#fine art oil paintings reproductions

[boselliart]

[nostalgiachan]

Just because I’m thinking about it, as a follow-up to that last post, and more specifically the comment about “There’s still photos of [van Gogh's "Sunflowers"]”: Some time ago, my family went to see a showing of Ron Mueck’s sculptures at The Andy Warhol Museum. You’ve probably seen Mueck’s work before, but here’s a picture of one of his sculptures:

At first, you might think, “Oh wow, that’s an incredibly realistic sculpture.” The thing’s size might not be apparent to you until you see an image with viewers around it.

Now, you might be thinking, “Oh wow, that thing’s huge! That’s pretty amazing!” But no image can properly impress upon you the full feeling of actually seeing this thing, or any of Mueck’s other works, in person; to walk into a room and see a giant woman reclining in bed, looking off into the distance, so real and so present that you can swear she’s breathing; to turn the corner and see a massive boy crouched on the other side of a hall, staring dead at you as he cowers his head behind his arms; to pass sculptures tall and small alike, each looking like a living, breathing person caught in a moment of their life, hair and flab and body oil lovingly rendered. And sure, you could say “Well yeah, they’re big-ass sculptures, of course it’s going to be different seeing them in real life,” but the same holds true for paintings. With a picture of a painting, you lose certain elements that you’d be able to see in person - the brush strokes, the texture, the size, even just the fact that it’s real and it’s right before your eyes. Like, everyone’s seen the Mona Lisa, everybody knows what it looks like and can easily get a reproduction of it, but not everyone has seen it in person. My parents saved up for quite a while to travel to Europe to see the classics and even though they were looking at the Mona Lisa from way the hell back and on the other side of a pane of bulletproof glass, they still said it was one of the most awe-inspiring things they’d ever seen. Seeing art in real life is an invaluable experience that should be available to all, and when works are destroyed, the world is a lot worse off for it. Anyway, support the arts, fine art belongs in museums and not in a billionaire’s investment portfolio.

[tomoleary]

Carl Barks - Uncle Scrooge #43 Hand-Painted Cover Original Art (Gold Key, 1963)

Source

“In 1963, a Western Publishing executive, wanting a color piece to hang on his office wall, made a special request of Carl for an original Uncle Scrooge painting. Keep in mind this was years before Barks was granted permission by Disney to reproduce his earlier comic book work as fine art paintings, so he did the best thing he could at the time -- he took his original inked cover art for a then-recent issue, featuring a clever image of Scrooge tossing cash as if he was preparing a salad, and painted in background and details using a combination of oil paints and watercolors. The result is, as far as we can tell, the very first Uncle Scrooge painting; it's also one of the few remaining examples of original cover art by Barks still in existence (Western was notorious for trashing old artwork after it was photographed for reproduction).”

As published

[scotianostra]

Happy Birthday Scottish artist Jack Vettriano.

Born Jack Hoggan 1951 in St. Andrews, I think many of us will identify with Jack’s upbringing in the industrial seaside town of Methil, in Fife.

The family lived in a spartan miner’s cottage, sharing a bed with his brother and wearing hand-me-down clothes. From the age of 10, his father sent him out delivering papers and milk, cleaning windows and picking potatoes — any job that would earn money, he took half his earning from the youngster.

At 16, like so many in the Fife area he went into the pits, as a mining engineer, he also spent sometime as a bingo caller at the Beachcomber Amusements on Leven Promenade.

For his 21st birthday, his then girlfriend gave him a set of watercolour paints, from there he taught himself to paint. His first attempts at painting were copies of impressionist paintings such as Poppy Fields by Claude Monet. His early influences also included works displayed in the Kirkcaldy Museum and Art Gallery. He moved to Edinburgh in 1987 and adopted the last name of Vettriano, his mother’s maiden name. Jack applied to study Fine Art at the University of Edinburgh, but his portfolio was rejected.

A year later he submitted two paintings for sale to the Royal Scottish Academy. He sold both paintings, and galleries began approaching him to sell his work. Vettriano successfully exhibited his work in many cities, including Edinburgh, Hong Kong, London, and New York. Vettriano’s paintings typically sell for between £48,000 and £195,000, and his total income from royalties is £500,000 per year.

The Royal Academy rejected The Singing Butler for its 1992 summer exhibition, but it sold for £744,500 in 2004, and I say good on him, I suspect their refusal was more to do with snobbery than anything else.

Jack went on to create a series of seven paintings in 1996 that commemorated Sir Malcolm Campbell’s land-speed records at the Bonneville Salt Flats. The most expensive painting in this series was Bluebird at Bonneville, which sold for £468,000 in 2007.

It’s not all about pocketing his earnings though, Bethany Christian Trust, Maggie’s Cancer Caring Centres, Quarriers and Teenage Cancer Trust are just a few of the charities to have benefitted from the sale of some of his paintings.

Vettriano collaborated with Sir Jackie Stewart in 2008 to create Tension, Timing, Triumph – Monaco 1971, a triptych that commemorated Stewart’s overall victory of the 1971 Formula One racing season The Weight is Vettriano’s self-portrait, which has been displayed in the Scottish National Portrait Gallery since 2011.

