am currently an active member of the Philadelphia Dumpster Divers. Candle Box. Daniel L. Perconte The picture I have submitted is called "Spring". A watercolor on paper. It was completed in April It was inspired by Paul Klee's "Village among the Rocks". Paul Klee is one of my favorite artists. I often use The Klee to help me finish-up a composition.
I like most of the Bauhaus artists. Paul Klee uses Ink and Gouache together. I also use these two together,to build a picture;and work with mixed media. Here, I just use Watercolor. Shapes and forms, to build my picture. Putting warm colors against cold colors brings an emotional change and touches the soul. Painting,printmaking and sculpture from the Bauhaus are always inspirational,to me. The Paul Klee is a good representation of Fine Art before the 2nd. World War. And is an important part of the Barnes Foundation Collection. That reflects the state the World was in before World War2.
I think that the Klee reflects this world state,too. I was born in Brooklyn,New York on Dec. My education is almost all technical. Graduated from Brooklyn Technical High School, Went to CUNY for my college education. Moved to Philadelphia from New York in Living here in Philadelphia. I studied Fine Arts with a good painter. I was his assistant and helper. We worked together on several projects.
And Library is the real resource. That I use daily to study and learn, Fine Art. Paul Klee. Village Among Rocks Ort in Felsen. Sean Sexton. Hat Maker. Sean Sexton Website. Mikel Elam. Caryatid Afrique. Mikel Elam I have visited the Barnes perhaps 25 times in my life starting as a young boy. I thought I knew the rooms in a very intimate way. It was different this time because I needed to chose a piece which would translate in an eight by ten inch format.
I decided to look for bold yet simplified images. There was more than enough to chose from. I kept coming back to one which would not have been my usual choice. It was Modigliani's Caryatid. Circa I felt it was a departure from the style we have come to know as Modigliani. And yet somehow after close scrutiny one can see it really is just a variation of his oeuvre. I am a person of color. Sometimes I have felt art has mostly ignored us. In my personal work I have attempted to remind others of the multicultural world we reside in. To tell stories about the other side of midnight. Where all things visually abound in beauty ,intellect, passion and controversy also exist.
It doesn't have to be a parallel universe. We live fairly close to each other. I decided to recreate Modigliani's Caryatid using darker skin tones and a different color balance. What struck me about his painting was the series of shapes within the composition. It's sculptural initiatives. The shear rawness in these forms evoke images of what Westerners refer to as tribal life.
One of the greatest lessons I have learned about sophistication expressed in all mediums is the beauty of simplicity and the ability to evoke emotion within that plane. Finally I have to say I really appreciate Dr. Barnes's vision. It includes everyone. I am primarily a painter born in Philadelphia.
Upon graduation I found myself working as a freelancer in film and photography mostly as an art production staffer. From there my life greatly shifted. I became an assistant to jazz legend Miles Davis. I worked for him traveling the world helping him to meet his many and varying obligations. We painted together which lead me to some interesting new growth. Gallery opportunities developed in both New York and Los Angeles. After his passing I returned to Philadelphia where I happily live and work today. I have been fortunate to have been in some excellent exhibitions including lovely places like the Woodmere Museum.
Pink Nude - Caryatid. Daniel Tiago. Air on the oblique angle. Daniel Tiago Cezannes' Toward Mont Sainte-Victoire concentrates, generalizes and envelopes his landscapes on a small canvas. I have responded to this piece by turning the envelope inside out with an unfolding of the oblique angles and by reversing the view, exploring the inherent geometry from within the forshortened hills and thrusting horizon. Cezanne invites us to sojourn with him into his native atmosphere with brushstrokes that transcend the formal concerns of illusionistic space. The result is a sincerity that directs us not only to what is seen, but also and more forcefully toward the seer.
By adopting his proposed universal visual language that explores the questions of being as it explores the questions of painting, I have joined him in a playful game of abstraction like others I admire such as Demuth, Marin, and Dove. These great pioneers engage the viewer in transcending the presumptions of seeing. I have brought the viewer still closer to center with a rearranging of oblique triangles and curvelinear shadows that throw open the edges of my canvas. Cezanne is the quantum of painting in the Western world, so I answer with a kaliedoscope demonstrating that what is observed depends on the observer.
Every elegant planar brushstroke I answer with a decomposing tetrahedron, by echoing the oblique angles I open into the adventure and delight that Cezanne gives me. Gregorio Racadio. Being that I primarily work in portraiture, I pulled colors from that piece that fit my subject. Gregorio Racadio is an artist who lives and works in the Germantown section of Philadelphia. Racadio is a painter who explores portraiture and naturalistic representation as a means to critique and pay homage to historical moments, deconstructing long-held mythologies and replacing them with the coarse appearance of daily existence.
Loren Dann. My sister and my two children, my sister in a Chinese outfit she wore at the Friendship Gardern in Sydney. So I thought I would print this piece on canvas. I changed my mind, at least seventy times. I painted and researched. I love looking into his eyes and seeing smears of color. I can see the canvas underneath breathing through. It has inspired me for over 10 years in my kitchen.
I painted my daughter, again many times, never feeling a sense of accomplishment only a continuous urge to paint. One of my favorite habits of both Van Gogh and Matisse is the use of prints, and wallpaper. Behind my painting I have included a feminist inspired damask. Jacqueline Unanue.
