Finding the artist in all of us – Part 1
October 13, 2009 by Portrait Painter
Filed under Old Masters
Every human born has a spark of creativity living within him, along with a deep-seated desire to express this creativity and to share it with others. This comanding spirit of self-expression emerges when we are very young and continues throughout our lives. How much it develops depends on how much we feed it.
What is art? According to the dictionary, art is “the creation of beautiful or thought-provoking works.” But how do we define “beautiful”? As the old saying goes, it’s in the eye of the beholder. When my five-year-old grandson proudly displays one of his crude drawings, I see beauty in it, although it would certainly not win any awards at a judged art show.
All of us create things of beauty every day. Art can be found in the preparation of a meal, in the writing of a letter, in the sewing of a shirt. As humans, we are fascinated with beauty, in all its forms. We are instinctively drawn to it. It emerges from our subconscious when we select a mate, when we apply makeup, and even when we choose our clothing. Think about it. When you’re getting dressed to go out into the public, you want to wear something that “matches.” Why? Because you want to look visually appealing, if only to yourself. A plaid shirt with striped slacks would be just as comfortable and useful as an outfit that “goes together,” so why do we almost automatically prefer something more attractive? It’s because of that ubiquitous little spark.
Since the dawn of time, man has been fascinated with art and beauty. Examine a simple spear point fashioned 10,000 years ago by an ancient hunter. These were utilitarian objects, necessary for daily survival, yet no one could deny the inherent art displayed in such an object. Look at old quilts, made by primitive hands for the purpose of keeping out the cold of Winter nights. Their beautiful designs did not make them warmer, so why did their creators go to such lengths to make them beautiful?
Yes, we all have a degree of art within us, but to become a true artist, we must feed this innate spark and fan the flames by pursuing and developing our talent until it becomes a raging fire of passion within us. We must discover our medium of expression and explore it if we ever hope to truly master it. We might find it in paints and brushes, in music, in woodworking, in working with clay or plaster, in clothing design, in drawing architectural plans, in creating a computer program, or through the written word. The possibilities are endless.
To find our hidden artist, we must seek inspiration from our surroundings, from things we see every day. According to Wordsworth, who created art with beautiful verse, we must take the ordinary and make it extraordinary. He could write an entire lyric poem about something as simple as a daffodil and make his readers understand his passion for the natural world. We all share this ability to some degree.
We won’t all turn out to be Wordsworths, or Picassos, or Beethovens, but we can all be artists in our own way. We must first be inspired, then we must find a suitable vehicle to express and share the object or event with our fellow man. From the first crude cave paintings to the medieval castles of Europe to the works of Rembrandt, our souls have cried out for self expression. And for as long as mankind exists, it will always be.
The Evolution of Abstract Art and the Abstract Expressionism Movement
September 5, 2009 by Portrait Painter
Filed under Abstract & Cubism
The Abstract Expressionism Movement, also called the New York School was exclusively an American abstract art movement that mainstreamed in New York City in the period following the Second World War. This movement was significant in the sense that it was the earliest American movement to declare non-dependence on European styles and to get a sway all over the globe. It also enabled New York City to replace Paris as the art hub. Prior to its reference to American art, “abstract expressionism” was a term used in the Berlin periodical named ‘Der Sturm’, in 1919.
Arshile Gorky played an important role in inducing The Abstract Expressionism Movement. The abstract art works produced during the period of this movement are considered to be a combination of certain visual aspects of abstract European schools like Futurism, Synthetic Cubism and Bauhaus with the self-expression and emotional strength of German Expressionism. Though this abstract art was a mixture of a number of styles, its basic philosophy was to search and seek out answers for questions relating to human existence.
There are many similarities of style between abstract expressionism art and the work of Russian artists of the early 1900’s, the most prominent being Wassily Kandinsky. The abstract art from this period of the movement is often characterised by giving the impression of being produced in an act of artistic spontaneity. The work of pioneers of the movement such as Kandinsky, Kunz and later Rothko dealt with the expression of subjects including spirituality and the subconscious. However, meticulous planning and conscious thought was often involved in creating the many of the well known works of art which define this period of the expressionist movement.
In the 1930’s in North America, prior to the mainstream acceptance of abstract art, social realism art had been the prominent genre of art. Mexican social realists such as Diego Rivera and David Alfaro Siqueiros together with the Great Depression strongly influenced the acceptance and widespread popularity of this relatively short lived movement. Preceding the Second World War in the United States there arose a time of political sensitivity. Due this change in the political climate social protest made through art would no longer be tolerated. In American society an artistic vacuum had opened and the abstract expressionism movement arose into the mainstream, showcasing at major galleries in New York such as The Art of This Century Gallery. The abstract expressionist movement spread rapidly thorough the elite art community of the United States through its major artistic communities such including the San Francisco Bay area and California.
