Over the last few years, we’ve experienced an aesthetic—and perhaps even spiritual—shift toward embracing New Age-y wears. Crystals have pervaded our physical spaces. Horoscopes have informed our judgments. Tarot decks have commanded our attention. My connection to this realm is largely stylistic; I’m skeptical of rocks with powers, but I’d be lying if I said they…17 Truly Stunning Tarot Decks to Buy for Your New Age-y Friends — StyleCaster
Imagination: The Spirit of Sophia held “ The Creative Force of Life” at the Women’s Foundation’s Hopscotch House in Prospect, Kentucky today, Earth Day, April 22. Artist Joan Zehnder was our guide today as we wrote and made art about what we each individually have to offer the world. We then combined our writing and art in groups to create new worlds. What a meaningful, enriching, empowering and exhilarating experience. And what fun too! Perfect for a rainy Earth Day…..
Top left: Imagination participant Andria Creighton contemplates her group’s creation. Top right: Going for a three-d effect here in this Imagination group effort. Bottom: Some thoughts of a participant. 2nd right: Director and founder of Spirit of Sophia Dana Sue Walker writing and reflecting on her group’s New World Imagination group art.
Top left: This is the lovely sitting room in the Hopscotch house provided by the Woman’s Foundation of Louisville, founded by Sally Bingham for the enrichment, advancement and enlightenment of women throughout the country. Top right: Another group contemplates their group creation. Bottom right: No matter which direction you look at it, this piece’s rich organic structure enhances the many gifts of all the women in this group.
Another Imagination group’s creative effort.
The entire Imagination experience was a high point of the week and a perfect way to celebrate Earth Day, all enthusiastic participant agreed.
Marc Chagall (French, born Russia – present-day Belarus; 1887-1985): Carmen, 1966. Lithograph. Image size: 39-1/2 x 25-11/16 inches (100.5 x 65.3 cm). Created in 1966 from a maquette for Chagall’s “Triumph of Music,” a series of 3 large-scale decorations created for the Metropolitan Opera House in New York (Carmen, The Magic Flute, Romeo and Juliet). © Marc Chagall.
‘Chagall created this piece for the opera “Carmen” by George Bizet upon its opening at the Metropolitan Opera in New York. The print is a small detail from a preliminary painting of Chagall’s much larger “The Triumph of Music”, which now hangs at the Metropolitan Opera.’
“Chagall: Midsummer Night’s Dreams”
Through January 8, 2017
Carrières de Lumières, Les Baux de Provence, France
“Winter Exhibition 2016”
Until February 15, 2017
Gilden’s Art Gallery, London
Thanks to: #IRequireArt @irequireart #art
Born Moishe Shagal
6 July 1887 (N.S.)
Liozna, near Vitebsk, Russian Empire (present-day Belarus)
Died 28 March 1985 (aged 97)
Nationality Russian, later French
Known for Painting stained glass
Movement : Cubism Expressionism
Marc Zakharovich Chagall (/ʃəˈɡɑːl/ shə-gahl, 6 July [O.S. 24 June] 1887 – 28 March 1985) was a Russian-French artist. An early modernist, he was associated with several major artistic styles and created works in virtually every artistic format, including painting, book illustrations, stained glass, stage sets, ceramic, tapestries and fine art prints.
Art critic Robert Hughes referred to Chagall as “the quintessential Jewish artist of the twentieth century” (though Chagall saw his work as “not the dream of one people but of all humanity”). According to art historian Michael J. Lewis, Chagall was considered to be “the last survivor of the first generation of European modernists”. For decades, he “had also been respected as the world’s preeminent Jewish artist”. Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN, and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.
Before World War I, he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern European Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country’s most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922.
He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism’s “golden age” in Paris, where “he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism.” Yet throughout these phases of his style “he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk.”
“When Matisse dies,” Pablo Picasso remarked in the 1950s, “Chagall will be the only painter left who understands what colour really is.”
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!
To see more of my Red Collage Series, click here and go to November Collages 2016 Gallery.
