facebook twitter pinterest houzz

Allied Member, ASID
AZ ROC 287314

March 11, 2014


Filed under: giorgio de chirico — Tags: — admin @ 9:00 am

 Today’s post is one of thee most famous and for me the most interesting.  

Enjoy your day!




“To become truly immortal a work of art must escape all human limits: logic and common sense will only interfere. But once these barriers are broken it will

enter the regions of childhood

vision and dream.”

Giorgio de Chirico was a pioneer in the revival of Classicism that flourished into a Europe-wide phenomenon in the 1920s. His own interest was likely encouraged by his childhood experiences

of being raised in Greece by Italian parents. And, while living in Paris in the 1910s, his homesickness may have led to the mysterious, classically-inspired

pictures of empty town squares for

which he is best known



De Chirico is most famous for the eerie mood and strange artificiality of the cityscapes he painted in the 1910s. Their great achievement lies in the fact that he

treats the scenes not as

conventional cityscapes – as perspectives on places full of movement and everyday incident – but rather as the kinds of haunted streets we might encounter in dreams.

They are backdrops

for pregnant symbols or even, at times, for collections of objects that resemble still lifes. De Chirico’s innovative approach to these pictures – an approach rather

like that of a theatrical set

designer – has encouraged critics to describe them as “dream writings

March 10, 2014

FRANK STELLA and his stellar art!

Filed under: Uncategorized — jherzlinger @ 7:42 am

I have always been in love with neutral colors, whites, creams, gray, they are my favorites. But every now and then I see color that changes my mind about color and reminds me how beautiful color truly is! FRANK STELLA’s art work is full of bright color and movement. His work puts a smile on my face and makes me want to redesign my room and throw color all around! I hope you feel inspired by this work as much as I am and enjoy the color and have a colorful weekend!



Frank Stella is an American born artist and a Princeton graduate. Early visits to New York art galleries influenced his artist development, and his work was influenced by the abstract expressionism of Jackson Pollock and Franz Kline. After he graduated from Princeton University, Stella made the move to New York where his art really started to take off! Stella reacted against the expressive use of paint by most painters of the abstract expressionist movement, instead finding himself drawn towards the “flatter” surfaces.
“I like real art. It’s difficult to define ‘real’ but it is the best word for describing what I like to get out of art and what the best art has. It has the ability to convince you that it’s present- that it’s there. You could say it’s authentic… but real is actually a better work, broad as it may be.”- My favorite quote by Stella.

Frank Stella is a muti talented artist, he has a large rang of works, from paintings to sculpture to costume design to set design. Stella continues to make beautiful art  and live in New York.

March 6, 2014


Filed under: axel vervoordt,Uncategorized — Tags: — jherzlinger @ 10:50 am

OK, I get asked all the time about where inspiration comes from and whom do I find inspiring for my aesthetic.

I would have to say the AXEL VERVOORDT is one of my all time great Interior Designers amongst many other defining talents.

AXEL VERVOORDT is a brilliant Belgian Interior Designer, Art Connoisseur and Antiquaire Extrodinaire!

Axel began his career in his teens by purchasing antiques and thus building a vast collection of exquisite objects from around the world.

Axel is renowned for his prestigious exhibitions at major world antique fairs. His interior design projects , in both traditional and modern settings from around the world,

combine antiques from all continents with a zen sensibility  blending old and new.

These are books that everyone interested in inspiring interiors needs to have!



March 4, 2014


Filed under: max ernst — Tags: — admin @ 8:57 am

I would like to bring you one of the most celebrated surrealists or shall I say most recognized, so that you have a great understanding of their work and the importance of it.

Keep in mind dadism came before Surrealism, but both are answers artistically, to the events post WWI and WWII.  Trying to make sense of the destruction

and misery, the answer appeared to find levity and to sort things from reality and distort them and see what would happen.  A great artist, Max Ernst, who had a

most interesting life, is whom I’ve chosen today.  

I hope you enjoy this post!

Have a wonderful day!





Born in Germany in 1891. Ernst is a leading figure of Dada and Surrealist Movements; an artist with a vast range of techniques. As a young man, he studied the

art of patients at mental asylums to understand and try to make sense of what they saw.

After his wartime service in 1918 he began to develop his own style of collages although he exhibited his first painting at the German Autumn Salon of 1913.

During the early 1920′s Ernst invented what was called frottage; pencil rubbings on paper on canvas.

