Daily Art Fixx » Painting

DAF Group Feature: Vol. 15

Wendy Campbell — Mon, 26 Jul 2010 16:00:50 +0000

Enjoy your Monday Mixx!

Megan Kimber: Painting

Wendy Campbell — Sun, 25 Jul 2010 16:30:47 +0000

Born and raised in Poughkeepsie, New York, Megan Kimber graduated from Rhode Island School of Design in 1997 with a BFA in Illustration. After living and creating in Orlando, Florida and New York, she then moved to Savannah, Georgia, where she received her MFA in Illustration from The Savannah College of Art and Design. She now resides in Birmingham, Alabama.

Inspired by the color palette of the light at dusk, Kimber depicts psychological portrait studies within environments reminiscent of the Brother’s Grimm Fairy tales. When it comes to her characters, she finds beauty in flaws. Ultimately, her biggest inspiration is nature – animal movements, fossils, colors found in light and shadow, objects worn and atrophied by forces of nature. Costumes, rituals, and anything else symbolic of a specified sacred celebration is what provides her man-made inspiration.

Kimber’s paintings have been exhibited in Birmingham, Philadelphia, Atlanta, San Francisco, Savannah, NY, Orlando, and Providence.

Her illustration work has been published with Lipstick magazine, Yellow Brand Skateboards, an upcoming CD project from Kebbi Williams, and Ancestry Magazine. (bio from Matt Jones Gallery)

To see more of Megan Kimber’s work, visit MeganKimber.com.

Alphonse Mucha: 1860-1939

Wendy Campbell — Sat, 24 Jul 2010 15:30:06 +0000

Alphonse Maria Mucha was born on July 24, 1860 in Ivančice, Moravia (now Czech Republic) and is known for his prominent role in shaping French Art Nouveau. Mucha loved art as a child but studied on a choral scholarship at the Church of St Peter in Brno, the capital of Moravia. In 1875, Mucha returned to Ivančice where he worked as a court clerk.

After his rejection from the Prague Academy of Fine Arts in 1878, Mucha traveled to Vienna to work as a scene painter for the firm of Kautsky-Brioschi-Burghardt. In 1881, he left Vienna and moved to Mikulov (Czech Republic) where he paintied portraits. It was there that he met Count Khuen Belasi who commissioned him to decorate his castle at Emmahof and where the Count’s brother became his patron, enabling him to study at the Munich Academy of Art in 1885 and at the Acadamie Julian and the Academie Colarossi in Paris from 1887 to 1889.

Between 1890 and 1896, Mucha lived in a studio above Madame Charlotte’s cremerie and began illustrating for the theatre magazine “Le Costume au Theatre”. He met Paul Gauguin (who later shared his studio), and also began working for publisher Armand Colin. In 1894, Mucha designed a poster for actress Sarah Bernhardt for the play “Gismonda” which led to a five year contract to create more posters and stage and costume designs for her as well as designs for magazines, book covers, jewellery and furniture for others.

Mucha’s illustrations are characterized by their mosaic backgrounds and influenced by Byzantine art. In contrast with poster makers of the time, he used paler pastel colours. His romantic female figures wear garments that are decorated with precious gems and are often flamboyantly posed and surrounded by lush flowers.

Mucha moved to a new studio in 1896 at rue du Val-de-Grace and his decorative panels “Les Saisons” were published by the Champenois firm, who he would sign an exclusive contract with around 1897. Between 1897 and 1899, he had several solo exhibitions including shows at the Bodiniere Gallery and the Salon des Cent, in Paris, the Topic Gallery in Prague. As well, Mucha participated in the first exhibition of the Vienna Secession.

From 1904 – 1910 Mucha traveled and lived in America visiting New York, Boston, Chicago, and Philidelphia. While there, he painted society portraits and met Charles Crane, who would later sponsor his work on the Slav Epic project. From 1905 – 1907, he worked on commissions and taught at art schools in New York, Chicago and Philadelphia. In June 1906, he married Maruška Chytilová (a former art student in Prague), with whom he had daughter Jaroslava, and son Jiri.

Mucha, Maruška, and their daughter returned to Prague in 1910 where he would spend the next 18 years working on his Slav Epic project – a series of twenty paintings depicting the history of the Slav people. In 1928, the completed series was officially presented to the Czech people and the City of Prague and was shown at the city’s Trade Fair Palace. In 1931, Mucha was commissioned to design a stained glass window for the St. Vitus Cathedral, in Prague, donated by the Slavia Bank.

With the German invasion of Czechoslovakia in 1939, Mucha was one of the first to be arrested by the Gestapo. He was questioned and eventually released, but, having suffered from pneumonia in the Autumn of 1938, his health was weakened by the ordeal. Alphonse Mucha died on July 14, 1939 and is buried at Vysehrad cemetery. Over 100,000 Czechs attended the funeral despite the Nazi ban.