He likes to gamble on horses, but only bets what he can afford to lose, which I think would mean every day!!!

Jack has set up the Vettriano Trust, and plans to leave his money in the trust “to do good work”

His work rarely fails at auction - he points out that a recent oil painting of his sold for £35,000, well above the estimate. Reproductions of the painting remain the best selling art print in the UK.

But while Vettriano is loved, he's also loathed.

His work has been variously described as "brainless erotica", "just colouring in" "mere wallpaper" and "crass male fantasy ". But another artist David Mach says: "If he was a fashion designer Jack would be right up there. It's all just art world snobbery." Just as I said earlier.

Now 70, he still has his demons, and still rails against the establishments which continue to shut him out. But after two postponements and nearly three years of waiting, he recently said he's delighted his exhibition in Kirkcaldy finally opened to the public earlier this year

One of my favourites by Vettriano is “Dr Connolly I Presume” –which Glasgow street artist Rogue One reproduced in a giant mural outside Hootenanny Bar at Dixon Street, but it is danger of being destroyed as there are plans for a new building to go up there.

Meanwhile Fife Council are trying to raise funds for a statue of his Singing Butler,as seen in the third pic, at least he is being recognised there as I still see a lot of snobbery in the art world towards him, at least in Scotland.

You can check out more from this talented Fifer on his own web site below, and while some of his work is described as erotic, it really is very tame, naughty but nice I would say.

https://www.jackvettriano.com/

[beautifulbizarremagazine]

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[pwlanier]

Unknown artist. Russia." The feat of Peter I during the storm. "

Copy from the painting of the same name by A.E. Kotsebu.

The second half of the 19th century.

Oil on canvas.

Decorated in a frame.

The work of A.E. Katsebue (1832, Russian Museum), from which this painting is made, in turn is a copy-variant of Steiben's painting "Peter I saves the drowning during a storm on Lake Ladoga" (Museum of Fine Arts, Amiens, 1812).

Kotsebue Alexander Evstafyevich (1815, Koenigsberg - 1889, Munich). Painter, batalist. He studied at the Second Cadet Corps in St. Petersburg, at the Academy of Arts (hereinafter IAH) (1837-1844) with A.I. Sauerweida. IAH pensioner in Königsberg and Munich (since 1847). Academician (1850). He lived in Munich. Participant of academic exhibitions (since 1847).

Karl Karlovich Steiben (1788-1856) was a French painter of German-Russian origin. As a child, he moved to Russia with his father, who was admitted to the Russian service, and for some time attended the St. Petersburg Academy of Arts as a freelance student. Then he was a page under Grand Duchess Maria Pavlovna in Weimar. From here, with the help of his patrons, he went to Paris and became an apprentice to the famous artist David, but soon moved from him to the workshop of Robert Lefebvre and then worked under the direction of Gerard.

The first painting by Stein, exhibited in the Paris Salon in 1812, "Peter the Great in the Storm on Lake Ladoga", made a great impression on the public and was purchased by Napoleon I (later it got into the Amiyane Museum). After the restoration of the Bourbon dynasty in France, King Louis XVIII ordered the reproduction of the painting of Steiben in a tapestry carpet, which he sent as a gift to Emperor Alexander I (at the beginning of the XX century the tapestry was in the Grand Peterhof Palace).

Nikitskiy

[centralkvetchmonolith]

Thinking about my standards for acceptable fanworks re: previous post and...

Print of Bender: illegal; you may have up to one and it has to be small

Soviet propaganda poster with show-faithful reproduction of Bender instead of a Slav: if I were your boss and you knowingly invited me here I would fire you on the spot

Soviet propaganda poster with texturally appropriate rendering of Bender: acceptable but this has to be your only Futurama art

Oil painting of Saul on the road to Damascus and the figure addressing him from the heavens is a triangular wall of stone with a large human eye in the center, adorned with a top hat and possessed of sinuous snake bodies where one might expect limbs: beautiful; can go right next to your imitation Miró that prominently features a bright yellow triangle and six-fingered hand

Same as the previous but instead of Saul & beast it is a Caravaggine Mabel & Waddles: we're back down to acceptable but has to be your only Gravity Falls art

Collection of posters advertising fandom events, as illustrated by people who clearly did not work on Futurama: somehow fine again

Collection of SIGNED episode teasers for Steven Universe: this too is fine! Hmm. Much to ponder.