PATTERN #1313 JACK FROST VINTAGE CROCHET
Two Women Surrounded by Birds. This work transports me to my most primitive, original essence, and to my paternal ancestors roots, as well. For this reason, when The Barnes Foundation called upon the artists to participate in this inspirational project, this work titled: Two Women Surrounded by Birds, immediately came to mind. In some ways, this particular piece matches with my own abstract style. Inspired by its language of abstract forms- even when the human figure is depicted as birds- and the primary colors so characteristic of his work, I began to create my art for this exhibition.
The most powerful moment of my creation was to paint the strong black color forms the end up creating a body not only of the physical, but also of the soul. While a student, she became interested in the rock art found in her native country. She also traveled to Spain to study the pre-historic paintings of the Altamira caves in the Basque Country, which being the home of her paternal ancestors. In addition to numerous individual and group exhibitions in Chile since , Unanue has exhibited internationally.
Natessa Amin. Natessa Amin My work approaches pure abstraction based in ornament, pattern, and color. Hybrid forms manifest ideas ranging from post colonial histories, personal narrative, and the mystical languages of abstract tantra painting. I was born and raised in Pennsylvania in an Indian-American family.
I grew up navigating the complex relationships that were formed through the combination of contrasting cultures and religions. My work is a reflection on this unique American experience and confronts the hybrid nature of identity through the layering of image and processes while addressing our human desire to share experience. Through installation I aim to create worlds of tactile immediacy, designed for multimedia to exist together, dismantling hierarchy in the hope of forming new connections.
The tangible and lived experience referenced in my work embraces an inherent truthfulness at a time when it is often difficult to tell what is real or fake. Natessa Amin born, is a visual artist based in Philadelphia. Natessa has completed residencies at the Fabric Workshop and Museum 2 Website. Place-Signs Ort-Zeichen. Lara Cantu-Hertzler. The Ascetic after Picasso. My painting began with a sketch that I drew at the Barnes. When I got back to my studio I painted onto my sketch with watercolor, then pressed the painted drawing onto a sheet of pound paper to get an image that was the reverse of the original.
I then painted onto the reverse image and pressed it onto another piece of pound paper. I worked on both impressions simultaneously using watercolor, gouache, acrylic and silver paint marker, often pressing them together to create two layered mono prints. This painting is the second piece of pound paper. Lara Cantu-Hertzler is a Philadelphia painter who is inspired by architecture and the figure.
She explores themes of urban decay and feminine identity. In Lara received a full fellowship to Vermont Studio Center. Magda San Millan. Child with Face Paint. I work collaboratively and in rigorous isolation. Themes that come up again and again for me are: shame, death, grief, wildness, subversion, childhood and sass. She received a B. She currently teaches at the P.
Y School at Bok. Devin Cohen. Buoyancy is a submerged ecstatic feeling; a shedding of skin and follicle. Buoyancy also considers Barne's take on 'form' whilst simultaneously including a notion exemplified by Rumi that "If you look too closely at the form, you miss the essence. Devin Asher Cohen aka Alien Architect Philadelphia, is a interdisciplinary experimental abstract artist working with music, visual arts, vocals, and poetry. In recent years he has been working on bridging gaps between Mexico, the U. In he published his experimental trip hop poetry album, Arteria.
In he published his book of Poetry, All Praises. From , he received the Hungarian Artist Residency grant. Group of Bathers Groupe de baigneurs. Maryann Held. I was immediately struck by this odd little piece. There are elements of the surreal: the out of place sequined hat placed jauntily on her head, the mysterious band clasped delicately between her fingers, the two starlings perched beside her, and the strange, somewhat foreboding mountains jutting up from the landscape far in the distance.
Many of the pieces in the Barnes collection are examples of outsider or folk art, an aesthetic that Miss Chalfont certainly embodies. My response reflects my own interest in folk art motifs and design. In place of the barren olive-green plain, Chalfont is now surrounded by a vibrant, yet dark, swirl of leaves and flowers. It is a melding of the surreal and the traditional. Gazing back at you, Chalfont is prompting you to ask: what exactly is going one here? Maryann Held is a Philadelphia-area based children's book illustrator who has been working professionally for over ten years.
Born and raised in Philadelphia, Maryann attended the University of the Arts. After living in Brooklyn, NY for several years, Maryann returned to Philly to work full time as sole in-house assistant illustrator for the Berenstain Bears. Maryann now works full time as a freelance illustrator, where she pursues her passion for classic children's illustration. Karl Priebe. Miss Chalfont. Lisa Domenic. Sleep in Heavenly Peace. I felt the picture spoke to the way we approach the divine represented by the Christ then having an affect on what we receive in return.
The disciples are concerned and still want answers at the table but John is satisfied. Just knowing Jesus is there and believing him Sovereign, is enough for him and he is able to sleep in the heavenly peace - sung about and searched for throughout the ages by all people. I imagined an ethereal space-scape to place the likeness of the young follower painted in gilded oil by an unknown German master to illustrate the hope and comfort I felt in response.
Central German Master. Last Supper. Moira Connelly. Fuschine sky. It's located in one of the last galleries I typically visit and it always strikes me as feeling like an anomaly. The strong magenta of the sky dislocates me, and a visit that had felt like time travel to a bygone era suddenly collides head on with the present. The color of Horace Pippin's painting is something to reckon with and feels spiritual, ecstatic, and psychedelic.
June 11, 2017
I'm very interested in Pippin's painting for it's particular and striking use of color. The color feels like today and brings an artwork made almost 80 years ago to the present. Was that a Pennsylvania sunset that Pippin painted? Starts May! Tangled up in Threads Book Last One! Batik Quilt Kit Last One! Last One! Gray - 1 Last One!
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