Sources: Mucha Foundation, Mucha Museum, Wikipedia

Eder Muniz: Urban Art

Wendy Campbell — Fri, 23 Jul 2010 15:35:23 +0000

Currently based in New York, Brazilian urban artist Eder Muniz aka “Calangos de Rua” (Street Chameleon) started his career as an artist many years ago when, as a little boy, he was obsessed with drawing all over the walls of his house. He advanced to spray paint in high school and hit the street of Salvador da Bahia, Brazil as a pichador (tagger). His street art shifted when he began to develop his technique (he never went to art school and is completely self-taught) and his style began to incorporate human figures, animals and abstract and surreal images.

Muniz’s street name – Calangos de Rua represents the multiple genres that he incorporates in his own art – painting anything he gets his hands on – from walls to sneakers, tee-shirts to subways, living room walls to classrooms, glass and his latest canvas – rugs and mats. His style incorporates his indigenous Brazilian roots to produce colorful pieces that come alive through a mix of spray paint, water color, acrylic on paper, canvas and glass.

To see more of Eder Muniz’s work, visit EderMuniz.com or check out his photostream on Flickr.

Discovered on: Wooster Collective, Bio from: Myspace

Edward Hopper: 1882-1967

Wendy Campbell — Thu, 22 Jul 2010 15:00:58 +0000

Born on July 22, 1882 in Nyack, New York, Edward Hopper is considered to be one of America’s greatest realist painters of the twentieth century.

Hopper studied illustration with the Correspondence School of Illustrating in New York City in 1899 and then at the New York School of Art between 1900 and 1906. He studied painting a year later with William Merrit Chase and then Kenneth Hayes Miller and Robert Henri.

In 1906 Hopper traveled to Paris (visiting London, Haarlem, Amsterdam, Berlin and Brussels as well) to study works by European artists, educating himself by visiting museums and exhibitions. Upon his return to New York in 1907, he painted and worked several days a week as an illustrator (work he detested) for trade magazines and fiction.

Hopper first exhibited in March 1908, in a group show held in the former Harmonie Club building in New York. He returned to Paris for four months in 1909 and briefly in 1910, where he also visited Spain.

From 1910 Hopper continued to work as an illustrator in New York, but he spent his summers painting in rural New England, in Gloucester and Cape Anne, Massachusetts, and Maine. In 1913 he moved to Washington Square, in the Greenwich Village area of New York City, which remained his permanent base. Hopper’s subject matter was derived from two main sources: first, everyday American life such as restaurants, gas stations, theaters, railroads, and street scenes; and second, seascapes and rural landscapes.

Initially, Hopper was more successful as an illustrator and with his etchings, in both sales and exhibitions. In January 1920 he held his first solo exhibition, of 16 paintings at the Whitney Studio Club but was discouraged by the failure to achieve either sales or critical attention. In 1923, with the encouragement of artist Josephine Verstille Nivison (whom he married in 1924), Hopper began painting in watercolour. In 1924, he had his second solo exhibition at the Frank K. M. Rehn Gallery, which was a critical and commercial success.

From 1930 Edward and Josephine (Jo) began to spend their summers painting in Truro on Cape Cod, Massachusetts, where they built a home in 1934. Hopper was an intensely private person and led a somewhat reclusive life, two characteristics that are reflected in his paintings. Images of loneliness and detachment pervade Hopper’s works where he often depicted solitary figures (mostly women) who are often occupied with their own thoughts.

Hopper was very productive through the 1930s and early 1940s, producing many of his most important works. In the late 1940′s however, his health was poor and he underwent several prostate surgeries. Hopper was active again in the 1950s and early 1960s, producing several more major works.

Both the art world and pop culture has been influenced by Hopper’s work. Many artists have cited him as influential, including Willem de Kooning, Jim Dine, and Mark Rothko. His cinematic compositions and use of light and dark made him popular with filmmakers such as Alfred Hitchcock (Psycho), Ridley Scott (Blade Runner), and Sam Mendes (New York Movie) to name a few.

Edward Hopper died on May 15, 1967 in his studio in New York City. Jo, who died 10 months later, left their collection of over three thousand works to the Whitney Museum of American Art.

Sources: MOMA, National Gallery of Art, Wikipedia, Artchive (images)

Heidi Taillefer: Painting

Wendy Campbell — Wed, 21 Jul 2010 16:22:49 +0000

More great work by Montreal, Canada artist Heidi Taillefer. To see more of Taillefer’s paintings, visit HeidiTaillefer.com.

DAF Group Feature: Vol. 14

Wendy Campbell — Mon, 19 Jul 2010 16:30:35 +0000

Your Monday Mixx!

Julia Hepburn: Sculpture/Painting

Wendy Campbell — Sun, 18 Jul 2010 16:30:51 +0000

I came across the work of Toronto artist Julia Hepburn recently at the Toronto Outdoor Art Exhibition.

