Alyssa Monks: Photo-realistic paintings

Alyssa_Monks_1977Alyssa Monks began oil painting as a child.

Born 1977 in Ridgewood, New Jersey. Alyssa Monks studied at The New School in New York and Montclair State University and earned her B.A. from Boston College in 1999. During this time she studied painting at Lorenzo de’Medici in Florence. She went on to earn her M.F.A from the New York Academy of Art, Graduate School of Figurative Art in 2001. She completed an artist in residency at Fullerton College in 2006 and has lectured at universities and institution nation wide. She has taught Flesh Painting at the New York Academy of Art, as well as Montclair State University and the Lyme Academy College of Fine Arts.

“Using filters such as glass, vinyl, water, and steam, I distort the body in shallow painted spaces. These filters allow for large areas of abstract design – islands of color with activated surfaces – while bits of the human form peak through. In a contemporary take on the traditional bathing women, my subjects are pushing against the glass “window”, distorting their own body, aware of and commanding the proverbial male gaze. Thick paint strokes in delicate color relationships are pushed and pulled to imitate glass, steam, water and flesh from a distance. However, up close, the delicious physical properties of oil paint are apparent. Thus sustaining the moment when abstract paint strokes become something else.”

“When I began painting the human body, I was obsessed with it and needed to create as much realism as possible. I chased realism until it began to unravel and deconstruct itself,” Alyssa Monks states, “I am exploring the possibility and potential where representational painting and abstraction meet – if both can coexist in the same moment.”

Monks’s paintings have been the subject of numerous solo and group exhibitions including “Intimacy” at the Kunst Museum in Ahlen, Germany and “Reconfiguring the Body in American Art, 1820–2009” at the National Academy Museum of Fine Arts, New York. Her work is represented in public and private collections, including the Savannah College of Arts, the Somerset Art Association and the collections of Howard Tullman, Danielle Steele and Eric Fischl.

Alyssa has been awarded the Elizabeth Greenshields Foundation Grant for Painting three times and is a member of the New York Academy of Art’s Board of Trustees. She is currently represented by David Klein Gallery in Birmingham, Michigan. Alyssa Monks currently lives and paints in Brooklyn, New York.

Profile: http://alyssamonks.com

Monks’s paintings are larger than life. They evoke a response that is serene and emotive. In a translucent surrounding, New York artist Alyssa Monk has created striking visuals of human expression.

Alyssa-Monks-Tuscany-Study-2009

Conversing in her Williamsburg studio, one becomes drawn to the canvases whose prominence equal the high-vaulted studio space which house them. Her bathtub series, a collection of portraits, feature partially concealed forms obscured by a foggy haze. Devoid of context, they appear as snapshots isolated in time focusing on pure sentiment.

Comply, Oil on Panel, 2013, Alyssa Monks

Comply, Oil on Panel, 2013, Alyssa Monks

Alyssa Monks, Painting: Comply, Detail

Alyssa Monks

Alyssa Monks

The series marks the result of a process developed over the last decade. The artist has created a seamless barrier between the viewer and subject. There is a sense of depth in a composition that lies on a two-dimensional plane. Expectations are deceived. But, this only adds to the singular impression.

Alyssa Monks, painting

Alyssa Monks

With a background in figurative painting, the ability to work the canvas speaks of her long time fondness for the human form. It has led the series to be labeled as photorealistic, but close inspection reveals images that are a compilation of brush strokes. Together they create one continuous image. Detached, they are abstract and individual, an aid that gives human shape.

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The most recent work has taken a new direction, seen in a modified technique and looser representation of the body. The same images move towards greater abstraction, necessitating the interpolation of line and image. There is something natural and familiar about the expression.

Previous text from: Dadada Magazine

Alyssa Monks

Interview with Alyssa Monks

by http://www.telegraph.co.uk

At first glance this image may look like an intimate snapshot caught by a photographer. But these touching shower scenes were not captured by a photographer, but painted by hand by a New York-based artist.

In one painting a girl peeps out from inside a steamed up shower and seems to peer into the camera lens.

And in another image a bikini-clad woman floats effortlessly underwater, showing off the engagement ring on her finger Alyssa Monks paints these images, paying meticulous attention to detail. The 31-year-old said: “I have always wanted to paint for as long as I can remember. “I took classes at school and then went to college and University before ending up at the New York Academy of Art”

“The girl in most of the pictures is myself,” she said. “I have used my own image many times because I do not have to worry about issues of self-consciousness that might arise with models…”

“…However, I have been exploring the faces of family and friends recently too, I prefer to work with people that I know personally and have a relationship with”

“The paintings are very intricate and they take a lot of work to get right. It is all about the desire to try and create an image of a person that is realer than real, beyond what even a photograph can portray”

Alyssa takes about 1,000 pictures for a small series of paintings, using the images to play with the colour and get the paintings as real as possible.

