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Inspired by the paw prints I sometimes find on my vehicle's hood and windshield.
Acrylic on 4' x 4' canvas
Estudio Sobre una Flor y un Insecto 3
Study On a Flower and a Bug
Gracias por las visitas, amables comentarios e invitaciones
Thank you for the visits, kind comments and invitations
Living in michigan in the winter ,and painting memories of the tropics are a small way to keep warm.
I kinda like black & white street photography of late as they create a timeless moment in life and it freezes the dimension of time in that very second. I dunno why i like this image. Even though it's not by any way sharp and there is alot of noise, but whenever i look at the photo, its brings back the joy of this little girl hopping past me happily.
My sub-conscious mind brought me back the youth when i was a little boy, viewing the very same scene of a girl hopping past me happily but the perspective differs now and then.
It explains the connectivity of this photo to my past, like a dream with alot of blur images zooming past in my brain and i cant get hold of the girl's face that went pass me when i was young. Its a form of a recognition order......
THE VIRGIN OF CONSOLATION
1892
James Sidney Edouard, Baron Ensor (13 April 1860 – 19 November 1949) was a Belgian painter and printmaker, an important influence on expressionism and surrealism who lived in Ostend for most of his life. He was associated with the artistic group Les XX.
Ensor's father, James Frederic Ensor, born in Brussels to English parents, was a cultivated man who studied engineering in England and Germany. Ensor's mother, Maria Catherina Haegheman, was Belgian. Ensor himself lacked interest in academic study and left school at the age of fifteen to begin his artistic training with two local painters. From 1877 to 1880, he attended the Académie Royale des Beaux-Arts in Brussels, where one of his fellow students was Fernand Khnopff. Ensor first exhibited his work in 1881. From 1880 until 1917, he had his studio in the attic of his parents' house. His travels were very few: three brief trips to France and two to the Netherlands in the 1880s, and a four-day trip to London in 1892.
During the late 19th century, much of Ensor's work was rejected as scandalous, particularly his painting Christ's Entry Into Brussels in 1889 (1888–89). The Belgian art critic Octave Maus famously summed up the response from contemporaneous art critics to Ensor's innovative (and often scathingly political) work: "Ensor is the leader of a clan. Ensor is the limelight. Ensor sums up and concentrates certain principles which are considered to be anarchistic. In short, Ensor is a dangerous person who has great changes. ... He is consequently marked for blows. It is at him that all the harquebuses are aimed. It is on his head that are dumped the most aromatic containers of the so-called serious critics." Some of Ensor's contemporaneous work reveals his defiant response to this criticism. For example, the 1887 etching "Le Pisseur" depicts the artist urinating on a graffitied wall declaring (in the voice of an art critic) "Ensor est un fou" or "Ensor is a Madman."
Ensor's paintings continued to be exhibited and he gradually won acceptance and acclaim. In 1895 his painting The Lamp Boy (1880) was acquired by the Royal Museums of Fine Arts of Belgium in Brussels, and he had his first solo exhibition in Brussels. By 1920 he was the subject of major exhibitions; in 1929 he was named a Baron by King Albert, and was the subject of the Belgian composer Flor Alpaerts's James Ensor Suite; and in 1933 he was awarded the band of the Légion d'honneur. Alfred H. Barr Jr., the founding director of the Museum of Modern Art in New York, after considering Ensor's 1887 painting Tribulations of Saint Anthony (now in MoMA's collection), declared Ensor the boldest painter working at that time.
Even in the first decade of the 20th century, however, Ensor's production of new works was diminishing, and he increasingly concentrated on music—although he had no musical training, he was a gifted improviser on the harmonium, and spent much time performing for visitors.Against the advice of friends, he remained in Ostend during World War II despite the risk of bombardment. In his old age, he was an honored figure among Belgians, and his daily walk made him a familiar sight in Ostend. He died there following a short illness, on 19 November 1949 at the age of 89.
Vampire - I never drink...wine - Nosferatu - Count Orlok Max Schreck - Pulp Fiction Action Vampire Vampyre villain Mysterious Figure - Dracula - F W Murnau Bram Stoker silent film comic book serial movie comics newspaper fangs fang supernatural undead vampires Horror Terror Monster Creature of the night evil lurking shadow toy toys figures German Expressionist Expressionism deadly blood plasma IV bottle Orlock 2013
This photograph was taken at a tarmac plant and shows a bespattered sign. If you look closely at the large version you can detect letters under the black splashes. I have no idea what they say. For me its one of the joys of the digital age that I can produce monochrome images like this one from full colour files so easily.
