Collector’s Choice: Red!


Mark Rothko : Red Abstracts

Thanks to Azurebumble

Above:  Mark Rothko. Orange, Red, Orange. Oil on paper.

Mark Rothko. Untitled. Oil on canvas.


Mark Rothko. Untitled. Oil on canvas.

Mark Rothko.  Oil on canvas.

One of the preeminent artists of his generation, Mark Rothko is closely identified with the New York School, a circle of painters that emerged during the 1940s as a new collective voice in American art. During a career that spanned five decades, he created a new and impassioned form of abstract painting. Rothko’s work is characterized by rigorous attention to formal elements such as color, shape, balance, depth, composition, and scale; yet, he refused to consider his paintings solely in these terms. He explained:

“It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academicism. There is no such thing as good painting about nothing.”



More Red Paintings


Henri Matisse:  “The Desert:  Harmony in Red, 180 x 221 cm, 1908



More Red Art

This set of images includes art from living artists. All of these artists have been featured on Kirsteinfinefineart. These artists include Kurt Nimmo, Rick Bennett, and Janis Kirstein.


Click on  thumbnails to enlarge.

Red is a color I love, but ordinarily for me, a little red goes a long way. However, all of the paintings on this series use a proportional predominance of red. Red is an assertive color that comes forward toward the viewer. It is a warm color, an assertive color, and even can be an aggressive color. Red is associated with fire, passion, heat, energy, blood, life force, and is a high impact color. Red is said to make people hungry, thus the predominance of red in fast food decor: McDonald’s, Kentucky Fried Chicken, Rally’s for examples.

Hope this blog didn’t make you too hungry!


Jan Kirstein



To see more of my Red Collage Series, click here and go to November Collages 2016 Gallery.




Collector’s Choice: Ivo Stoyanov



MINDSCAPES: Reflections on the Art of Ivo Stoyanov

By Donald Brackett

Some artists strive to involve their audience in a relationship that is more intimate than vision alone permits. Such artists create artworks which assume through their very essence the explicit form and content required of them to confer their unique meaning. But the most effective and compelling artworks of all are those that make explicit the fact that they are made to directly affect the spirit.

So it is that Ivo Stoyanov takes my breath away. He coaxes our eyes and heads into that transcendental place, a simultaneously light and dark place, where he firmly believes that art, and especially art about the natural world, shakes hands with spirit.

His extreme reduction to visual and pictorial essentials is responsible for that magical quality we can discern so clearly as negative space, an ideal notion to capture the essence of what makes a Stoyanov image so mesmerizing. It is the essence of absence. And the breath of the mind is what it takes away, submitting us to the silence of seeing.

Here in Stoyanov’s tranquil images are some of the most pivotal motifs in art history: The Land. The Sea. The Sky. The Inhabitants. The Invisible. He skillfully merges these pictorial motifs within a single picture plane, superimposing them in a way that makes us part of the land itself rather than mere spectators. He shows us the sublime rather than merely suggesting it.

A painter such as Stoyanov is so captivating because he is producing something dramatically different: Mindscapes. Mindscapes which are nonetheless tangible and visceral evidence of our physical existence in space and time. Mindscapes which are in fact complex conceptual responses to the landscape in all its facets, both physical and psychological.

These recent paintings are maps of an invisible territory which only exists in the geography of the imaginations. In Stoyanov’s hands, the art of the land seems to undergo a kind alchemical transformation, one in which he can reveal what seems to me to be a most important contribution to the ongoing pastoral dialogue: painting as a process to represent the process of painting itself. He revels in his revelation, and we are invited to participate in both the extended reverie his work triggers and the spiritual transaction it represents.



Click on thumbnails to enlarge.

Ivo Stoyanov

Toronto, Ontario

1984 – 1990 Fine Arts Academy,Sofia,Bulgaria
Masters Degree in Fine Art
Major in Mural Painting

AWARDS: Travel Grant, ‘’Scattered Seeds’’ Collective
The Canada Council for the Arts, 2002
Project Grant, ’’Scattered Seeds’’ Collective
Foreign Affairs Arts and Cultural Industries, 2001

Project Grant, ‘’Scattered Seeds’’ Collective
The Canada Council for the Arts, 2000

Casino-Rama,Orillia, On. 2000
Magic City, Nigata, Japan. 1999
New Trade Center, Exhibition Place, Toronto, On. 1998
la Coquille, Hamilton, Bermuda. 1997
Alliance Communications Corp., Toronto, On. 1997
Casino-River Boat, Windsor, On. 1996
The Observatory, Chicago, USA. 1995
Cocoon-Art Complex, Toronto, On. 1994
Matisse Restaurant, Toronto, On. 1994
Novotel, New York, USA. 1992

SCULPTURES: Mobile,Toronto,On.,Canada , 2001
WORKSHOPS: On the Edge; Almunecar,Spain, March 2000.
Inside Out ; Live Art Space,Toronto,On., Jun1999.



Limited edition prints by Ivo Stoyanov




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