Ernst developed a fascination with birds and this became a recurrent theme in his work. 

In 1936 Ernst met the surrealist artist Leonora Carrington and lived with her until 1940 when he was arrested by the Nazis. Carrington went to Spain hoping to obtain a visa for Ernest, but whilst there she suffered a mental breakdown. Upon his release from Prison Camp Ernest met Peggy Guggenheim who arranged for Ernst’s escape from France and passage to America.

In 1942 Guggenheim and Ernst were married although it did not last and in 1956 he married Dorothea Tanning. Ernest continued living in the USA until 1953

when he returned to Paris. In 1954 he won the Venice Biennale and from this point gained some financial success.

Ernest was acquainted with Paul Klee, collaborated with Joan Miro and had a lifelong friendship with Jean Arp. 

Ernst died in Paris at the age of 85 years. 

February 27, 2014


Filed under: MARK GROTJAHN — Tags: — jherzlinger @ 8:43 am

I stumbled upon MARK GROTJAHN’S work just  a bit ago.  And, in a simple form, it reminded me of the art I used to do using string and nails.  Obviously his is far more complex, but none the less I found myself very drawn to it. He is represented at The Gagosian Gallery in New York.

I love his use of color and I love the ideas of nature in his work.


Much Love,


While at first glance, Mark Grotjahn’s oeuvre appears to be bound to purely aesthetic in modernist discourse, references to nature and movement are plentiful. His butterfly motif, one of several recurring connections to the natural world along with flowers and water,

has yielded extensive possibilities

in both painting and drawing. His ongoing Butterfly series focuses on perspectival investigations, such as dual and multiple vanishing points, techniques used since the Renaissance to create the illusion of depth and volume on a two-dimensional surface.

These iconic compositions of complex,

skewed angles and radiant, tonal color allude to the multiple narratives coursing through the history of modernist painting, from the utopian vision of Russian Constructivism to the hallucinatory images of Op Art. The extreme elegance of Grotjahn’s works is often

tempered by visible scuffs and

markings that attest to the contingencies of process in his otherwise highly controlled compositions.


February 25, 2014


Filed under: kenny scharf — Tags: — admin @ 6:50 am

Kenny Scharf is a graffiti master.  There are hundreds of these amazing artists.  So the next time you pass graffiti on a wall somewhere, think of all the ideas that really go into these amazing statements!

As a child Scharf was fascinated by television and consumer culture. Sitting only inches from the television screen, young Scharf became obsessed with vibrant and

surreal imagery of cartoons and low budget sci-fi films. Optimism oozed from these dewy forms of popular culture, reflecting an era when the medium of television was still new and shiny.


While a young artist living  in New York in the 1980s, Scharf and other artists of his generation were drawn to works originating from contexts outside gallery spaces.


Whether that was graffiti, or parties at the famous Club 57, Scharf sought to incorporate his works within situations that anyone and everyone could relate to and more importantly,

experience. Like Warhol before him, Scharf became interested in merging the highbrow with the lowbrow, and began working towards ways of incorporating pop-culture into

his paintings. As a way to rebel against the highly academic work that was being shown at the time, Scharf’s work reflected an Eden filled with animated colors and fantastical

subjects ranging from the Flintstones and the Jetsons, to imaginary characters that could cast either gloom or euphoria onto the desired canvas.

February 20, 2014


Filed under: sam francis — Tags: — admin @ 6:57 am


I am sure you have seen Sam Francis’ paintings before! They are colourful and enthusiastic works of art-modern and playful! I have always been drawn to his work, as I have always admired the use of negative space in paintings. I hope you enjoy this post!

Have a fantastic day!



Sam Francis is an American artist, one of the country’s most important. Francis was born in San Mateo, California, in 1923. He began painting in 1944, while recovering from injuries

sustained from an airplane crash while serving in the US Air Force. He studied under David Park at the California School of Fine Arts in San Francisco.


In his early abstract paintings, reminiscent of the work of Clyfford Still and Jackson Pollock, he used spontaneous painterly gestures, resulting in the typically American, “all-over” structure:

The whole canvas is covered with dots, spots, specks and other traces of the painterly brush. While in Paris from 1950 – 1957, Francis briefly gave up colour and went a new direction, like in “White Painting” (1950), but he returned to red and pink in the following summer in the South of France and later embraced the whole range of colours again. Sometimes he makes use of a full spectrum of

colours and their variations in hue, and other times he allows one colour to dominate, like the blue in “Blue Balls” (1960).