[thegreenwallrabbit-blog]

Explaining one of VTMB paintings (pt 10)

Cain and Abel (Spanish: Caín y Abel) oil on canvas (18th century) by José Vergara Gimeno

José Vergara Gimeno ( Valencia , June 2 , 1726 - Ibídem , March 9 , 1799 ),  was the most outstanding Valencian painter of the second half of the 18th century. With an enormous pictorial work, both in fresco and on easel, he evolved from Late Baroque to Neoclassicism . He is the founder of the Royal Academy of Fine Arts of San Carlos in 1768.Despite his great popularity in Valencian lands, since his prolific work is present in a good part of its geography, a certain artistic critic has unfairly underestimated him based on merely subjective prejudices that also extend to a good part of Valencian painting of the seventeenth century. Fortunately, the recent studies of Miguel Ángel Catalá Gorgues and especially David Gimilio Sanz, who dedicated a splendid monographic exhibition to him at the Museum of Fine Arts in Valencia in 2005, have begun the recovery of this painter with a strong personality, without a doubt the greatest exponent of academic sensibility in the Valencia of the Enlightenment. [1] 

The painter José Vergara began his artistic training under the tutelage of his father, the sculptor and architect Francisco Vergara , first by copying the Primer of José de Ribera , and later in the drawing academy of the painter Evaristo Muñoz , which in turn continued from that of Juan Conchillos, a school in which, according to an innovative discipline, students were trained in drawing from life in view of copying male models or statues. According to Orellana, his knowledge, talent and ability were such that at the age of 7 he was already drawing figures copied from life in the aforementioned academy, and at the age of 13 he painted "al fresco an allegory that was in a clock on the corner of a house, in the street of San Vizente in front of San Gregorio”. This work must have had a certain resonance, since, according to the aforementioned manuscript, he was then commissioned two medallions with passages relating to scenes from the life of Santa Catalina martyr, located on both sides of the main altarpiece of the parish church of Santa Catalina, as well as the vault of the lower part of the organ of that same temple. A few years later, around 1744,Collegiate Church of Játiva representing the four Biblical Heroines, a work that disappeared when the dome collapsed in 1866 and for which he received 200 pounds. These were the foundations and the first works on which the progress he made later in his profession was founded, due more to his genius and study than to the teachings received. According to classical historiography, José Vergara did not miss any opportunity to take advantage of his advances, paraphrasing Ceán , he was always painting, drawing and experimenting with different techniques in order to master them, which tells us about a restless and interested in learning. The weight of the Valencian pictorial tradition made him copy certain works by Juan de Juanes , Francisco Ribalta and José de Riberaof enormous iconographic and artistic significance in Valencia, these reproductions, made either by personal admiration of Vergara himself, or by express wish of the client, as is the case of the Juanesque variations of Ecce Homo and the Eucharistic Savior.The fact that José Vergara never left his closest environment (confirmed in the handwritten biography), forces us to specify a type of learning in situ based on the Valencian pictorial tradition; in the prints and engravings that he no doubt used in his compositions; in the art treatises that he consulted and in the examples of the great foreign artists that existed in Valencian lands. All this led to a new way of conceiving painting from a classicist sense that will be the basis of Valencian academicism.[1] 

Below is an explanation of the Cain and Able story from real life and in the context of VTM. This is the same for all the Explained Cain slaying Able paintings in VTMB posts I’ve done so feel free to skip if you’ve already read this as it’s long.

___________________________________________________________

The tale of Cain murdering his brother Able are nearly identical in Jewish, Christian and Islamic texts with the oldest known version coming from the Dead Sea Scroll from the first century BCE. Cain was the the first born son of Adam and Eve and became a Farmer while Able was the second born son and became a shepherd. Both brothers made sacrifices to God, but God favored Abel's sacrifice instead of Cain's. In Islam the reason for their offerings is to decide which brother would marry Adam and Even’s first daughter who was also Cain’s twin sister. Able also had a twin sister and Adam wanted the brothers to marry the others twin. In multiple religions each brother has a twin sister but there is no consistently with the names as Cain’s twin sister being named Aclima, Kalmana, Lusia, Cainan, Luluwa, or Awan, and  Able’s twin sister is named Jumella, Balbira or to make it more confusing Aclima (though even when she is called this Able’s twin sister is never the one the brothers are competing to marry) depending on the source. In the Islamic text Able’s offers his fattest sheep while Cain offered only a bunch of grass and some worthless seeds. In Jewish and Christian texts the reason for the sacrifices and the exact nature of their offerings are merely described as the first born of Ables heard and products from Cain’s fields.[3] The most description we get is in Genesis when God sees that Cain is upset that his offering was not chosen God tells Cain “: Why are you angry? Why are you dejected? If you act rightly, you will be accepted; but if not, sin lies in wait at the door: its urge is for you, yet you can rule over it.”(Genesis 4:6-7)  Cain then told Able to meet him in his fields where he then murdered his brother out of jealousy by hitting Abel in the head with a stone. When God asks Cain where his brother Cain, “I do not know! he answered. Am I my brother’s keeper?”(Genesis 4:9) to which God replies   “What have you done! The voice of your brother’s blood is calling to me from the ground. From now on you’ll get nothing but curses from this ground; you’ll be driven from this ground that has opened its arms to receive the blood of your murdered brother. You’ll farm this ground, but it will no longer give you its best. You’ll be a homeless wanderer on Earth.” (Genesis 4:10-12)  When Cain objects saying the punishment is to great and that whoever finds him wandering shall kill him which then God says “No. Anyone who kills Cain will pay for it seven times over.” God put a mark on Cain to protect him so that no one who met him would kill him.” (Genesis 4:15). Cain then leaves east of Eden to wander in No-Mans-Land with his wife (who is not named in Genesis but is assumed to be his Twin sister in all tellings regardless of what name is given to her). Their first born Child was named Enoch, and Cain named the first city he built after his son. After Abel’s Death Adam and Eve had a Third son named Seth and when eve gave birth to him Eve said “God has given me another child in place of Abel whom Cain killed.”(Genisis 4:25-26). In some texts Seths wife and sister is named Azura. Their son is named Enosh it is through Seth’s line that humanity stems from, though both Cain and Seth had multiple decedents and confusingly used the same names (see family tree below). None of Cain’s decedents suffered the curse of their father Cain but where still seen as sinful and apart from God and where killed in the great flood. How Cain died is not as an agreed upon topic. He was ether crushed to death by the stone house he built, an irony as he used a stone to slay his brother or in some versions part of the Mark of Cain had him grow horns and his descendent Lamech (not to be confused with Lamech who decedent from Seth and was the father of Noah) who was a blacksmith and had two wives(this is viewed as sinful) killed him mistaking him for a wild animal and killed his own son Tubal-cain in the process.

