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May 20, 2015


Filed under: caroline wright — Tags: — jherzlinger @ 7:31 am

Following my post on NICOLE COHEN and my love of super talented young artists, I have recently been introduced to CAROLINE WRIGHT.  Her paintings are incredible and I wanted to share them with you today!

I hope you follow her as her talent is so good.




Wright graduated from Brown in 2004, with a double major in Visual Art and Art History. After college, she moved to Paris to pursue fashion design, and ended up living in an art collective in an abandoned state

building in Belleville with artists from all over the world.

With a crowbar, Wright renovated a studio out of several secretarial offices that had been locked since the 80s. Each weekend there was an interminable réunion on such issues as where the “seat of the administration” should be (the kitchen).

The inhabitants defended their

project on a regular basis to the mayor of Paris, and as the youngest in the group and the only American, Wright also defended herself while confronting many cultural differences. Living, working, and upholding her vision and that of the group

imprinted the possibility of a life supported by and for art-making.

May 15, 2015


Filed under: diego giacometti — Tags: — jherzlinger @ 8:00 am

I know when you see the images of this amazing sculptor you will immediately recognize his work.  In my field of interior design, I thought it was interesting to show that my industry  is so influenced by the arts that most people don’t realize it.

I am asked about my inspirations towards my design and my answer is always that I am very much influenced by the arts. So with these posts which I do hope you are enjoying, you are getting a glimpse into my world from which I create the foundations of my projects.

Born in Borgonovo in Switzerland in 1902, Diego Giacometti spent his formative years very close with his brother Alberto, both discovering a great interest and talent for the arts. In 1927, the two brothers moved to an atelier in Rue Hippolyte Maindron in Paris.

Their mark there has made it a mythical place in Montparnasse. From 1929 to 1940, interior designer Jean-Michel Frank, commissioned them to make bronze and plaster objects for élite and intellectual Parisian society. In this period it is difficult to tell the brothers’

work apart. Alberto contributed to the conception whilst Diego offered his dexterity and great aesthetic sensibilities to the execution.

Apart from the close collaboration with Alberto, Diego exercised his skills as a sculptor by collaborating with a local funerary sculptor, and later with Georges Braque. When Alberto returned to Italy during the war, Diego remained in Paris to man the workshop.

During this period he became more conscious of his talent and did an internship at a foundry where he was called ‘the star of patina’. After the war, Alberto and Diego resumed their work together, but each with their own personal mark. Diego developed his own

creations; pieces of textured bronze furniture such as tables, chairs, consoles, lighting and bookshelves. Each work showed a strong architectural and balanced design, often combined with graceful sculpted animals or foliage, the introduction to his unique poetic

world. Soon he was commissioned by Alberto’s dealers or private collectors who recognised his talent: Pierre Matisse, Marguerite and Aimé Maeght, the movie producer Raoul Lévy and the couturier Hubert de Givenchy… After his brother’s death in 1965, Diego

continued increasingly to explore his expressive talents. His furniture items became fully-fledged sculptures, which are still admired and sought after today.

His sculptures are sometimes amusing or picturesque. For example, L’ Autruche (The Ostrich) owed its existence to the fact that his friend Dr. Binet, not knowing what to do with an ostrich egg, gave it to Diego who integrated inside an ostrich

that he dreamt up and sculpted. Diego Giacometti’s animal art was rich. Along with familiar animals he liked to have animals that symbolized force, power and beauty such as the heads of lions, wolves and horses.

He used bronze, a material that permitted him to sculpt in great detail, grace and elasticity. Diego’s animals called for special, often costly techniques such as the lost wax method. His animals were so finely done they helped make his reputation.




May 11, 2015


Filed under: marilyn minter — Tags: — jherzlinger @ 7:32 am

Talking about Marilyn Minter is like talking about visual firepower! Her images are electrifying-high heels splashing in viscous silver liquid, a liquid-dripping, gold-toothed smile,

and a huge painting of a baby standing in a shower of metallic drippings.  Minter is totally in command of her unique retina-razing artistic and pictorial gifts.  I was actually not familiar with her work until Kips Bay

last spring, when in one of the bedrooms there was a fabulous photorealistic piece I needed to have!

She is edgy, hard core and knows her talents and uses them.  Her power comes through all of her images which

is like looking at a perfect diamond!