Alyssa added: “I use the photographs I take to help me compose and play with the colour, although I invent a lot of the water and steam effects from memory”.

The New York artist is in demand, currently showing at a prestigious exhibition at the National Academy Museum.

Plans are also afoot for an exhibition at the Kunst Museum Ahlen in Germany and a museum show at the Noyes Museum in New Jersey for next summer.

“I am excited for my exhibitions in the future and I am currently exploring the effect of figures pressed against glass,” she said.

Alyssa Monks paintings show that while the camera may not lie, the paintbrush sometimes does.

See more here :>>

Omar Ortiz: 1977 – Mexico Painter

Omer Ortiz: Earth angels painting

Omer Ortiz: Earth angels painting

Born in Guadalajara, Jalisco, Mexico in 1977, where he still resides. Arouses a great interest in drawing and illustration desdetemprana age. Studying for a degree in Graphic Design for Communication, where he learned to work with different techniques such as drawing, pastel, charcoal, watercolor, acrylic, and airbrush. After graduating in Graphic Design decided to devote himself to the world of painting. In 2002 He did his first lessons with the painter Oléo Carmen Alarcon to which he considers his principal teacher of Art. Currently paints in oils, considering the noblest art. A Hyperrealism – Minimalist predominantly white, the human figure and a magical game of fabrics, characterized his work.

Omar-Ortiz-pinturas-al-oleo-de-mujeres (5) Omar-Ortiz-01 Omar-Ortiz-13 Omar-Ortiz-12 Omar-Ortiz-11 Omar-Ortiz-10 Omar-Ortiz-09 Omar-Ortiz-08 Omar-Ortiz-07 Omar-Ortiz-06 Omar-Ortiz-05 Omar-Ortiz-03 Omar-Ortiz-02

Why is focusing its efforts on the female nuude?

Because I think the female nuude is one of the most beautiful things that exist and to some part of my work is a tribute to women. The female body provides an infinite range of expression and sensuality in which I have concentrated my work. Is a constant and exciting to find perfection in color, shape and awaken emotions in the viewer with the minimum of elements in my compositions. i hope you like these realistic paintings

What is the situation of realistic painting in Mexico?

Realistic painting in Mexico think is tilted largely toward the subject of the figurative. There is a strong tendency for magical realism. Sometimes I have to think it is a movement that was born in Mexico. In fact, I could not give an overall assessment of what is happening in Mexico right now and I’m not a painter very involved in the middle. Rather spend most of my time in my studio painting and not usually go much exposure.

The model seems to be the same Can we know who is the muse?

There are three girls that I have served as models lately: Vanessa Munguia, Jessica Munguia and Olga Kabada . , never looks at the viewer, seems shy … not necessarily shy, rather the model does not know that we are there, watching at the time of privacy. It is a moment where the audience is silent so as not to interrupt the scene.

What importance does work in large dimensions?

Lot, I think my pieces achieve more impact when the figure has a ladder or even more. Apart from that the size allows me to work better the details, I feel more freedom when painting.

If anything could criticize his work is that it seems that the issue is a repeat offender, what other theme appeals to you?

At the moment I have no interest on other issues. I feel I still have much experience is something that is a bit complicated to explain. You never know when it’s time to change, I think you can not predict, it just happens. So maybe one day without realizing it, switch and start playing with other issues, and finally this is a game that we enjoy.

What other variant sees its paint may have in the future?

Is a difficult question, maybe experiment with other textures, backgrounds, contexts, types of lighting in the scene. But what I think I will retain is the subject of the figure.

What about the various manifestations of contemporary art?

I believe that contemporary art has taken many strange ways. Some of these events meet certain aesthetic rules are what I like and especially what are some others that do not quite understand them. However, I believe that they are all valid, since they are a constant search for the man to create and express. I think everyone is free to express their ideas in the media that best suits your needs. Born in Guadalajara, Jalisco, Mexico in 1977, where he still resides. Arouses a great interest in drawing and illustration desdetemprana age. Studying for a degree in Graphic Design for Communication, where he learned to work with different techniques such as drawing, pastel, charcoal, watercolor, acrylic, and airbrush. After graduating in Graphic Design decided to devote himself to the world of painting. In 2002 He did his first lessons with the painter Oléo Carmen Alarcon to which he considers his principal teacher of Art. Currently paints in oils, considering the noblest art.