Word forms as image are the primary focus of my art. Words and symbols, used as marks, are layered on paintings to form a wall of history with meaning at each depth. Aesthetics of words and symbols is of more importance than reading the text, and indeed most of the words I use are totally illegible. I believe man has an intuitive connection to marks, and there is worldwide use of similar mark forms from prehistoric times.
Symbolism has interested me since I was young, and for a long time I incorporated world iconography and the meanings of four and into my art. This led to study of fertility symbols, conjoined with a study of tree symbolism. An interest in checkerboards followed, which led me to a study of chess. I incorporated words in this series from the writings of “The Art of War” by Sun Tzu. My paintings evolved at this time into paintings of words, often-large words, with energy, using words of conflict and from chess. Words have been my main interest ever since.
I include medieval illuminated manuscripts among my influences, along with Asian writing and modern graffiti. My marks are polyglot letterforms much as in the movie Blade Runner. I see a huge melding in our world of Asian and Western writing and imagery, as well as life in general. I have always had an affinity for Asian art and allow it to influence many of the shapes I use. I also draw on the energy of modern graffiti, which I see as a source of new energy in abstraction much as African rhythms energized rock and roll and jazz.
I create walls, with scribbling and writings, that may have been made over a period of years. My idea is to have the feel of the shapes, with an intuitive connection, and many layers to create depth. These are imagined underwater, in ancient times, on other planets, or in modern urban settings with layers of graffiti and signage. The marks are universal, somewhat random, and related to music, with layers of writing acting as layers of melody and rhythm.
Nothing is quite concrete, and my work is very intuitive. My work is an affirmation of the human spirit and the mark of the hand. In our modern world, which is growing smaller, the influences of the computer are everywhere. Handwriting is an antidote to that, and connects strongly with people today
Laura Wait lives in Santa Fe, New Mexico.
She studied art history in college at Barnard College with the idea that she needed to look at art, and that the making could come later. New York was a wonderful place to see art, and she made bi weekly pilgrimages to look at art around the city. She received a BA, cum laude, in Art History from Barnard College, New York, 1975.
Laura lived for a year in Los Angeles in 1975-76, and studied lithography and drawing at Otis Art Institute. LA was another place to spend a lot of time looking and trying to understand current art.
She went to London in 1976 to study printmaking at Croydon College of Art, and received certificate in printmaking with merit for a one-year course in 1977, specializing in intaglio and bookbinding. She continued her studies in traditional bookbinding at Croydon, and received a Certificate with distinction for a three-year course in 1981.
Laura moved to Denver, Colorado in 1981, and started a bookbinding and conservation business, which she ran successfully until 2003. During that time she also worked on her own artist books and paintings, and gave many workshops in book arts. Her artist’s books are in collections worldwide, and have been published in a number of books and articles. In 2003 she decided to give up the bookbinding business and focus her attention completely on her own artwork. In 2004 she moved to Steamboat Springs, Colorado, and had a quiet and fruitful situation to experiment with new art for the next six years.
Laura now lives in Santa Fe. NM. She is married with one son, two dogs, and grows lots of organic vegetables.
Artis Litterarius V
(Latin trans. the art of words)
A Celebration of the letter as image.
Five of five in this series of unique books.
The boards are an irregular altarpiece shapes, with each book being different. Many layers of writing were attached to the original pages, creating different effects and textures.
Several lists of words were used:
- Words concerning writing like calligraphy, typography, manuscript, ligature, script etc
- Words denoting part of something like palimpsest, snippet, flash, scrap etc
- Some fragments of words to do with Sun Tzu such as ubiquitous, resilient, evasive, relentless.
Click on thumbnails to enlarge
Technical: Sewn on linen cords with black linen thread. Cedar siding used for boards. Cords attached through the boards and attached on the inside. Boards are wrapped with Japanese paper then painted with acrylic and varnished with acrylic varnish. Acrylic paint, ink and watercolor were used in this book. Housed in drop back box lined with grey felt.
7 ”x 15 7/8” x 1 5/8”.
Thanks so much to Laura Wait for allowing me to share her work with you. Please go to her web site to see many more beautiful and thought provoking images.