Enjoy! she is the real deal!

Much Love,


May 6, 2015


Filed under: kiki kogelnik — Tags: — jherzlinger @ 7:21 am

The impact of women artists on the traditionally male-dominated field of Pop art is a topic one rarely hears about!  The narrow definition of the Pop art movement and the women that have made itself reevaluate its critical reception. there are some poutrageous female artists that I want to introduce you to! So look forward to some great and fun art!

I hope you enjoy this post!

Much love,


Kiki Kogelnik, was an amazing artist known for rakish depictions of figures and heads.

Kiki Kogelnik, who was born in Bleiburg , Australia in 1935 and studied art at the Vienna Academy of Fine Arts, began her career as a member of a circle of artists that included Arnulf Rainer.

Moving to Paris in 1959 and to New York in 1961, she worked in a mode that combined aspects of European figuration and American Pop Art with an increasing feminist consciousness. Sometimes her style mimicked fashion illustration to comment on society’s depiction of women.

Although painting was Ms. Kogelnik’s first medium, she also worked in cut-out vinyl, fiberglass and glass, and made prints and installation pieces. She had her first exhibition in New York in 1965 at the Austrian Institute.

May 1, 2015


Filed under: howard mehring — Tags: — jherzlinger @ 7:25 am

OK, so now you think I am obsessed, well to know me is to know that I have the tendency!  When it comes to art, there are so many styles I love, but this school of artists definitely attractsmy eye!  I thought I would bring you another artist

of this genre so you may really be able to understand their commitment to this style.

Mehring’s early work is a “Washington version” of abstract expressionism, with the loose handling of paint on a surface but a much more transparent use of magna paint, an acrylic paint developed by Leonard Bocour.

The stylistic resemblance to Helen Frankenthaler is obvious.

As Mehring developed as an artist, his work became much more structured.  He went from a painted surface with an all-over pattern to cutting up canvas with the all-over pattern and gluing it back together.

Later he used some of those same forms to make ‘hard-edge paintings”, “T’s”, “Z’s” and “E’s”.

An underlying geometry exists in his compositions, and this became more pronounced in his later paintings, for which he is best known.  vibrant colors, in combinations that dazzle the eye, fill sharply defined, hard-edges shapes.

I do hope you are enjoying this school of artists! Have a great day!



April 27, 2015


Filed under: Uncategorized — jherzlinger @ 8:27 am

Minimalism is a long topic unto itself.  And many people don’t consider Minimalism to be art.  much like some people think that a work by Pollack, anyone could do by throwing paint on a canvas-now think of Minimalism.  But today’s post, although yes, is about a

Minimalist artist is not about Minimalism.  Rather, i want you to think, in interior design magazines that you have seen lately how objects are in multiples, or of one color, or a certain grouping all of the same item.

Although I am quite positive there is not quite the same theological idea behind it, it is the same result.  Objects, in space, and their relation to that space.  So I thought to bring you art as it relates to interiors.  I am a huge advocate using small accessories,

that they be in multiples, usually of one color.  I too love the result.  the impact conveys a confidence and a simple statement. The first time I saw judd’s work was at the Museum of modern art in NYC.

I am sure you have seen his work or pieces that have been influenced.  now you know who the artist is.

In the 1960s, Donald Judd began to create art that used “real materials in real space.” He created objects that occupied three-dimensional space and rejected illusionism. This style of art was called Minimalism. Judd and other Minimalists sought to create a depersonalized art in

which the physical properties of space, scale, and materials were explored as phenomena of interest on their own, rather than as metaphors for human experience. “A shape, a volume, a color, a surface is something itself,” Judd wrote. “It shouldn’t be concealed as part of a fairly different whole.”

During this time, he created shapes that were geometric in form that stood out from the wall and eventually moved to freestanding works on the floor. In the 1960s, Judd became well known for sleek, boxlike constructions made of industrial materials such as plywood,

sheet metal, and plexiglass that were painted using commercial techniques.He considered himself a painter but not a sculptor.