Hyperrealism

Minimalist predominantly white, the human figure and a magical game of fabrics, characterized Omar Ortiz work.

Dusan Djukaric: 1971: Mystical Watercolour

In one of his lectures he held on February 4, 1957 at the Kolarac National University, Pedja Milosavljevic, the great expert and master of the watercolour technique, talked about “motherly Asia”. The Chinese thought that watercolour is the most valuable and the most difficult artistic technique and they had the utmost respect for it. The most famous Chinese watercolour paper is called CHEN HSIN TENG, which means “a lobby for clearing one’s mind,” and really, I do not know of a more precise definition of this painting technique. The watercolour is a way of clearing both the mind and soul. The journey towards an excellent watercolour painting is always a journey of clarification and Zen purifying from all the excess that might destroy its harmony.

http://www.dusandjukaric.com/gallery/

Dusan DjukaricDusan Djukaric knew how to listen to the call and the messages of a civilisation that was faithful, for two thousand years, to the strong ethics and aesthetics, and knows how to transpose some of its essence into his watercolour paintings, whose realisation and ease are truly abashing. Djukaric’s respect for the material, his religious and composed relationship with the precious paper, his concentration and seriousness while working, and his sense of responsibility and tenderness for everything he touches are impressive. This master of the watercolour technique paints with a skill in an absence of skill, like Hasegawa used to say.

His paintings, with their extreme stylistic purity, give out a presentiment, an impression, the rapture, and therefore they seem immaterial. They show a way in which the colour is the emanation of the light and the depths in which the music of the art of the Far East had penetrated his Mediterranean sense. In his sunny paintings, Djukaric is a poetic and musical artist with a fine sensibility. He insists on limited colours that are almost monochromatic. He cares for the Beautiful and the Beautiful is, according to Plotinus, “the blooming of the being”. In his watercolour paintings, we find something of the Romantic conception of the Beautiful – something close to the Novalis’ idea that the world needs to be romanticised over and over again. The fact that a geographical landscape defines permanently a spiritual landscape is confirmed in these refined watercolour paintings.

dusan-djukaric-watercolor-gospa-od-skrpjela-32x37-cm

A profound and sincere sympathy has created his big city scenes and Arcadian landscapes pervaded with a warm lyrical and musical spirituality. Devoted to the cult of beauty and to a festive joy of a scene, this artist, a pure lyricist, manages to keep the power of an innocent view in a demonised world. We won’t find in his paintings anything impulsive or dramatic, there is only a reserved lyric as an expression of a calm, intimate temperament. Djukaric’s landscapes are dematerialised by the musical coloristic fluids and the tender blueness. This artist knows how to bring the spirit of finesse and the lyrical detail to a conventional theme. The modulation of the object is all made of tender passages and half-tones. The musical artistic language that counts on the fluidity of the atmosphere and the tremulous volubility of the water makes all the difference in Djukaric’s art.

dusan-djukaric-watercolor-gospa-od-skrpjela-32x37-cm

The wisdom of this artist lies in his ability to express himself in a rudimentary, and yet easy way (I use the word “easy” in its ritual meaning, not meritorious meaning). However, the journey toward these paintings was not at all easy – it’s a journey of clarification and Zen purification from all the excess that might damage its harmony and cohesion. Everything in these paintings has turned golden from the halo of commitment and a mysterious veil in the world of silence, dream and inebriation. The most impressive pieces in Djukaric’s opus are maybe his paintings of Venice, where the artist has showed an exquisitely refined sense for illusions of space and for the idyllic and romantic appeal of this town that, in the words of Goethe, can be compared only to itself. Djukaric is truly a master of presenting the atmosphere of Venice, with its waters sprinkled with gondolas, and the human figures in his paintings are almost silhouette-like. His watercolour paintings that present the colourful beauty of Perast are equally impressive, with their suggestive contrast between the static coast and the dynamic water.

dusan-djukaric-watercolor-sguare-belgrade-38x56-cm

Starting from that “accidental caprice of the unconscious hand”, and guided by the rapture in the liberty of the movement, Dusan Djukaric in his watercolour paintings (that discover in the most beautiful way the romanticist feature of his personality) finish with the fluid emanations that radiate in the direction of our hearts. So if the watercolours are the expression of the intimate conversation between the soul, the whiteness of the paper, and the fluid stains of colour, then the appeal of Djukaric’s paintings is found first in that margin of something fluctuant and barely touched, in the freshness and wholeness of the white. And there was never a great watercolour painter without the touch for the right ratio between the pigment and colour.

dusan-djukaric-akvarel-prolecna-kisa-beogradjanka-38x56-cm

Djukaric has painted his restraining sensual paintings

not only with colour, but also with the spiritualisation of the physical whiteness of the watercolour paper. With the gradation of light and tone, he dissolves, peels and gives rhythm to the scenes that intrigue him and thus he opens to the spectators of a sensible spirit a special atmosphere of joyful enthusiasm. A few stains of colour and linear accents are all Djukaric needs to create a lyrical fantasy using the light and the atmosphere. And, like the ancient tractates teach, the light can shine only from the one who has the light in his soul.