While in the lore of Vampire the Masquerade the tale of Cain killing his brother able as told in the Book of Nod stick to the original tale regarding the murder of Able but starts to differ in God’s punishment. "Father" cursed him with a mark, and cast him out to wander in darkness in the Land of Nod alone. There is no mention of a wife or if he was still cursed to be unable to farm however it is clear that Cain was not  yet cursed to be a vampire by God. The Land of Nod was a place of utter darkness, with no source of light, where Caine was afraid and alone. There he found Lilith where they began a relationship and Cain realized that she possessed magical power and begged her to share them with him. While hesitant Lilith prepares an Awakening ceremony by cutting herself with a knife, bleeding into a bowl, and giving it to him so that he may drink. After Caine partakes of Lilith's blood, he is visited by three angels who are agents of God. Each angel offers Caine a chance to repent for the murder of Abel, but Caine rebuffed them out of pride. Michael, when denied, cursed Caine and his childer to fear his living flame. Raphael cursed Caine and his childer to fear the dawn, as the sun's rays would burn like fire. Uriel then cursed Caine and his childer to cling to Darkness, drink only blood, eat only ashes, and be frozen at the point of death, cursed so all they touch would crumble into nothing. A fourth angel, Gabriel, then appeared to offer the way of Golconda, the only way to "light", by the mercy of God. After the experience, Caine becomes officially "Awakened", possessing the following Disciplines: Celerity, Potence, Fortitude, Obfuscate, Dominate, Presence, Protean, Animalism, and Auspex. Caine then became aware of the Path of Blood, the Final Path from which all paths stem. And with all these powers, but now being cursed to be a vampire he breaks his bond with Lilith and leaves her.[2] While Cain never biologically fathers any children it is clear that their names of those he embraced and their decedents are inspired by the biblical names in his line though with massive changes. For instance the first city is founded by Cain in the land of Nod and and called Ubar and is explicitly stated to be settled by “Children of Seth” with the human king being Enoch at the time Cain settles there. Enoch still becomes his son as he is embraced by Cain. Another example of the reuse of a biblical name of Cain’s line is Zillah (which in Hebrew means shade or protection). In the original story she is one of Lamech(decedent of Cain) two wives( the other named Adah). After both wives discover that Lamech unwittingly kills Tubal-Cain(one of Lamech and Zillah’s sons) they both refuse to have sex with him because of the deaths he caused, on the pretext that they do not desire to give birth to cursed offspring. The three go together to the tribunal of Adam; Adam rules that they must obey their husband since he killed unwittingly. This midrashic tradition portrays Adah and Zillah as respected women, whose position is considered in all seriousness by the court. [3] In VTM Zillah was a human woman who lived in Udar so beautiful, Caine could not resist the Embrace. According to Nosferatu Zillah is the one of Cain’s second generation who sired their Antediluvian. Interestingly, even after the Embrace, Zillah did not desire him. It frustrated Caine to the point that he was ripping his hair out of his head. He did anything and everything to make her desire him. Yet, she would not have him. Finally, Caine sought the Crone's magic, who ultimately tricked him into a blood bond, she forced the First Vampire to Embrace her. The Crone sent her new thrall away, telling him that his blood would have the power to bond others as Caine himself was bonded to the Crone. The discovery of the blood bond was what finally made Zillah agree to marry her sire Caine. [2]

[1] “José Vergara Gimeno.” Wikipedia, Wikimedia Foundation, 26 Apr. 2022, https://es.wikipedia.org/wiki/Jos%C3%A9_Vergara_Gimeno. 

[2] “Caine.” White Wolf Wiki, https://whitewolf.fandom.com/wiki/Caine.

[3] Kadari, Tamar. “Zillah: Midrash and Aggadah .” Jewish Women's Archive, https://jwa.org/encyclopedia/article/zillah-midrash-and-aggadah#:~:text=Zillah%20was%20a%20wife%20of,he%20unwittingly%20kills%20Tubal%2DCain.