Although Francis has been associated with colour field painting, this may be just a categorization used to come to grips with a highly original pictorial language. Francis’s “fields” hardly ever,

if at all, show themselves to be fields of colour. Rather, they have foreground and background structures and often invoke depth, making the canvas rather a “colour space.”


What is typical of Francis in pictorial strategy is that he often leaves the centre of the image white and void, concentrating on the border of the canvas, the sides, counterbalancing these images

in his work by those that do just the opposite. Sometimes his paintings are interlaced with a central geometrical structure, or merge with an all-over grid or lattice. This can go as far as closing

up the canvas and using it as a ground for abstract pattern brushwork

After his death in 1994, Sam Francis’s works have continued to be exhibited in the most important international museums and galleries. 

February 18, 2014


Filed under: Anish Kapoor — Tags: — jherzlinger @ 7:26 am

Anish Kapoor for me, is an amazing artist, and I am sure a lot of you have seen his work and maybe don’t know who he is.  So I thought I would introduce you to him.  My pursuit,

with my blog is to bring you artists in all realms.  Whether it is art, music, time periods and their pieces.  Great Chefs and all those that contribute to making culture what it is for us to enjoy!

The Indian-born, London-based sculptor Anish Kapoor has always been a kind of magician, which cuts two ways. Whether with blazingly reflective metal

surfaces or dark, plush, seemingly infinite interiors, his pieces dispense multiple visual thrills and mysteries. But the same effects can make his work appear tricky, decorative and shallow.

It hasn’t helped that they seem to have been concocted by playing fast and slick with the innovations of his Minimalist and Post-Minimalist predecessors.

Mr. Kapoor, who is 54, did not begin life in a Western culture. He was born and grew up in Mumbai when it was still called Bombay, and in 1973 moved to London, where he studied art and

then took up residence. He is a decade or so older than most of the Young British Artists, who took the art world by storm in the early 1990s, and his sensibility is markedly different:

he greatly prefers gentle seduction to shock tactics.

His sculpture is in many ways one long ode to the modernist monochrome and its emphasis on purity and perception, enacted in three-dimensional space. It carves, colors and complicates space in different ways,

adding interactive aspects and pushing that purity back and forth between votive and technological, East and West.

Despite the high degree of abstraction in his art, living form, if only the viewer’s body, is always implied. — Excerpted from “Sculptor as Magician,” by Roberta Smith, The New York Times, May 30, 2008.

Cloud Gate is British artist Anish Kapoor‘s first public outdoor work installed in the United States.

The 110-ton elliptical sculpture is forged of a seamless series of highly polished stainless steel plates, which reflect Chicago’s famous skyline and the clouds above.

A 12-foot-high arch provides a “gate” to the concave chamber beneath the sculpture, inviting visitors to touch its mirror-like surface and see their image reflected back from a variety of perspectives.

Inspired by liquid mercury, the sculpture is among the largest of its kind in the world, measuring 66-feet long by 33-feet high.

Anish Kapoor’s Cloud Gate, aka The Bean, has become a Chicago icon. It is mandatory that all tourists have a picture taken pressed up against it, lying underneath it, or some such other myriad

configuration of tourist and sculpture.

Cloud Gate is a rare success in public art: it is attractive, it is sufficiently art-like, and the people almost uniformly dig it. It is also kind of fawning. If it were a Jeff Koons it would be a puppy dog.

But if anything were a Jeff Koons it would be a puppy dog, so maybe that’s not the best comparison. Perhaps it’s like a Rothko, rooted in the canon of art history, conceptually sound,

imbued with its creator’s spirit, yet makes one helluva pretty postcard.


Anish Kapoor "Cloud Gate"Anish Kapoor "Cloud Gate"Anish Kapoor "Cloud Gate"Anish Kapoor "Cloud Gate"


My Daughters and I, caught this exhibit at the Guggenheim, and we were really disturbed by it.

The most startling thing about Memory is that, by virtue of the installation, it is impossible to ever see in its entirety. The room, like the Grinch’s heart, is two sizes too small making

Memory impossible to “take in” and thereby leaving the viewer unsure, unsettled, and, in my case, slightly terrified by the possibilities of the creepily amorphous sculpture living inside the Guggenheim’s twisting tower.