There is a profoundly Mediterranean serenity in these watercolours in which we recognise a refined lyrical poet with the ability to enrich his work with a warm lyrical elevation and the Arcadian coloristic eroticism. Djukaric’s invention in watercolour painting is, therefore, substantially poetic and musical. His paintings are festivities of airy movements, they are very complex, balanced, light and alive, interspersed with nerves that show a pure artistic soul. In the poetic, silvery atmosphere and the golden shimmering of these paintings, in the mysterious grey and sonorous blue of the coloristic music, the things seem to lose their objectiveness. This artist with his aesthetically purified watercolour paintings has reached the ancient Chinese wisdom of stopping the dynamics dusan-djukaric-skc

Text from: http://www.globalvernissage.com/GA/GA/Dusan-Djukaric-Art-Work.html

 

Paul Hedley 1947 | England

I keep painting because I can’t imagine not doing it.

Paul Hedley is a particularly skilled in depicting the female subjects.

Paul Hedley painter

His brushwork is very decisive and colourful yet the effect is full of intimacy and serenity. Equally, his chalk sketches have the same spontaneity and warm tones that make his models glow with an relaxed ease. His work has been exhibited in many major galleries, including the Royal Society of British Artists, Royal Institute of Oil Painters and New English Art Club.

Paul Hedley was born in 1947 spending his childhood in Chatham, Kent. He studied art at Medway College of Art from 1966-68, and then later at Maidstone College of Art where he was awarded the Diploma in Art and Design.

Paul Hedley has been painting ever since he can remember. An education based on traditional art techniques of drawing and painting plus the influence the French artists Edgar Degas and douard Vuillard have influenced the development of his art works.

Paul paints with compulsion, subtly influenced by his environment and daily experiences. Hedley is technically gifted as a painter and draughtsman. His paintings and drawings show a fine skill particularly in producing figurative studies of enduring compositions. He successfully captures a fleeting moment of time and the associated feeling.

Paul prefers to create his art work in natural light, using sketches and photographs. The process begins with numerous preliminary sketches which eventually leads to the application of tone and colour. His drawings are produced in a ‘classical’ manner on a toned ground in chalks often combined with watercolour and gouache.

Paul lived in France for a number of years and currently lives in the south west of England. He is married to the artist Dianne Flynn. Paul has paintings and drawings in numerous private collections and has exhibited throughout the country; he currently exhibits in London, the Cotswolds, Yorkshire and New Zealand.

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“Born in 1947, Paul Hedley was brought up in Chatham, Kent. He attended Medway College of Art from 1966-68, and Maidstone College of Art 1968-71 and was awarded the Diploma in Art and Design. He received a David Murray Landscape Scholarship in the summer of 1971, and was a prizewinner in the 1976 Camden Painting Competition.
His paintings and drawings show his incredible ability to describe figurative form in the context of good quality and exciting compositions.
His work is in the collections of the London Borough of Camden, Queen Mary College and has also been have been exhibited in many major Exhibitions and Galleries, including the Royal Society of British Artists, Royal Institute of Oil Painters, New English Art Club, Hampstead Artists’ Council, Bath Contemporary Arts Fair and the Rainer Joniskeit Gallery, Stuttgart.”

Robert Krogle: 1944 | American Impressionist painter

Robert Krogle, American painter, was born in Santa Monica, California. After high school Robert applied to Chouinard Art Institute of Los Angeles and was accepted but after two years was called to duty by the California Army National Guard. He spent five and a half months in Vietnam and was awarded the bronze star and purple heart for his service. Upon returning to civilian life, Robert completed his last two years of art education in 1970.

Robert-Krogle-balletslippers

Within a year of graduation Robert was working at Rosenfeld, Palombi and Dilts, an art studio in downtown Los Angeles. He illustrated for many prestigious companies such as Microsoft, Continental Airlines and Mattel toys. In 1973 he decided to start his own studio, freelancing for the movie, recording and theme park industries. During his 31 years as a top illustrator Robert had representation in Los Angeles, Denver, San Francisco, Chicago, New York and Atlanta and has received many awards from the Los Angeles and New York Societies of Art. He has lectured at Long Beach State University, Laguna School of Fine Art and has been a guest instructor at Art Center School of Design in Pasadena, California.

