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The matte painting (which can be translated with painting backgrounds) is a technique used mainly in film used to allow the representation of landscapes or places otherwise too costly or impossible to reconstruct or reach directly.
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Tower Hill Underpass, outside Tower Hill Station, London: just 2 of the 30 panels, featuring reproductions of the series of paintings expressionist artist Stephen B. Whatley was commissioned to paint in 2000, capturing the spirit & history of the Tower of London.
This photograph was taken in August 2012, but the public art exhibit is open daily to commuters and tourists alike.
The work of Stephen B. Whatley is in collections worldwide & other public collections which own his work include the BBC, London Transport Museum, Westminster Cathedral & The Royal Collection of Queen Elizabeth II.
See the whole series of paintings in the Tower of London gallery - & much more - on the artist's website, where you can order personally signed prints of this series of works of art.
Today, 15 August 2018, is the Solemnity of The Assumption of The Blessed Virgin Mary…….expressionist artist Stephen B. Whatley shares this new tribute painting to Our Lady of The Sacred Heart, a Catholic devotion originating in 1857.
The Catholic artist has painted many devotions to Our Lady - including The Assumption; and this work of art was inspired by a calling from The Missionaries of The Sacred Heart in Southern California.
The work of Stephen B. Whatley is in collections worldwide & other public collections which own his work include the BBC, London Transport Museum, The Royal Collection of Queen Elizabeth II, The Institute of Marist Brothers, Canada and Westminster Cathedral - which staged his 2013 exhibition, Paintings From Prayer.
The artist's series of 30 paintings, commissioned by the Tower of London in 2000, is a permanent exhibit outside Tower Hill Station, London ; reproduced throughout Tower Hill Underpass, the main portal entrance to Her Majesty's Tower of London.
Our Lady of The Sacred Heart 2018 by Stephen B. Whatley
Oil on canvas
30 x 24in/76 x 61cm
36x36 in.
Oil & spray paint on gallery canvas
To purchase original please contact ajeffries101958@yahoo.com
Prints, etc. are available at www.redbubble.com/people/atj1958
Thanks for taking the time to look at my work.
Photographed from base of the steps at the exit of Tower Hill Station, London, the pedestrian walkway of contemporary art leading to HM Tower of London; its ancient walls clothed in the darkness of night.
Tower Hill Underpass is lined with reproductions of the series of 30 oil paintings expressionist artist Stephen B. Whatley was commissioned to paint in 2000, capturing the spirit & history of the Tower of London.
This photograph was taken in November 2018, but the public art exhibit is open daily, since 2001, to commuters and tourists alike; leading to the Tower of London and Tower Bridge.
The work of Stephen B. Whatley is in collections worldwide & other public collections which own his work include the BBC, London Transport Museum, Westminster Cathedral & The Royal Collection of Queen Elizabeth II.
See the whole series of paintings in the Tower of London gallery - & much more - on the artist's website, where you can order personally signed prints of this series of works of art and other works.
Photo courtesy of Erika Rabóczi of Hungary.
Pilgrimage to the Cedars of Lebanon, 1907, Hungarian National Gallery
Tivadar Csontváry Kosztka (1853 – 1919), the Hungarian painter loved by Picasso.
"Csontváry’s works were exhibited in Paris in 1948. Picasso spent an hour outside the exhibition’s regular opening hours viewing them, and after emerging, declared “I did not realize there was another great painter in this century aside from myself.”
Csontváry probably would have taken issue with Picasso’s proclamation, arguing that he was a more significant painter even than Raphael."
"On the hot sunny afternoon of 13 October 1880, when Csontvary was 27 years old, he had a mystic vision. He heard a voice saying, 'You will be the greatest Sunway Painter, greater than Raphael!' He took journeys around Europe, visited the galleries of the Vatican, and returned to Hungary to earn money for his journeys by working as an apothecary. From 1890, he traveled around the world. He visited Paris, the Mediterraneum (Dalmatia, Italy, Greece), North Africa and the Middle East (Lebanon, Palestine, Egypt, Syria) and painted pictures. Often his pictures are very large, several metres wide and height is not unusual."