It is difficult to describe the piece because it can only be taken in piecemeal and then reassembled in one’s mind. As a result, every viewer is likely to have a completely different perception of Memory—tricky title, eh?


Anish Kapoor “Memory” (NYC)

Of the material, Memory is made of raw oxidized steel. According to the press release 24 tons of it. The red and orange rust giving the mass an organic warmth, but one cut with

the unforgiving corners of raw metal and industrial weight. It is womb-like, or egg-sac-like in its presumed shape, though almost certainly the coming birth will be one of alien origin.

It is a pod descended from above, filled with malignant beings with mouths brimming the sharpest teeth.

A viewer has four angles to work from, and must traverse at least two levels of the museum to do so. One view is down a long corridor, others from the side, and, perhaps most disturbingly, a hole cut into the work’s pitch-black interior.

A fellow patron with whom I shared this view muttered, “I would love to go in.” I thought, “You’ll never come out.” But instead fall into the unknown depths within.


Anish Kapoor “Memory” (NYC)

The inability to approach the sculpture in a traditional fashion most raises the question of scale: how big is this  thing? What does it hope to achieve in its undefined immensity? Is it friendly?

The not knowing is what makes this piece, the wily invitation to imagination, surprise and fear. In contrast to the Bean’s happy snapshot secure in time. As Memory attests and Cloud Gate reflects,

truth is ever-pedestrian compared to the fiction of an active mind. Like a good novel, Memory allows the viewer to build on and amplify the story in a way the more static Bean never could. Fiction however, doesn’t make for much of a profile pic.





February 13, 2014


Filed under: gabriel orozco — Tags: — jherzlinger @ 7:02 am

OK, so we all know my love of art that sometimes pushes boundaries.  Much like the way I think.  But GABRIEL OROZCO is truly a genius.  His work really speaks to me, and to know my love of independence you would understand why.

I hope you enjoy this post!

Much Love,


With a body of work that is unique in its formal power and intellectual rigor, Gabriel Orozco (Mexican, b. 1962) emerged at the beginning of the 1990s as one of the most intriguing and original artists of his generation—and one of the last to come of age in the twentieth century. Orozco resists confinement to a single medium,

roaming freely and fluently among drawing, photography, sculpture, installation, and painting. From one project to the next, he deliberately blurs the boundaries between the art object and the everyday environment, instead situating his contributions in a place that merges “art” and “reality,” whether in exquisite drawings

made on airplane boarding passes or in sculptures made from recovered trash.


Many of Orozco’s works—which are often created specifically for the occasion of an exhibition—have become indisputable classics of 1990s art, such as the Citroën automobile surgically reduced to two-thirds its normal width (La DS, 1993) and a human skull covered with a graphite grid (Black Kites, 1997).

February 11, 2014


Filed under: Uncategorized — Tags: — admin @ 6:39 am

Hiroshi Sugimoto left his native Japan on 1970 to study art in 1971 at a time when Minimalism and Conceptual art, both of which informed his art practice.  He was inspired by the systemic

aspects of Minimalist painting and sculpture.


In his Portraits series, commissioned by the Deutsche Guggenheim, Sugimoto rekindles the dialogue between painting and the medium of mechanical reproduction. Sugimoto isolated

wax figures from staged vignettes in waxworks museums, posed them in three-quarter-length view, and illuminated them to create haunting Rembrandt-esque portraits of historical figures,

such as Henry VIII, Napoleon Bonaparte, Fidel Castro, and Princess Diana. His painterly renditions, lush with detail, recall the various paintings from which the wax figures were originally drawn. Through layers of reproduction—from subject to painting to wax statue to photograph—these images most consciously convey the collapsing of time and the retelling of history. Based on the

long-standing association of black-and-white photography with the recording of truth, Sugimoto’s photo-documents playfully reveal the illusion of this assumption. Sugimoto’s Portraits provide photographic “evidence” of historical subjects and events previously not captured on film.

Related Posts Plugin for WordPress, Blogger...
« Newer PostsOlder Posts »
In accordance with the U.S. Copyright Act of 1976, the scanning, uploading, and electronic sharing of any part of this portfolio and its pictures, without the permission of Jamie Herzlinger Interiors constitutes unlawful piracy and theft of the designer's intellectual property. If you would like to use material from the portfolio (other than for review purposes), prior written permission must be obtained by contacting Jamie Herzlinger Interiors at . Thank you for your support of the designer's rights.
© Jamie Herzlinger | Site Map