Robert-Krogle-swampgirl

In 1992 Robert moved to Coeur d’Alene, Idaho. Within a few years of moving to Coeur d’ Alene, Robert decided to make the predictable transition from commercial art to fine art. He wanted to continue to evolve as a creative person and continue to draw inspiration from his fellow artists and his natural surroundings.

Robert-Krogle-whenthecloudscomeashore

Text from: From: http://www.tuttartpitturasculturapoesiamusica.com

Images from: http://robertkrogle.com

Gallery Name: Robert Krogle Fine Art
Website: http://robertkrogle.com
Email: robertkrogle@hotmail.com
Phone: 208-667-3533

September 23, 2011

Robert Krogle – Interview with an Impressionist by 

Robert Krogle – A Contemporary Impressionist You’ll Want to Know About

Robert-Krogle_The-window-seat

“The Window Seat” , Robert Krogle, 24″ x 18″, oil

If you have never heard of contemporary impressionist oil painter Robert Krogle, I’d like to take this opportunity to introduce you. If you are aware of Robert Krogle and his work, please read on, as he comments on his education, his influences, and his art…

Robert Krogle – Contemporary Impressionist

Robert-Krogle_Twisted-oak-at-pepper-tree-ranch

“Twisted Oak at Peppertree Ranch” Robert Krogle, oil 22″ x 28″

A rich and distinctive palette, expressive brush strokes, and soft edges that show themselves and then disappear, are just the beginning of the fun when viewing a Robert Krogle painting.

I first became aware of Robert Krogle and his art at a western art show I attended several years ago. He had a booth with a few of his paintings on hand, and he was busy working on a painting. I remember thinking to myself at the time that this guy is serious about what he is doing, he is a professional, and there sure were a lot of people stopping by his booth to check out his work.

Since that time I have seen many more of his paintings, witnessed people admire and purchase them, and learned that Robert Krogle is an artist that more people should know about. You can view many more paintings by Robert Krogle, and find out what galleries he is represented by at is website, RobertKrogle.com

Recently I asked Mr. Krogle if he would let me interview him for CashArtBlog, and he gracioulsy accepted. We did the Q&A through email, and here’s how it went…

 CS – On your official Robert Krogle website, you mention that you went to Chouinard Art Institute of Los Angeles. Can you talk a little about your education there, and what you wanted to accomplish professionally once you were done with college?

Robert Krogel –  ”Chouinard Art Institute (of Los Angeles – a private art school) no longer exists.  It was bought by the Disney Corporation a few years after I left in 1970 and is now known as California Institute of the Arts today.  It had a wonderful combination of commercial art and fine art curriculum.  My goal was to be a commercial artist ( which lasted 31 years), but my experience there made the transition to fine art (about 11 years ago) a very seamless one.  The school’s mission was to teach conceptual thinking along with basic creative skills.”

CS –  If I have this right, you started as an illustrator before becoming an easel painter. Can you talk about your illustration career a little bit, how long you were an illustrator, and what you liked or didn’t like about it?

Robert-Krogle__Cello recital

Robert Krogel -”After leaving Chouinard, I went to work at an art studio (most of which don’t exist today) in downtown LA.  After two years there I started freelancing with (reps – agents) in most of the larger art markets such as New York, Chicago and Denver.  I did illustrations for the movie, recording and travels industries, theme parks and major toy companies. A very rewarding career, but lacking in one thing, the human factor.  I find today, as a fine artist (oil painter), I am dealing with people more directly and getting a human response to my work as compared to working for art directors, (illustration) most of whom  I never met.”

CS –  When and why did you leave illustration to become a fine art painter?

Robert Krogle –  “I officially became an oil painter in 2000.  A combination of a shrinking commercial art market going digital at the time, versus a growing fine art market with new challenges and a chance to continue to express myself with traditional tools (paint brush and pencil) made the transition inevitable.”

CS – How would you define your painting style?

Robert Krogel –  ”I am an Impressionist – a style that resulted in researching why John Singer Sargent and Juaquin Sorolla (impressionist oil painters) have such energy and movement in their paintings as compared to realism and other forms.  I was very much the realist as a commercial artist – it was time for a change.”

CS – How has your painting style evolved over the last several years, and were any changes in your painting style deliberate, or more sub-conscious?

Robert Krogel –  ”If my painting style has changed at all it is because I have a better understanding of what I see when I paint, and most importantly, looking at familiar subject matter as a beautifully arranged collection of colored shapes.  My goal is to be better at the fundamental disciplines – drawing, composition, color harmony, values and edges – the rest will result in my painting “personality.”