[mwseo2024]

The Intricate World of Model Making: Exploring Miniature Masterpieces

Introduction

Model making is a wonderful art form that turns ideas into tangible reality. Model Makers in Bangalore captivates people of all ages, with tiny representations of historical places and realistic miniature automobiles. This difficult craft necessitates precision, patience, and creativity, resulting in exquisite miniature reproductions of the world around us. In this blog, we'll look at the history, skills, and communities that make model-making such a popular hobby and vocation.

Techniques and Materials

Model-making necessitates a variety of processes and materials, each chosen according to the project's complexity and desired level of detail. Here are some important components of the craft:

Materials

Plastic, the most popular material for model kits, is versatile and simple to work with. Injection-molded plastic kits provide exact details and are readily available in hobby shops.

Wood is a traditional and sturdy material used for ship models, architectural models, and dollhouses. It requires the ability to shape and assemble, thus it is best suited for skilled model makers.

Metal adds strength and realism to structural components and details. Brass, Aluminum, and white metal are popular options.

Resin is a material that can capture fine details and is used to create unique parts and figurines.

Techniques

Assembly: The procedure starts with cutting, sanding, and putting pieces together. Precision is required to ensure that parts align properly. Tools such as hobby knives, files, and clamps are indispensable.

Painting: Painting brings the model to life. Airbrushing, dry brushing, and weathering techniques all contribute to the overall realism and depth. Acrylics, enamels, and oils are common materials used by model makers.

Decals are used to add intricate elements such as logos, numbers, and symbols. To avoid creases and bubbles while applying decals, you must be patient and steady-handed.

Detailing: To increase authenticity, add minute features like panel lines, rivets, and texturing. This is accomplished by the use of photo-etched parts, wiring, and customized components.

Finishing: The final steps are to seal the model with a clear coat, add any finishing touches, and display it

Types of Models

Model making spans various genres, each with its own set of enthusiasts and communities. Here are some popular types:

 Scale Models

Vehicles: Cars, trucks, motorcycles, and airplanes are popular topics. Scale models reproduce every aspect, from engine parts to cabin upholstery.

Ships: Naval enthusiasts create intricate reproductions of both historic and current ships. These models frequently have rigging, sails, and cannons, demonstrating the complexities of marine engineering.

Trains: Model railroading is a broad pastime that entails creating trains, tracks, and entire landscapes. It mixes model making, electrical engineering, and landscape design.

Architectural Models

Architects and designers use scale models to visually represent and present their designs. These models range from simple massing models to elaborate representations that include interiors and lighting.

Fantasy and Sci-Fi Models

Fans of science fiction and fantasy construct models inspired by movies, television shows, and literature. These include spacecraft, exotic creatures, and fantasy vehicles, which frequently necessitate unique parts and imaginative alterations.

The Community

Model making is more than just a solitary activity; it is a thriving community where people share their enthusiasm, knowledge, and creations. Here are a few ways model makers can connect:

Clubs and Associations

Local and national model making groups provide an opportunity for enthusiasts to connect, trade techniques, and promote their work. Clubs frequently host events, workshops, and competitions.

The Heart of the Model Making Community

Clubs and groups are the foundation of the model-making community, allowing enthusiasts to connect, share knowledge, and develop their talents. These clubs provide a sense of community and support, creating a collaborative atmosphere in which model makers can thrive.

Benefits of Joining Clubs and Associations

Skill Development: Members can learn new techniques, tips, and tricks from more experienced model makers. Clubs frequently organize courses, demonstrations, and guest speakers to assist members in honing their craft.

Networking: Clubs provide an opportunity to meet others who have a passion for model making. This networking can result in friendships, mentorships, and collaborative ventures.

Resource sharing provides access to a plethora of resources, such as reference materials, tools, and supplies. Clubs may also offer lending libraries and bulk purchasing programs to help members save money.

Exhibitions and Competitions: Many clubs host local exhibitions and competitions, allowing members to showcase their work and achieve recognition.

Members can acquire new techniques, tips, and transport and Motivation: Regular meetings and interactions with other enthusiasts can help members stay motivated and inspired, overcoming creative blockages and remaining devoted to their projects.

Online Forums and Social Media

The internet has transformed the way model makers communicate. Online forums, social media groups, and YouTube channels offer a multitude of materials, ranging from instructional to product reviews. These sites allow model makers to share their creations with a global audience.

Exhibitions and Competitions

Model making exhibitions and competitions celebrate the craft. Events like IPMS (International Plastic Modelers' Society) contests attract participants from around the world, showcasing the best in model making artistry.

Celebrating the Craft

Exhibitions and competitions play a vital role in the world of model making. These events provide a platform for model makers to showcase their work, exchange ideas, and gain inspiration from peers. Whether local, national, or international, these gatherings highlight the craftsmanship and creativity within the model making community.

The Joy of Model Making

Model making is more than just a hobby; it's a journey of creativity, patience, and skill. The satisfaction of completing a model, the joy of learning new techniques, and the thrill of sharing your work with others make it a deeply rewarding experience. Whether you're a seasoned model maker or a beginner, the world of miniature creation offers endless possibilities.