During the period of The Abstract Expressionism Movement, several artists started experimenting with shapes and colour. They broke away from what was considered to be artistic, conventional painting and painted complete canvases in blue, orange or other colours. Dripping, splattering and big brush strokes were characteristic features of Abstract Expressionist Art. The artists of this period preferred larger canvases positioned on the floor over canvases that were easel bound and moderate. The focus of abstract art within the expressionism movement was not the portrayal of objects but the portrayal of emotions.
In the broad sense, Abstract Expressionism was of two streams – Colour Field Painting and Action Painting. Colour field painting came up in the beginning of the 1960’s and involved using shape and colour to create religious serene paintings that were devoid of representative subject substance. The composition of colour field works were huge coloured areas with no forms or signs. Helen Frankenthaler, Mark Rothko and Ellsworth Kelly were some painters associated with this type of painting. Action Painting was a painting stream that arose prior to Colour Field Painting (between the 1940s and 1950s) and practiced by artists such as Jackson Pollock, Willem de Kooning and Franz Kline. The driving force for the works of these painters was often considered to be the painters’ soul and life energy.
Abstract Expressionist Art appeared to be defiant, idiosyncratic and radical, and to some, nihilistic. The movement weakened in the 1960s while other movements such as minimalism and pop art arose in opposition to it. Despite the movement losing importance, a good number of abstract expressionist painters continued following its characteristic painting fashion for many more years. In addition, The Abstract Expressionism Movement profoundly influenced how some American artists of later generations used materials and colour in their Abstract Art.
Contemporary Grandfather Clock: Proud Sentinel Of A Modern Home
May 4, 2009 by Portrait Painter
Filed under Abstract & Cubism
It stands tall and proud and expects your reverent glances, and rightly so. The contemporary grandfather clock has the classic elegance of traditional grandfather clocks and neat modern lines. Such fusion is a wonderful blend of design and function.
The Evolution of the Long Case Clock
It used to be that clocks were made for one purpose – to tell the time. The long clocks stood in a corner to remind the household of chores to do and appointments to keep. For this reason, they performed well. Their sharp contrast with the contemporary grandfather clock is such that you can’t believe beauty could come out of the utilitarian piece.
The wood that encased the pendulum of the long case clocks were simple hardwood without any artistic embellishments. With the flowering of art and the search for self expression, people started to appreciate the finer things in life.
The long clocks were reinvented to fit changing needs. You are lucky if you can see the old grandfather clocks and hear the charming chimes or the watch the swing of the burnished pendulum. It won’t be surprising that you’ll fall in love with these grandfather clocks, no matter how attached you are to your portable player or cellphone. Today you will appreciate the beautiful contemporary grandfather clock and other modern time pieces sold in premium clock shops.
Good Investment for the Home and the Future
Any modern or minimalist home interior will take to the contemporary grandfather clock. You can choose from different designs and finish to complement plaster wall effects, elements of cubism, art deco, and pop art. The clock will enhance the room by adding depth and emphasis to give it the total look.
There are some contemporary grandfather clock designs that are winners in every way.
The Howard Miller Coastal Point grandfather clock has an arched case that softens the minimalist look of austere surroundings. It’s modern platinum finish and brushed nickel bezel is a perfect foil to any minimalist furniture. Watch the clock in the glow of the evening. The interior light casts an enchanted glow on the bezel. With soft music in the background and the soft glow of the interior, your clock will be the high point of interest in any room. The St. Michael, Westminster, or Whittington chimes will add to the romantic interlude.
The Howard Miller Satinwood grandfather clock has a black satin finish that sharply contrasts with the nickel accents. This is the just the clock to emphasize minimalist interiors, but with a little imagination, you can recreate the country look around it. Bursts of floral bouquets, rattan furniture, and gaily colored throw pillows are all you need to make your own home decorating effort a success. Who can resist a country-themed family or guest lounge for that warm, homey feeling?
The Howard Miller Cosmopolitan grandfather clock in its rich merlot finish, is a handsome one to proudly stand beside other furniture designed for a dramatic effect. Its unique dial makes it a must-have for classy hotel and office interiors. In your home, it will give just that essential touch of elegance.
All clocks are delivered with a white glove service. With the holidays fast approaching, give yourself and your loved ones the gift of a lifetime. Let a contemporary grandfather clock stand sentinel in your homes, silent and regal and a testament to your good taste and smart money sense.