CS – What do you like the most about being a painter? Robert Krogel –  ”I most enjoy the freedom to express myself with passion and make a living at it – how many people can say, “I really want to do this every day.” CS – What do you like least?

Robert Krogel – “There is absolutely nothing about the creative process that I don’t get excited about because I have complete control of that process.  What I would hope is that people (artists and collectors) would challenge themselves to discover that criteria (and it does exist) which allows them to make more informed decisions about what is masterful artwork and what lies beneath.”

CS – Can you talk about your current work and what you are doing in your studio?

Robert Krogel – “Currently I am painting for three, year-end, “small works shows” – (different galleries) and beginning to think about my submissions for the C.M. Russell Show in Great Falls, Montana – probably my most important show of the year.  My next show is the Fred Oldfield Art Show (mid-October).  I just recently returned from South Dakota, where I took about 2000 pictures of cowboy and Indian “models” in a western environment (a local ranch) for future reference in my paintings.”

CS – Who have been some of your artistic influences in your career?

Robert Krogel –  ”At the top of my list of painters who most influence me are  Sargent, Sorolla, Zorn, Richard Schmid and just about all of the new wave of Chinese artists who carry the kind of “discipline” necessary to create masterful works.”

CS – I know you show your work in galleries and you also do certain art shows through out the year.  How many art shows do you participate in any given year, and do you enjoy the traveling, meeting with people, the sales process, etc?  

Robert Krogel – “I do about five art shows a year, mostly western and wildlife shows because of their proximity to where I live in Coeur d’ Alene, Idaho.  Information on these can be found on my website, www.robertkrogle.com. Although shows are very hard work, I love the “people” and “travel” aspects of them – the places I been to and people I’ve met are a large part of why I enjoy fine art so much.”

Robert Krogle, As the curtain opens

“As the Curtain Opens” Robert Krogle, oil, 20″ x 24″

CS – How many galleries currently represent your work? 

Robert Krogel – “I am currently represented in four galleries. One each in Montana, Massachusetts, Wyoming and California, which gives me an opportunity by the nature and location of the gallery, to paint many varying subjects.”

CS – Do you have any advice for young, upcoming artists?

Robert Krogel – ”My advice to young artists is to find a reputable Art School as apposed to University – they really do have the best curriculum and instructors – that is their only business.  I have heard some Universities have good art departments but you really can’t go wrong with a private Art School with a good reputation.”

“I would advise studying art history – most of the oil painters I admire are dead. But their work is very much alive – the discipline you see in “old masters” work is a lesson in itself and at the very least, super inspirational.” “Subscribe to Fine Art magazines – The National Art Review is terrific.” “Join or start a group  who have similar interests in the kind of art you want to pursue.”

LEARN TO DRAW.  It is the most valuable discipline you can learn.  Others, like color and composition are necessary but great drawing skills are the “glue” that holds the whole painting (or drawing) together.  If, (God forbid) you want eventually to go into the business of selling your work (and most artists do because they don’t want to have a real job) – try to wear only your “creative hat” or your “business hat” at one time. Your work will suffer greatly if you let a flighty, fickle, art marketplace direct you.  It’s not what you paint (in order for your work to be “saleable”), it’s how you paint it, that will make it the best it can be.  After that, decide what galleries and shows you want to pursue.   Have a sense of humor and be patient with yourself.  It takes a lifetime to develop the skills necessary to do really masterful work – unless your name is Michelangelo. (and it’s not).”

Robert Krogel, Comtemporary Impressionist – Final Thoughts I want to thank Robert Krogle for his time and thoughtful answers to my questions. If you would like more information about Robert Krogle and his impressionistic painting, please check out his website in the link at the beginning of this article, or go here for the Robert Krogle  website gallery.

I would love to hear from you about this article and the paintings by Robert Krogle…please drop me a line in the comments below, it won’t hurt! I hope the Robert Krogle paintings have inspired you…and for more inspiration of the verbal variety, here are some great quotes on drawing.

 @  www.cashartblog.com

Nanosculptures of Willard Wigan

The best things come in small packages!

Some pieces of artwork are absolutely massive and take up acres, while some just fill up an A4 piece of paper. Local artist, Willard Wigan is one of the only people in the world who can create what can only be described as ‘mini art’.

The artist, who has an exhibition housed within the Mailbox, is the only person in the world who can create objects at the level they are. His works are displayed on canvases such as the head of a pin, the tip of an eyelash or even a grain of sand and are at least three times smaller than this full stop! >>> .