In the work Untitled Judd challenges the viewer to reconsider the concepts of boredom, monotony, and repetition this piece is considered to be Judd’s trademark. This piece hangs suspended  from the wall. His work is almost mathematically precise but he claims his geometric series

mean nothing to him in terms of mathematics. He is impatient with critics

who claim that his works and those of other Minimal artists have no meaning. He claims he does not attempt to deliver his own political or social messages, but insists his goal is to focus on the space occupied and created by his objects-

-their purity of form. In the work Untitled Judd challenges the viewer to reconsider the concepts of boredom, monotony, and repetition.  Because of the scale of his works, they are not often readily installed in museums or galleries.




April 22, 2015


Filed under: diego rivera — Tags: — jherzlinger @ 7:27 am

Being in New York, is like going to a giant theme park for me!  Between running to work with clients, or in this past week, the excitement of filming the NBC Open House Segment, I always find time to dash into my favorite museums,

which happen to be any and all of them! The museum of Modern Art, a favorite, , has the works of one of my all time favorites, DIEGO RIVERA!

(recognize the woman?)

“An artist is above all a human being, profoundly human to the core. If the artist can’t feel everything that humanity feels, if the artist isn’t capable of loving until he forgets himself and sacrifices himself if necessary,

if he won’t put down his magic brush and head the fight against the oppressor, then he isn’t a great artist.”

Considered the greatest Mexican painter of the twentieth century, Diego Rivera had a profound effect on the international art world. Among his many contributions, Rivera is credited with the reintroduction of fresco painting into modern art and

architecture. His radical political views and tempestuous romance with the painter Frieda Kahlo were then, and remain today, a source of public intrigue. In a series of visits to America, from 1930 to 1940, Rivera brought his unique vision to public

spaces and galleries, enlightening and inspiring artists and laymen alike.

Diego Rivera was born in Guanajuato, Mexico in 1886. He began to study painting at an early age and in 1907 moved to Europe. Spending most of the next fourteen years in Paris, Rivera encountered the works of such great masters as Cézanne, Gauguin,

Renoir, and Matisse. Rivera was searching for a new form of painting, one that could express the complexities of his day and still reach a wide audience. It was not until he began to study the Renaissance frescoes of Italy that he found his medium. It was with a

vision of the future of the fresco and with a strong belief in public art that Rivera returned to Mexico.

Frescoes are mural paintings done on fresh plaster. Using the fresco form in universities and other public buildings, Rivera was able to introduce his work into the everyday lives of the people. Rivera concerned himself primarily with the physical process of human

development and the effects of technological progress. For him, the frescoes’ size and public accessibility was the perfect canvas on which to tackle the grand themes of the history and future of humanity. A life long Marxist, Rivera saw in this medium an antidote to the

elite walls of galleries and museums. Throughout the twenties his fame grew with a number of large murals depicting scenes from Mexican history. His work appealed to the people’s interest in the history of technology and progress. The desire to understand progress was

visible in the growing industrial societies of the 1930s, and Rivera saw the workers’ struggle as a symbol of the fragile political ground on which that capitalism trod.

In 1930, Rivera made the first of a series of trips that would alter the course of American painting. In November of that year, Rivera began work on his first two major American commissions: for the American Stock Exchange Luncheon Club and for the California School

of Fine Arts. These two pieces firmly but subtly incorporated Rivera’s radical politics, while maintaining a sense of simple historicity. One of Rivera’s greatest gifts was his ability to condense a complex historical subject (such as the history of California’s natural resources)

down to its most essential parts. For Rivera, the foundation of history could be seen in the working class, whose lives were spent by war and industry in the name of progress. In these first two commissions and all of the American murals to follow, Rivera would investigate

the struggles of the working class.

In 1933 the Rockefellers commissioned Rivera to paint a mural for the lobby of the RCA building in Rockefeller Center. “Man at the Crossroads” was to depict the social, political, industrial, and scientific possibilities of the twentieth century. In the painting, Rivera included a

scene of a giant May Day demonstration of workers marching with red banners. It was not the subject matter of the panel that inflamed the patrons, but the clear portrait of Lenin leading the demonstration. When Rivera refused to remove the portrait, he was ordered to stop

and the painting was destroyed. That same year, Rivera used the money from the Rockefellers to create a mural for the Independent Labor Institute that had Lenin as its central figure.