This painting is one out of a series of four painted at the same time over the same theme. The object of the painting was to focus on an abstract flow exploding out from a center point and curling back in over itself, such as seen in breaking waves and chrysanthemum flowers.
history: in the east of the world wide famous horseshoe colony from bruno taut (finished 1927) was already built in the early 20's a small colony in a village style.
And Bruno Taut did more or less the opposite then regarding this kind of architecture.
however, the colony is for architects ( so i think) interesting to visit once you are here........ the condition of the houses are mostly still good. a bit berlin expressionism
Drifting planes is the first of my ongoing abstract series of dynamic, planar views of colors and forms interwoven in motion.
In the realm where dreams blend with reality, "Whispers of the Dreaming Soul" emerges as a profound exploration of the ethereal dance between the conscious and the subconscious. Through vibrant hues, daring shapes, and emotive textures, this collection invites you on a journey deep into the heart of human emotion, where the lines between the seen and unseen are beautifully blurred. Each piece serves as a gateway to understanding the unspoken dialogues within us, offering a unique perspective on the continuum of existence. As you immerse yourself in this exquisite display, allow the whispers of the dreaming soul to guide you through a landscape of inner discovery and transcendental beauty.
Poem:
Upon the Canvas of the Night
In strokes of shadow, bursts of light,
A dreamer paints the soul's flight,
Where fears and hopes in colors bright,
Entwine in dance, dispel the plight.
In depths where silent whispers dwell,
Beneath the conscious, surface swell,
Emotions in rebellion yell,
Yet in the chaos, beauty's spell,
Weaves tales that only art can tell.
A journey through the heart's domain,
Where joy meets sorrow, pleasure, pain,
And through the tempest, calm again,
The canvas holds, in every stain,
The essence of the dreamer's reign.
Within this realm, no boundaries known,
Where seeds of unseen worlds are sown,
Expression's purest form is shown,
And through such art, we're gently thrown
Into realms to us, previously unknown.
Haiku:
Dreams weave through the void,
Colours blend, emotions swirl,
Souls speak without words.
Oil stick, oil pastel, crayon, charcoal, graphite on Canson watercolor paper
24x18 in.
Original for sale at AlanTaylorJeffries.ugallery.com
Nosferatu - Count Orlok Max Schreck - Pulp Fiction Action Vampire Vampyre villain Mysterious Figure - Dracula - F W Murnau Bram Stoker silent film comic book serial movie comics newspaper fangs fang supernatural undead vampires Horror Terror Monster Creature of the night plague rats crime evil lurking shadow toy toys figures German Expressionist Expressionism deadly from Greek nosophoros meaning disease bearing
Oil on canvas
by Milton Avery
Taken in the Exhibition
By 1926 Avery was living in New York and working full-time as an artist. Avery took advantage of the access to art offered by the city, and he and his wife, Sally, spent every Saturday visiting galleries and museums. In 1929 the Museum of Modern Art opened, allowing Avery’s interest in European Modernism to grow as he saw more examples of the movement’s works.
In addition to using the sketches he had executed throughout the summer months, Avery also turned to the city for inspiration for his paintings, in particular to its human activity and crowds.
[Royal Academy]
Milton Avery: American Colourist
(July — October 2022)
Recognised as an important and influential twentieth-century American artist, Milton Avery’s entry into the art world was somewhat unconventional. Born in 1885 in Altmar, New York, into a working-class family that finally settled in Connecticut, near Hartford, Avery left school at sixteen to work in a factory. Four years later, in an attempt to improve his earning potential, he enrolled in an evening class in ‘commercial lettering’ at the Connecticut League of Art Students and soon after transferred to drawing, so commencing a fifteen-year part-time study of art and a lifetime dedicated to drawing and painting.
Avery’s work spanned and, to some extent, became the link between two significant movements in the United States in the twentieth-century, American Impressionism and Abstract Expressionism, with both having an impact on his oeuvre. Through his close association with some of the younger key exponents of Abstract Expressionism, Avery’s early work played an influential role in how the movement later developed and unfolded. Never affiliated to any particular group or tendency, Avery followed his own artistic inclination. With his steadfast adherence to representation and the innovative ways in which he balanced colour and form within his compositions, he often appeared to be running counter to the prevailing trends of the time.
In 1926 Avery was married and living in New York, where he was to three months every summer at different locations of natural beauty, where he documented the landscape, providing material and inspiration for the later studio paintings.
This retrospective survey presents a selection of Avery’s finest work from across his career and charts his constant development, revealing his unique ability to create exquisitely balanced poetic compositions of colour and form.
[Royal Academy]