Nanosculptures – Artwork of Willard Wigan

Willard Wigan: Art in Miniature Micro-artist Willard Wigan lives in England and creates the worlds tiniest sculptures. Timing his movements between heartbeats. http://youtu.be/SB2gxIDeUMs Amazing sculpter carves and paints incredible works of art smaller than the head of a pin through the lens of a microscope. Truly unbelievable and wonderful. Willard WiganMBE (born 1957) is an English sculptor from BirminghamEngland, who makes microscopic art.

Willard Wigan

His sculptures are typically placed in the eye of a needle or on the head of a pin. A single sculpture can be as small as 0.005 mm (0.0002 in). In July 2007 Willard Wigan was honoured by HRH Prince of Wales with an MBE for his services to art.

Life and work

As a child with undiagnosed dyslexia, Willard Wigan was ridiculed in class by his primary school teachers for not learning to read. Wigan attributes his early drive in sculpting, which began at the age of five, to his need to escape from the derision of teachers and classmates. He wanted to show the world that nothing did not exist, deducing that if people were unable to view his work, then they would not be in any position to criticise it. Wigan has since aimed to make even smaller artworks, visible only with a microscope.

The subjects of Wigan’s works range from popular culture to architecture. The sculptor often refers in his work to other artists and historical events. Amongst his most famous pieces are a minute reproduction of Michelangelo’s David, carved out of a single grain of sand and a commissioned miniature version of the Lloyd’s building in London. Wigan has recently created a miniature sculpture representing the Obama family and has carved a statue of astronaut Buzz Aldrin in the eye of a needle, in celebration of the fortieth anniversary of the 1969 lunar landing. Other works include a microscopic Betty Boop and a copy of the FIFA World Cup trophy, both about 0.005 mm (0.0002 in) tall.

Wwillard_Wigan nanosculptures

Collectors of Willard’s work include HRH Prince Charles, Sir Elton John, former world heavyweight champion, Mike Tyson, Lord Bath, former David Cup Tennis Captain, David Lloyd and music mogul, Simon Cowell.

His work is described as phenomenal and the eighth wonder of the world. The height of his career came in July 2007, when he was awarded an MBE from Her Majesty Queen Elizabeth II.

Materials and techniques

On average, it takes Wigan about eight weeks to complete one sculpture in a process that is physically challenging. Because the works are microscopic, the sculptor has learned to control his nervous system and breathing to ensure he does not make even the tiniest movement. Wigan, when working, enters a meditative state in which his heartbeat is slowed, allowing him to reduce any hand tremors and work between heartbeats.

Willard Wigan - Marilyn Monroe

To carve his figures, Wigan uses Swann-Morton surgical blades or hand-made tools, (some of which are custom made out of a sharpened microscopic sliver of tungsten), which he makes by attaching a shard of diamond to a pin. Wigan uses a range of materials, including nylon, grains of sand, dust fibres, gold and spider’s cobwebs, depending on the demands of the piece on which he is working. To paint his creations Wigan often uses a hair from a dead housefly, although he does not kill flies for his artistic processes. His unseen early work included a life sized carved statue of Mike Tyson and figure head of Jesus Christ and others that remain hidden in private collections.

Exhibitions and American Tour

In 2009 Wigan appeared as a guest speaker at the TED Conference in Oxford, UK. and later that year also as a guest on The Tonight Show with Conan O’Brien in the USA. On The Tonight Show he exhibited, with the aid of a microscope, two of his sculptures constructed within the eye of a needle – one of Buzz Aldrin in a spacesuit next to the American Flag and another of five characters from Star Wars. Wigan explained that, while working on a grain of sand, he would sometimes use the tremor caused by his own heartbeat as a jack hammer to chisel the tiny particle. After a series of exhibitions in the UK, during 2009 and 2010 Wigan toured the USA.

Wikipedia

BBC Birmingham Jonathan Jacob managed to catch a few words with Willard about his life, art and the future.

JJ: How old were you when you found out you had this talent?

WW: I was 5 years old. I had learning difficulties and found things difficult. I came from a poor family and wasn’t pushed I was just told to ‘try hard at school’. That was 42 years ago, and since it’s been an obsession.

JJ: How difficult is it to create the miniature art?

WW: Let me tell you, it’s very difficult. Every movement I make is so small. I have to control my breathing and heartbeat – it’s not easy! I usually work at night and have to make sure the dog isn’t around.

JJ: What’s your favourite piece of work so far?

WW: I like the Snow White and the Seven Dwarfs piece, just because I had to fit so much into the head of a pin. It’s also quite a fun work of art, only 3 times bigger than a blood cell.