Rivera remained a central force in the development of a national art in Mexico throughout his life. In 1957, at the age of seventy, Rivera died in Mexico City. Perhaps one his greatest legacies, however, was his impact on America’s conception of public art. In depicting scenes

of American life on public buildings, Rivera provided the first inspiration for Franklin Delano Roosevelt’s WPA program. Of the hundreds of American artists who would find work through the WPA, many continued on to address political concerns that had first been publicly

presented by Rivera. Both his original painting style and the force of his ideas remain major influences on American painting.




April 17, 2015


Filed under: milton resnick — Tags: — jherzlinger @ 7:00 am


Ok- as much as I truly do love the Impressionists I have this ‘thing” for abstract expressionism.”  I love the freedom, the anonymity, as far as the artist gets to choose how he sees the subject versus having to paint the subject as is.

 I love the fact, these artists seemed to answer to no one.  Yes, we all know I am a rebel and I am always in search of the freedom aspect to do what one wants.  No strings.

Have a great day-enjoy!


Milton Resnick, a New York painter was known for dour, thickly impastoed near-monochrome canvases.

Volatile, acerbic, unfailingly blunt, widely read and singularly dedicated to the ideal of the painter’s hard, solitary life, Mr. Resnick was in many ways the popular stereotype of the bohemian angst-ridden artist.


In the introduction to his 2002 collection of interviews and lectures, ”Out of the Picture: Milton Resnick and the New York School,” the artist-critic Geoffrey Dorfman recounts how a young man, recognizing Mr. Resnick on the street,

asked if he might accompany him on his walk. ”Are you a painter?” Mr. Resnick asked. ”No,” the young man replied. ”Then you can’t,” Mr. Resnick said.

In terms of longevity and dedication to first principles, Mr. Resnick might qualify as the last Abstract Expressionist painter. In terms of timing he had some claim to being among the first. Born in the Ukraine in 1917, he emigrated to

New York with his family in 1922 and grew up in Brooklyn. He left home as a teenager when his father forbade him to become an artist.

April 13, 2015


Filed under: ram kumar — Tags: — admin @ 7:00 am

In continuing with my new adoration of Indian Artists, today’s post is on one of the originals. Ram Kumar is said to be one of the first indian artists to give up

figurativism for abstract art.

 Associated with the Progressive Artists Group, Ram Kumar is considered one of India’s foremost




abstract painters.  Kumar was born to a large family in 1924

and studied art after completing his degree in economics.  He moved to Paris and studied under Fernand Leger and Andre Lhote.  He has won critical acclaim

as a painter for his abstract landscapes which are fantastic!

I hope you are enjoying this series! Have a fantastic day!

Love, Jamie

April 8, 2015


Filed under: nadar tournachon — Tags: — jherzlinger @ 8:27 am

I have always been in love with photography, as you know.  I have recently become acquainted with the work of NADAR TOURNACHON and his brother ADRIEN TOURNACHON.  This post is on Nadar and what I have learned about him  I do hope you enjoy his work as I fell in love with his style.

Have a great day! Love,


To the question—“Who do you think is the world’s greatest photographer?”—French essayist Roland Barthes provided a simple, one-word answer: “Nadar.” And in the history of French photography in the nine- teenth century, there are few who rival the artistry and output of this

man who lived for eighty years of the nineteenth century and ten of the twentieth century.

Nadar’s notoriety in photography came after successful careers first in writing and publishing and then in caricature. Based in Paris, Nadar met and communed with a large circle of late-Romantic artists and writers, as well as the radical social thinkers of the time. This circle considered

itself bohemian and in opposition to anything bourgeois; it was politically and socially liberal and believed in the importance of art, personal integrity, and freedom of self-expression.

Nadar’s turn to portrait photography appears to be a natural progression from his work in caricature. Already focused on capturing the essence of individuals’ physi- ognomy through drawing and then mass producing the caricatures through lithography, Nadar possessed the aesthetic

and interpersonal skills to use the medium of photography to its best advantage. Not only did he study with a photographer producing the finest-quality prints in Paris in 1854, but he also had a ready-made clientele, as well as name recognition. His circle of acquaintances was very broad, and

many up-and-com- ing and established artists, writers, and social activists had already sat for Nadar. One of two extant albums that Nadar used for guests to sign when sitting for their portraits comprises over 400 names (with accompanying commentaries or samples of drawing, music, or poetry)

of the most famous individuals working in music, art, poetry, fiction, politics, and the military in a twenty-year period between the mid-1850s and the early 1870s.


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