Conclusion

The art of model-making is a testament to human creativity and craftsmanship. From ancient times to the modern day, it has evolved into a beloved hobby and profession that brings joy to countless enthusiasts. As you embark on your model-making journey, remember that every model is a unique expression of your passion and skill.

[scotianostra]

Happy Birthday Scottish artist Jack Vettriano.

Born Jack Hoggan 1951 in St. Andrews, I think many of us will identify with Jack’s upbringing in the industrial seaside town of Methil, in Fife.

The family lived in a spartan miner’s cottage, sharing a bed with his brother and wearing hand-me-down clothes. From the age of 10, his father sent him out delivering papers and milk, cleaning windows and picking potatoes — any job that would earn money, he took half his earning from the youngster.

At 16, like so many in the Fife area he went into the pits, as a mining engineer, he also spent sometime as a bingo caller at the Beachcomber Amusements on Leven Promenade.

For his 21st birthday, his then girlfriend gave him a set of watercolour paints, from there he taught himself to paint. His first attempts at painting were copies of impressionist paintings such as Poppy Fields by Claude Monet. His early influences also included works displayed in the Kirkcaldy Museum and Art Gallery. He moved to Edinburgh in 1987 and adopted the last name of Vettriano, his mother’s maiden name. Jack applied to study Fine Art at the University of Edinburgh, but his portfolio was rejected.

A year later he submitted two paintings for sale to the Royal Scottish Academy. He sold both paintings, and galleries began approaching him to sell his work. Vettriano successfully exhibited his work in many cities, including Edinburgh, Hong Kong, London, and New York. Vettriano’s paintings typically sell for between £48,000 and £195,000, and his total income from royalties is £500,000 per year.

The Royal Academy rejected The Singing Butler for its 1992 summer exhibition, but it sold for £744,500 in 2004, and I say good on him, I suspect their refusal was more to do with snobbery than anything else.

Jack went on to create a series of seven paintings in 1996 that commemorated Sir Malcolm Campbell’s land-speed records at the Bonneville Salt Flats. The most expensive painting in this series was Bluebird at Bonneville, which sold for £468,000 in 2007.

It’s not all about pocketing his earnings though, Bethany Christian Trust, Maggie’s Cancer Caring Centres, Quarriers and Teenage Cancer Trust are just a few of the charities to have benefitted from the sale of some of his paintings.

Vettriano collaborated with Sir Jackie Stewart in 2008 to create Tension, Timing, Triumph – Monaco 1971, a triptych that commemorated Stewart’s overall victory of the 1971 Formula One racing season The Weight is Vettriano’s self-portrait, which has been displayed in the Scottish National Portrait Gallery since 2011.

He likes to gamble on horses, but only bets what he can afford to lose, which I think would mean every day!!!

Jack has set up the Vettriano Trust, and plans to leave his money in the trust “to do good work”

His work rarely fails at auction - he points out that a recent oil painting of his sold for £35,000, well above the estimate. Reproductions of the painting remain the best selling art print in the UK.

But while Vettriano is loved, he's also loathed.

His work has been variously described as "brainless erotica", "just colouring in" "mere wallpaper" and "crass male fantasy ". But another artist David Mach says: "If he was a fashion designer Jack would be right up there. It's all just art world snobbery." Just as I said earlier.

Now 70, he still has his demons, and still rails against the establishments which continue to shut him out. But after two postponements and nearly three years of waiting, he recently said he's delighted his exhibition in Kirkcaldy finally opened to the public earlier this year

One of my favourites by Vettriano is “Dr Connolly I Presume” –which Glasgow street artist Rogue One reproduced in a giant mural outside Hootenanny Bar at Dixon Street

You can check out more from this talented Fifer on his own web site below, and while some of his work is described as erotic, it really is very tame, naughty but nice I would say.

https://www.jackvettriano.com/

[robindluzenwriting]

Catalog Essay, Rhonda Gates: "Filtered and Bounded" at Zolla/Lieberman Gallery

Rhonda Gates, "Road Cut: On the Way", 2023, oil / graphite on panel, 16 x 16 in.

“It takes a while to figure it out,” Rhonda Gates told me, referring to her process-laden, multi-layered nature paintings. Gates favors abstraction over illustration, formalism over realism, method over romance, and each piece in “land(e)scapes” bears the evidence of the artist's problem-solving strategies: underpaintings blooming beneath opaque patterns and forms, and shimmering graphite linework suspended between. The construction of Gates’ paintings is the culmination of an array of tools and processes, material and conceptual, all serving to encapsulate the way that our encounters with nature shift and change as we attempt to understand and recollect what it was that we experienced.

Gates’ paintings in “land(e)scapes” hinge upon the particular scenario of nature being a respite, an escape, an anticipated excursion --in short, a place that is decidedly not the here of our everyday urbanity or suburbia but a there to be visited and from which to return home. In this context, what one has encountered exists thereafter in one's awareness in a modified form, filtered and bounded. In works like Road Cut III, 1 & 2, great vistas have been cropped into modest squares; autocumulus clouds are rendered as uniform grids, the strata of the cliffs even and orderly, the effect flattening like an overexposed photo. Gates’ treatment of the landscape underscores the truth that, while the painted terrain retains its essence, something always changes in the capturing of it. No matter how well-told the story, how dutifully rendered the painting, how meticulously edited the Instagram post, the process of transcription has its limits.

