Allied Member, ASID
Licensed General Contractor
AZ ROC 287314
January 28, 2013
Everyone that knows me, knows I am in love with the color white! My all time favorite artist for this was always ellsworth kelly, but tha’s for another post!
Today, I am bringing you another
Robert Ryman was born in Nashville, Tennessee in 1930. Ryman studied at the Tennessee Polytechnic Institute and the George Peabody College for Teachers, Nashville, before serving in the United States Army (1950-52). Ryman’s work explodes the classical distinctions between art as object and art as surface, sculpture and painting, structure and ornament.
Emphasizing instead the role that perception and context play in creating an aesthetic experience. Ryman isolates the most basic of components‚ materials, scale, and supports‚ His work enforces limitations that allow the viewer to focus on the physical presence of the work in space.
Since the 1950s, Ryman has used primarily white paint on a square surface, whether canvas, paper, metal, plastic, or wood, while working with the nuanced effects of light and shadow to animate his work. In Ryman’s work , wall fasteners and tape serve both practical and aesthetic purposes. Neither abstract nor entirely monochromatic, Ryman‚’s paintings are paradoxically surrealist.
About his work, Ryman says,
“I don’t think of my painting as abstract because I don’t abstract from anything. It’s involved with real visual aspects of what you are looking at whether wood, paint, or metal‚ it’s how it is put together, how it looks on the wall and works with the light…Of course, realism can be confused with representation. And abstract
painting‚does not mean abstracting from representation‚ My work is involved mostly with symbolism. It is about something we know, or about some symbolic situation…I am involved with real space, the room itself, real light, and real surface.”
January 25, 2013
I guess back to Dadism! Jean Arp has always been one of my all time favorite artists! You will be very familiar with his work, even if you are not familiar with him. His work has inspired so many artists on so many levels. the photo of the sculpture alone, you will recall newer artists ahving similar thoughts.
Have a wonderful day!
Jean Arp was born in Strasbourg, France. He began drawing at a very early age but soon tired of “the everlasting copying of stuffed birds and withered flowers,” and turned to poetry for relief,
On a visit to Paris in 1904 he came into contact with Modern painting. Within a few years, Arp had returned to the life of an art student, first at the Weimer Art School, and later (in 1908) at the Académie Julian in Paris. In 1911 he helped organize an exhibition in Lucerne under the title “Moderne Bund” which showed his works and those of Gauguin, Matisse, Picasso and others.
And so, Arp started making his first experiments with free forms. By the time he was twenty-five, Arp had emerged as a poet and painter of great distinction. In 1914, Arp lived in Paris where he became friends with Picasso , Apollinaire, Modigliani and Delaunay. The following year he moved to Zurich and exhibited his first mature collages and tapestries.
While in Zurich, Arp became active in the Dada movement, collaborating with Max Ernst. The playfulness of Dada appealed to him and aided the development of his unique symbolic pictographs. As the Dada movement waned, Arp (like many of his colleagues) gravitated toward Surrealism, and in 1925 he took part in the first group exhibition of Surrealist artists at the Galerie Pierre in Paris. His work at this time derived its composition from the “laws of chance” as much as from the workings of the unconscious – the cardinal principles underlying early Surrealism. Gradually Arp abandoned
the earlier Dada-like forms, which were meant to shock, and began to emphasize organic growth and structure. Arp’s Surrealist work is of the abstract or “automatic” variety practiced by Joan Miro, in which lines and forms of half-consciously perceived inner impulses suggested themselves on the surface of the canvas.
January 21, 2013
I was introduced to Vladimir Kush’s art not to long ago, as I had made a comment to a friend of mine that where are the living surrealists?
Well, I found one! I hope you enjoy this post and his work! I love the imagery!
Kush predominantly works in the medium of oil painting on canvas or board, with many of the original paintings also sold as limited edition canvas prints.
His bronze-colored sculptures are small-scale and usually based on imagery from his paintings, such as Walnut of Eden and Pros and Cons.
Although his style is frequently described as surrealist, Kush himself refers to it as “metaphorical realism” and cites the early influence on his style of Dali’s surrealist paintings as well as landscapes by the German Romantic painter Friedrich.