“Each compartmentalized piece displays a single scene with virtually no context. Viewers are encouraged to use their imaginations in order to develop a narrative explaining the scene. The use of small, doll-sized scenes, not only draws people in physically, but also makes the darker imagery less threatening, permitting the viewer to assign a wide range of moods to the work depending on their personal interpretation. The unnatural size also allows viewers to feel as though they are looking at a world completely separate from their own, where the rules that govern their own lives do not necessarily apply.

Many of the works emphasize our relationship with the natural world; something that, much like innocence, I believe is lost as we grow older. This connection to the natural world is most clearly illustrated in my paintings. The works reflect my desire to re-insert myself into the natural order and often exhibit my tendency to assign human personalities to animals.”

For more about Julia Hepburn, visit JuliaHepburn.Blogspot.com.

Lola: Painting

Wendy Campbell — Fri, 16 Jul 2010 16:31:06 +0000

“Southern California artist Lola Gil’s dreamlike portraits are packed with imaginative subjects and curious rituals placed in surreal, often ethereal settings.”

“A self-taught painter, Lola takes great care in the unique details of each piece, with a distinct visual evolution from each new body of work she exhibits, displaying them in handpicked antique frames she finds at flea markets.”

Lola’s work is in prominent collections around the world. Her paintings have been exhibited in numerous galleries and museums including Yves LaRoche, Robert Berman Gallery, Jonathan LeVine Gallery, Dorothy Circus, and Riverside Art Museum.

For more about Lola, visit LolaFineArt.com

Sources: Flavorwire, Flavorpill

Rembrandt van Rijn: 1606-1669

Wendy Campbell — Thu, 15 Jul 2010 16:00:35 +0000

The one thing I have discovered, while learning about Rembrandt, is that even among the credible sources, facts and dates about the artist’s life contradict each other. This is because much of the existing information about Rembrandt originates from a 350 word essay published in 1641 by Jan Orlers’ guidebook to Leiden. Some research supports Orlers’ work while others contradict it. No personal letters remain and from the few professional ones, our knowledge of Rembrandt, one of the world’s most famous artists, remains incomplete. So, I include in this summary, details that seem to be consistent across texts.

Son of a prosperous miller, Rembrandt Harmenszoon van Rijn was born in Leiden on July 15, 1606. He attended Leiden Latin School from 1615-19 and was enrolled at Leiden University in 1620. He then left the University to study with the Leiden artist Jacob van Swanenburgh.

In 1624 Rembrandt moved to Amsterdam to apprentice with the leading history painter in the Netherlands, Pieter Lastman, whose colourful style and narrative approach would be an influence for Rembrandt throughout his life. Rembrandt returned to Leiden six months later and established his own studio.

Rembrandt moved to Amsterdam permanently in 1631 and partnered with art dealer Hendrick van Uylenburgh to capitalize on the growing market for history paintings and portraits. Rembrandt was interested in stories from the Old and New Testaments and preferred painting realistic emotion and narrative detail. He quickly became one of the most sought after portrait painters (individual and group) in the Netherlands, introducing more animation, expression and dramatic contrasts of light and dark. During this time, many students came to the van Uylenburgh Academy to study Rembrandt’s style of painting.

In 1634, Rembrandt married van Uylenburgh’s niece, Saskia. At the height of his career in 1639 he bought a large house on the Sint-Anthonisbreestraat that he borrowed heavily to acquire. The artist also liked to spend money, purchasing art and other objects that were beyond his means, a habit that would eventually catch up with him.

In 1642, Saskia died after the birth and death of three children, leaving Rembrandt to care for their son Titus. Following the complicated end to his common-law relationship with Titus’s nurse, Geertje Dircks, Rembrant met Hendrickje Stoffels who would be his lifelong companion and with whom he had his daughter, Cornelia.

By the late 1640s, Rembrandt was receiving fewer portrait commissions and his failed investments resulted in financial strain for the artist. Rembrandt remained well known, but his vigorous, broad brushwork and glowing palette differed from the prevailing taste in the Netherlands for a smooth, elegant style of painting.

This was also a period filled with personal difficulties, including his declaration of insolvency in 1656 and the sale of his house and collections in 1657 and 1658. Rembrandt moved to a smaller house on the Rozengracht in the Jordaan area of Amsterdam, where he continued fulfilling commissions for portraits and other works.

Beyond painting, Rembrandt created about 300 etchings and drypoints. His work as a printmaker ran alongside his career as a painter. He was a great innovator in this medium, often using traditional materials in unconventional ways. His impact on printmaking is still reflected in etchings produced today.

Rembrandt outlived both Hendrickje, who died in 1663, and Titus, who died in 1668. Rembrandt died on October 4, 1669. With no money for a tombstone, he was buried in an unmarked grave in the Westerkerk, in Amsterdam.

Sources: Getty Museum, Fine Arts Museum of San Francisco, Met Museum, Met Museum(2),Wikipedia, The Teaching Company (DVD) All images from Art Renewal Center