And it's not just our conscious attempts at reproduction that are subject to these limitations. Even within our own memories, recalled and unexpressed, our encounters are made simpler, smaller, as our brains alternately focus and delete according to their biologically determined bias. So much of Gates’ practice deals with the push and pull of impression and intellect, and the paintings in “land(e)scapes” evidence such a grappling. In pieces like Reflected Cloud, the fine line of the horizon separates the waterscape. The symmetry of the ovoid “cloud,” above and below, and the orderliness of the parallel lines of the water's ripples, overlay the gestures of the underpainting, as if applying logic to sensation. 

Summer Prairie: Queen Anne's Lace too embodies these complications. Those who are familiar with the flowering wild carrot know of their umbels of so many tiny white flowers that give the appearance of gauzy, floating clouds from a distance. In the painting, Gates renders the umbels with her relentless symmetry: tiny circles grouped into radial disks, hovering among stylized blades of grass. Here, impression and intellect collide, with what things seem like and what we know them to be coalescing in abstraction. 

Robin Dluzen Artist & Art Critic 2024

[smartdeco]

Deckchair - Ultraviolet Jellyfish

Art Print Deckchairs designed by Jacqueline Hammond for Smart Deco: a boutique-style collection of functional art pieces that combine beauty with purpose. A work of art framed in a deckchair. Built around a sturdy hardwood frame with a teak oil finish, the deckchair features a fine art print reproduction of an original painting. Design: ‘Ultraviolet Jellyfish’ by British artist Jacqueline…

[frankhightower]

Beware of this scam

A few days ago, Sharon (relatively new user, blank gallery) fav's one of my arts on DeviantArt and notes me saying that she loves my style and wants to paint something of mine.

So I start by thinking she wants to do a collab. I ask and she says she wants to paint it, oil on canas, and that I would give her a finished, fully-detailed piece and she'd credit me on the oil painting.

So now I think she does reproductions. Why would she want me?

The piece will be huge, a crowd of humans and a crowd of furries. My most expensive commission ever, even at my prices.

Okay, but the art of mine she fav'ed was the Great Seal of the Mouse Government. Did that impress her that much?

I tell her we can start as soon as I get payment and she says "oh."

I'm thinking I asked her for too much money upfront, so I say "all I need is $10 for the initial sketch: the two main characters, and we can work up from there"

"No no no no no, I'll contact you tomorrow"

The next day she wants a second piece, and now they're not on canvas, but murals. Also, her name is now Hannah since we've moved to Discord. I tell her my price and she says, "no, it has to be the same price as the first." But, I object, there's no crowd in this one. That is not how I work. "It has to be for the same price. My client was impressed by your experience" What client? (The one who owns the walls the murals go on, of course!) What experience? (I didn't even have a price sheet before this year!) "They'll both cost him the same in supplies so the original artwork has to cost the same. You'll get the paycheck tomorrow" "You mean a literal check or...?" "Check as in Cheque. My client is very old" I say that's fine so long as I can digitally deposit it with my bank app. "You can't deposit it tomorrow, it's a holiday" I'm pretty sure the internet still works? "I mean, you can, but it will take longer to clear and we need to get started right away" Wouldn't it be cleared on the same day regardless then?

She seems like she wants the information for the endorsement (and I know that means account numbers). That's not how checks work, you're supposed to endorse it yourself. I ask why does it matter? "Oh, just in case he asks!"

Day 3 begins with her asking if I want to be on the old guy's company payroll. The job is now to populate an art gallery. "What company?" I ask "Here's the back of the check! Remember you can't deposit it today!" "...Where's the front?" "Of course he'd have to meet with you to put you on the payroll" "like... a zoom meeting?" "Conference call. He's veeery old fashioned." "Where's the front of the check?" "So I'll need your phone number" "Here's a phone number you can call me at. It's a burner. You can't create accounts with it." "Oh, hahaha, it's a burner? I hadn't even realized! I just need your email to send you the check, and you'll additionally get all the paints you asked for, of course" "...No"

So, aside from the red flags I comically highlighted, you can almost hear her brain going "Crap, he has low prices. It's not going to work for that little money!" "Crap, digital deposit. He's not going to give me an address!" "Crap, he knows how digital deposits work! The check will bounce before we grab him!" "Crap, he knows how checks work!" "Crap, I can't use this phone number!" "Crap, he already knows I can send the check through the chat and won't give me an email!" "Crap crap crap!"

And yes, I know it's a "her". There were voice calls. (Her accent was slightly different each time).

It wasn't at all funny as it was happening, though.