January 15, 2013
An art dealer friend of mine introduced me to this artist, JIMMY LEE SUDDUTH, and I immediately fell in love with his work. I have always loved folk art and have collected collages from Romare Beardon. So I would like to introduce to you an amazing talent and what is so interesting, the details of his life and how they contributed to what he loved and how he practiced his talent.
Jimmy Lee Sudduth, an African-American folk artist whose evocative, textured paintings made partly from Alabama mud were prized by collectors around the world
A self-taught artist who began painting as a very small child, Mr. Sudduth was renowned for the effects he could produce with his own homemade paint, which consisted of
mud blended with a variety of common substances — soot, axle grease, sugar, coffee grounds and much else — to lend it color and texture.
Applied and worked with his fingers, the mud assumed contour, line and form. Painted on scrap lumber, sheet metal and most commonly on plywood, Mr. Sudduth’s art often depicted everyday life in Alabama
— portraits of houses, people, farm animals and his dog, Toto. But it also ranged over the architecture of faraway places, as in his paintings of Washington landmarks and his geometric scenes of New York City skyscrapers.
First exhibited formally in the late 1960s, Mr. Sudduth’s work gained wide popularity during the folk art boom of the 1980s. Today his paintings sell for anywhere from several hundred dollars to $5,000, said Susan Mitchell Crawley,
the associate curator of folk art at the High Museum in Atlanta.
His art is in the permanent collections of the Museum of American Folk Art in New York, the Smithsonian Institution, the High Museum of Art and the Montgomery Museum of Fine Arts. It was the subject of a book,
“The Life and Art of Jimmy Lee Sudduth” (Montgomery Museum of Fine Arts, 2005), by Ms. Crawley.
Jimmy Lee Sudduth was born in Caines Ridge, Ala., on March 10, 1910. (His first name was sometimes spelled Jimmie.) The details of his early life are hazy: he was believed to have been born to a family named Wilson and adopted by the Sudduth family when he was very young,
Mr. Sudduth’s adoptive mother was also a medicine woman, and as a toddler, he accompanied her into the woods to gather plants. On one of those trips, he drew a picture in mud on a tree stump.
When he and his mother returned to the spot a few days later, the picture was still there. She took this as a sign that her son must keep painting
As an adult, Mr. Sudduth did a variety of jobs, including working in a grist mill, in a lumberyard and as a gardener. He continued to paint in mud, but there was a problem: once dry, the mud flaked off the plywood.
Realizing he needed to add something to give the mud staying power, he found that viscous substances like molasses, honey, Coca-Cola and sorghum worked well. So did ordinary sugar. “Sweet mud,” Mr. Sudduth called the result.
Over the years Mr. Sudduth became a connoisseur of dirt; he liked to say that he could locate mud in 36 different shades. Once he became famous, people sent him dirt through the mail
To expand his palette further, Mr. Sudduth colored his work with an astonishing array of available ingredients, either by mixing them into the mud or rubbing them directly onto his wooden canvas.
They included flour, coffee grounds, instant coffee, dye wrung from sodden red crepe paper, ground brick, ground charcoal, colored chalk, crushed coal, turnip greens, flower petals, pokeweed berries,
ivy, soot, axle grease, elderberries, crushed green tree buds, boiled jimson weed, sap, walnut shells, burnt matchsticks, tobacco, egg yolk, grass and leftover house paint donated by neighbors.
The only drawback to these recipes was that some of the finished paintings were supremely attractive to mice, which ate holes in them. In later years, when advancing age made it hard for Mr. Sudduth collect mud, he switched to painting in acrylics.
“I paint with my finger ’cause that’s why I got it, and that brush don’t wear out,” he said in an interview quoted in the catalog of one of his exhibitions. “When I die, the brush dies.”
January 14, 2013
I have always been in love with Thomas Hart Benton’s work! I have even collected it along my way! So expressionistic and so realistic. I do hope you enjoy this post!
Although he’d been to soirées in “Paree” and New York’s Stork Club, American artist and muralist Thomas Hart Benton played a harmonica and reveled in his self-honed image as a hard-drinking hillbilly. Detractors,
both past and present, dismissed Benton’s art as “Okie baroque”, while supporters praised his efforts to paint realistic images based on American subject matter. During Benton’s long life (1889-1975), he constantly moved people to tears –
tears of rage as well as love.