JJ: Yeah, the Snow White model is wicked! What’s been your biggest achievement in life?

WW: That would be the mini model of The Last Supper. It had TWELEVE disciples and Jesus – was a real challenge.

JJ: What would you say to any aspiring artists in any form?

WW: “Be original! Be creative! Be individual and make your mark …..” The Willard Wigan exhibition in The Mailbox is open for the public to view Monday – Saturday 10am – 8pm and on Sunday from 11am – 5pm. Entrance to the Willard Wigan Exhibition is £3.95 for adults and £2.95 for children and concessions.

Dalton Ghetti: art of pencil tips

Dalton Ghetti Pencil Artisit

  • Dalton Ghetti: born and raised in Sao Paulo, Brazil.
  • Came to the U.S. in 1985 at the young age of 24.
  • Earned an Associate’s degree in Architecture from Norwalk Community Technical College, Connecticut, U.S.A. in 1994.
  • Works as a carpenter/house remodeler.
  • Self-taught artist: “Sharpens” pencils as a hobby/meditation.
  • Currently lives in Bridgeport, Connecticut, U.S.A.

Dalton Ghetti: pencil sculptures

Hungarian artist Dalton Ghetti creates miniature masterpieces out of common graphite pencils. Using razor blades, needles and sandpaper as carving tools, he produces unbelievably intricate sculptures from pencils found on the streets and sidewalks.
Dalton Ghetti

Creation of miniature sculptures

Dalton Ghetti works under a strong light source and carves the pencils with sewing needles and small metal blades. Due to a very small scale of the objects, he works in intervals of 1 to 2 hours maximum per day. He slowly removes specks of graphite, and it sometimes takes him months to complete a single sculpture.

pencil_carving_by_Dalton Ghetti

Dalton Ghetti learned to carve at the age of 6. He moved to the U.S at the age of 24. He now lives in Bridgeport, Connecticut, and works as a carpenter using his miniature art as a form of meditation. His work includes a miniature bust of Elvis, churches, intricately-designed graphite chains, a handsaw and 26 letters of the alphabet carved into the pencil tips. He also created a memorial to honor the victims of the 9/11 attack by carving one teardrop the size of a grain of rice every day for each of the victims.

Diversity Week – Dalton M. Ghetti – Local Artist from GHS on Vimeo.

Pencil artwork of whom is this one?
pencil-lead-sculpture-astronaut

Ice pattern

Ice pattern change buttons

Press it!


The Ice background pattern is developed from Sea ice picture below: Sea Ice Pattern After exploring the Arctic it was chalenge for Marta to get back to the coast of the frozen sea. Thank you for watching!

Illustration like a screenshot of a movie

Self-exploratory painting Mr.CottageBack by artist Bram Lee from Malaysia

Self-exploratory painting Mr. CottageBack by artist Bram Lee from Malaysia

Mr. CottageBack the beautiful piece of art

was made by an artist from Malaysia the Bram Lee Chin Horng. Look above what he says about his artwork:

A self-exploratory painting I hav done during Lunar New Year holiday. I thought about my own painting style for a very long time and talked with a few artist friends about an artist’s own identity and in the end I realised that I really enjoying doing fantastic and whimsical theme more compares to the other genre. But of course I will still try things out.

Anyway, I used alot of texture and picture in this painting, my goal was to make it look like a screenshot of a movie. Took me a day to paint this and months to figure out my path 🙂

Hope you guys enjoy this. Thanks.

You can find more of Bram Lee’s on his Deviant Art profile.

Digital art by Bram Lee - Mr Cottage Back

Digital art by Bram Lee – Mr Cottage Back


Review of digital artwork – Mr. CaottageBack

by Veronica Purpura from Anaheim, USA

Wow, I love all your variations in textures and foliage. Is there some matte painting here in terms of these beautiful details with the ground, leaves, and small plant-life?

This little guy’s home is reminescent of a hobbit home (just need a round door). I do like the rainbow colors you got with the little butterflies (all of your vibrant colors used add life to this pretty landscape).

The grassy covered home is really cool, and I like how you rendered the tortise (especially the scaling of the legs). I’m not sure why the clouds are making those swirly shapes, but I bet that cloud watching there is more fun (I already see a genie lamp, a heart and a Tim Burton curl).

I love the mushrooms on the back side of the little home, and I love how you did the walkway in front of the door (although I don’t like the big top mushroom as much, the lighting and shading is more, blah, compared to the others).

This piece is a blast to look through and see all of the various details you added and the colors and textures you’ve done. It’s a very lovely piece, and if I had more time right now, I’d keep talking about it (I love this kind of detailed work). Keep it up. Great job.