Posted using PostyBirb

[dafenvillag]

Canvas Chronicles: Contrasting Custom Paintings With Surrealism Oil Painting Reproductions

Art has the remarkable power to evoke emotions, tell stories, and capture moments in time. Within the realm of artistic expression, two distinct approaches often stand in contrast: custom paintings and Surrealism Oil Paintings. Each approach offers a unique perspective and experience, catering to diverse artistic preferences and objectives.

The Personalized Tale Of Custom Paintings

Custom paintings are a testament to individuality and creativity. Custom Art Painting For Sale is a collaborative effort between the artist and the client, resulting in a masterpiece that reflects the client's vision, emotions, and personal story. The uniqueness of custom paintings ensures that each creation is one-of-a-kind.

The process of creating a custom painting involves a deep connection between the artist and the subject matter. Whether it is a portrait, a landscape, or an abstract concept, the artist endeavours to bring the client’s ideas to life with a personalized touch on the Custom Art Painting For Sale.

One of the most compelling aspects of Custom Art Painting For Sale is the emotional connection they foster. A custom piece captures moments of significance, immortalizing them on canvas. It becomes a cherished heirloom, carrying sentimental value and memories that can be passed down through generations.

The Dreamlike World Of Surrealism Oil Painting Reproductions

Surrealism, a movement characterized by dreamlike and imaginative visuals, offers an entirely different artistic experience. Surrealism Oil Paintings draw inspiration from iconic artworks that have left an indelible mark on the art world. These reproductions aim to capture the essence of the original while allowing art enthusiasts to own a piece of history.

Surrealistic Oil Painting Reproductions are marked by their ability to transcend reality, blending the conscious and subconscious. The intricate details, intricate brushwork, and vivid colors of oil paintings bring dreamlike qualities to life.

Distinguishing Factors & Considerations Custom Art & Surrealism Paintings

When comparing custom paintings and surrealist Oil Painting Reproductions, several factors come into play. The first lies in the intention behind the artwork. Custom paintings are driven by personal narratives and desires, while reproductions pay homage to existing masterpieces.

Custom Art Painting For Sale often demands an emotional investment from both the artist and the client, while reproductions provide an opportunity to experience renowned works tangibly. Ultimately, it becomes a fine art that speaks to the heart and mind.

The level of engagement also differs. Custom paintings require close collaboration and communication between the client and artist to ensure that the final piece aligns with expectations. On the other hand, acquiring a Surrealism Oil Paintings involve appreciating the existing artistic brilliance while allowing it to become a part of one’s surroundings.

Both paintings contribute to the rich tapestry of the art world. The former celebrates personal stories, memories, and emotions, offering a bespoke artistic journey. The latter offers a gateway into the surreal, enabling individuals to bring the enigmatic and imaginative worlds of renowned artists into their lives.

Ultimately, the choice between these approaches depends on individual preferences and the intended purpose of the artwork. Whether it is a custom masterpiece that captures the essence of a cherished memory or a surrealist Oil Painting Reproductions that sparks introspection, both avenues offer distinct ways to embrace art’s transformative power.

For more details visit our website dafenvillageonline.com.

[peternelthorpe]

An Easy Accounting Software

New Post has been published on https://wr1tepress.com/an-easy-accounting-software/

An Easy Accounting Software

For a small business, marketing expenses would seem to be something unnecessary. But actually investing in marketing develops for a business can raise sales and help the companys revenues rolling. The key is to learn where these investments should be going into, and learn how to spend money cost-efficiently.

There are many museums of modern paintings all over the world. The modern paintings of the modern artists are exhibited in these museums. These museums of modern art have been successful in flourishing the contemporary art. Modern artists exhibit their modern paintings creations in the museum of contemporary art. Museum of modern art New york, Contemporary art museum Houston, museum of modern art paris, art museum of Fort worth are the famous museums of contemporary art. Contemporary art work can be seen in these modern art museums.These museums exhibit the popular contemporary paintings of the famous modern artists.

Modern Abstract Art

There are great number of painters of modern life.

They have created the modern abstract art on modern themes.

Modern artists paint colours in an artistic way.

Their contemporary oil paintings are pure form of fine arts.

History of modern art is full of great contemporary paintings from famous modern artists.

19th century paintings and 20th century paintings are worth seeing.

Modern art movements have been in progress in recent times.

There are many contemporary art centers.

Contemporary art center Cincinnati and Contemporary art center of Virginia are the famous modern art center.

St.Louis contemporary art has been very much appreciated. Contemporary Christian artists

Modern art is also available for sale. Modern and contemporary art can be purchased from the modern art gallery. These contemporary art galleries offer the Original modern paintings of the famous contemporary artist. The reproductions of the famous contemporary paintings can also be purchased from these modern art galleries. These galleries also offer cheap price modern oil paintings.

Good News for lovers of modern art ! You can get Contemporary and Modern Oil Paintings of your own choice just by selecting the Model number of the Landscape Oil Painting or by sending the Photo of your required image. Our highly skilled modern artists can reproduce the contemporary paintings as per your given photo. Just click the Link of Contemporary paintings on our website (www.paintingsgifts4u.com) . For more details, Please contact us at : info@paintingsgifts4u.com.

[boselliart]