"In recent decades, Tivadar Kosztka Csontváry has become a true national hero. After all, he has all the necessary attributes: he was only celebrated after his time, his canon of work is not only spectacular, but also unique, and his contemporaries in Hungarian society treated him as all future national heroes were: he was mocked and humiliated.
He painted his major works between 1901 and 1909. He had some exhibitions in Paris (1907) and Western Europe. Most of the critics in Western Europe recognized his abilities, art and congeniality, but in the Kingdom of Hungary during his life, he was considered to be an eccentric crank for several reasons, e. g. for his vegetarianism, anti-alcoholism, anti-smoking, pacifism, and his cloudy, prophetic writings and pamphlets about his life (Curriculum), genius (The Authority, The Genius) and religious philosophy (The Positivum). Some of his biographists considered this as a latent, but increasingly disruptive schizophrenia. Although he was later acclaimed, during his lifetime Csontváry found little understanding for his visionary, expressionistic style. A loner by nature, his “failure” impaired his creative power.
His art connects with post-impressionism and expressionism, but he was an autodidact and cannot be classified into one style. He identified as a "sunway"-painter, a term which he created.
The painter, after being derided for decades, ended up starving to death after the Soviet Republic took everything away from him.
He starved to death.
To give us an idea of how his life’s work was rated at the time, his heirs attempted to sell the paintings to delivery men as they were painted on high-quality canvas. Were it not for Gedeon Gerlóczy, who recognized Csontváry’s genius and bought them all up, there would be no paintings surviving to this day.
Today, a Csontváry is worth millions of Euros."
en.wikipedia.org/wiki/Tivadar_Csontv%C3%A1ry_Kosztka
bestbudapest.blog.hu/2015/07/22/csontvary_the_hungarian_p...
30x40 in.
Oil on traditional canvas
To purchase original please contact ajeffries101958@yahoo.com
Prints, etc. are available at www.redbubble.com/people/atj1958
Thanks for taking the time to look at my work.
This photo titled "Splendour in the Grass" evokes several layers of sensuality, expressionism, and feminist themes. It captures a woman lying in the grass, bathed in soft sunlight. Her relaxed, almost dreamlike pose, with her head resting on her hand, highlights a natural, unforced sensuality. The greenery surrounding her and the vibrant colours create an intimate connection with nature, emphasising a raw and earthy allure. The soft focus adds a layer of romanticism, enhancing the overall sensual ambiance.
The expressionist elements of the photo are evident in the use of colour, light, and focus. The vivid green of the grass and the bright orange of her hair create a striking contrast that draws the viewer’s eye. This use of bold, expressive colours is reminiscent of expressionist art, where emotional experience takes precedence over realism. The slightly blurred, soft-focus effect adds emotional depth, suggesting a subjective experience rather than a literal depiction, inviting viewers to feel the scene rather than just see it.
From a feminist perspective, the photo celebrates the woman's autonomy and her harmonious relationship with nature. The casual, confident pose conveys a sense of freedom and self-assurance. Unlike traditional depictions of women in nature that often objectify, this image empowers the subject by presenting her in a state of comfort and ease, unburdened by societal expectations. The choice to portray her in a natural, uncontrived setting challenges conventional beauty standards and embraces a more inclusive, authentic representation of femininity.
The title "Splendour in the Grass" refers back to the 1961 film of the same name, which dealt with themes of repressed desire, societal expectations, and the innocence of youth. The photo echoes these themes through its depiction of natural beauty and the serene, contemplative mood of the subject. It suggests a longing for a simpler, more genuine connection with oneself and the world, free from the constraints imposed by society.
Nature was in the mood of doing a little painting in this fjord en route to Iceland's West Fjords, giving spots of colour to a rainy day.