On the “good side” were ambition, talent and skill. “But he was also seduced by fame and attracted by attention.There were many ironies in Benton’s life. For example, his most famous student was Jackson Pollock, whose abstract
expressionist paintings are the antithesis, almost an affront, to Benton’s own work. He was also a Midwesterner and proud of it, but fled East and overseas to develop a style which his best known for celebrating rural America.
Born in Neosho, Missouri, Benton was the product of a prodigiously unhappy marriage. Art was far from what his father, Colonel Maecenas Benton, had in mind for his son, whom he shipped of to military school.
The elder Benton couldn’t have been a more inappropriate mate for Benton’s beautiful, artistically-inclined mother, Elizabeth. The Colonel was a rough-hewn politician, four times elected to Congress and known as the “little giant of the Ozarks.”
Benton hit his stride as a determinedly realistic painter. At a time when revolutionary art forms were flourishing, Benton was working on huge murals and audacious paintings that reflected raw American life, some of it historical,
mostly of ordinary folk caught in the throes of hard work.
January 11, 2013
I was doing research on another artists and came across this women, MARY CASSATT! I was instantly impressed by her impressionist paintings. I really enjoyed looking at her art and learning about her story! Check her out!
Mary Cassatt was born May 22, 1844 into an upper-middle class family in Pennsylvania. Mary led a privilaged life, where she had the opportunity to travel all around Europe. She traveled over seas for 5 years and visited many of the capitals including London, Paris and Berlin. While traveling Europe Mary had her first lessons in drawing and music, she also had the chance to learn to speak German and French.
Back in the US, Mary began attending the Pennsylvania Academy of Fine Arts at the age of 15. Mary experienced attidudes from fellow male students in the Academy and eventually had to learn and study the art on her own time. In 1866 she moved to Paris to continue her studies for the arts. Although she could not attend the Ecole des Beaux-Arts school because she was a women, she enlisted some of the school’s master students to teach her privately.
In 1866 Mary returned to the US where she attempted to sell her paintings in New York, she acquired many admirers, but not buyers. Discouraged, but not ready to give up on making art a career, she moved back to Europe in 1871. It was at this time that she began successfully selling her paintings. Many of her paintings portray the social and private lives of women, emphasizing on the intimate bonds between mother and child.
Mary led the way for many women artists to follow her path. She died June 14, 1926 near Paris and was buried in the family vault.
January 2, 2013
Even though your art teacher in grade school wouldn’t agree, I consider navy blue a neutral color. There is something about the dark blue that seems to work with EVERYTHING. I am especially a fan of navy blue on the walls, because there are times when dark walls are exactly what a space needs, but navy blue has a depth to it doesn’t scare people and isn’t too enclosing. What is amazing about navy is that is has such a prominence of usage in the past and can stir up nostalgia, while still having an interpretation of being modern since it is used less frequently than your typical neutral colors. A fabulous look that I have been seeing lately is a dark matte paint being used on the walls and then the crown and base molding being painted the same color except in a semi gloss, which is exactly the right way to go about it. However, what is more beautiful then navy blue and and a crisp white? Navy blue evokes many different emotions; when it has a lot of grey it seems mysterious and trendy and goes well with other bold colors like fuchsia, when it is bright it goes great in a beach house for a nautical theme, and when it is it on the light side it goes well with dark furnishings for a masculine men’s club feeling. Tired of the typical baby’s room being painted that sky blue? Consider a navy, it can be dressed up with color while he is young and grow to maturity with the incorporation of woods and dark accents.
I have also seen some bold kitchen cabinetry, the cover issue of House Beautiful’s color issue last spring comes to mind, and I think that navy on cabinetry is a fantastic idea, especially when you can bring in a lot of natural light like in the kitchen. If you have an old house and you are into doing something fun, navy is a perfect thing to use boldly on moldings and in high sheens because the surfaces in old house are much smaller and that pop of color often integrates beautifully. Even if you don’t have an old home, don’t rule out navy blue as an option when considering a neutral backdrop, you might just be surprised at its versatility. Below are some really great photos that I found online from all over – it seems that all the design blogs like navy just as much as I do!
This blue is on the brighter side of things and immediately makes the space feel young and hip.
Love color? Remember navy as your colorful neutral!
I love the shine
Molding AND walls painted
Blue and White – a beautiful combo
Go navy kitchen!
Okay I want to go repaint my kitchen right now… perfect. Happy Monday! Yeah right…