EL AMOR AL ACECHO 
31 de diciembre de 2012
Artista William Adolphe Bouguereau
AL BORDE DEL AGUA 
Biography:
William-Adolphe Bouguereau was born in La Rochelle, France on November 30, 1825, into a family of wine and olive oil merchants. He seemed destined to join the family business but for the intervention of his uncle Eugene, a curate, who taught him classical and biblical subjects, and arranged for Bouguereau to go to high school. Bouguereau showed artistic talent early on and his father was convinced by a client to send him to the Ecole des Beaux-Arts in Bordeaux, where he won first prize in figure painting for a depiction of Saint Roch. To earn extra money, he designed labels for jams and preserves. Through his uncle, Bouguereau was given a commission to paint portraits of parishioners, and when his aunt matched the sum he earned, Bouguereau went to Paris and became a student at the Ecole des Beaux-Arts. To supplement his formal training in drawing, he attended anatomical dissections and studied historical costumes and archeology. He was admitted to the studio of Franccois-Edouard Picot, where he studied painting in the academic style. Academic painting placed the highest status on historical and mythological subjects and Bouguereau won the coveted Prix de Rome in 1850, with his Zenobia Found by Shepherds on the Banks of the Araxes. His reward was a stay at the Villa Medici in Rome, Italy, where in addition to formal lessons he was able to study first-hand the Renaissance artists and their masterpieces. Bouguereau, completely in tune with the traditional Academic style, exhibited at the annual exhibitions of the Paris Salon for his entire working life. An early reviewer stated, "M. Bouguereau has a natural instinct and knowledge of contour. The eurythmie of the human body preoccupies him, and in recalling the happy results which, in this genre, the ancients and the artists of the sixteenth century arrived at, one can only congratulate M. Bouguereau in attempting to follow in their footsteps Raphael was inspired by the ancients and no one accused him of not being original." Raphael was a favorite of Bouguereau and he took this review as a high compliment. He had fulfilled one of the requirements of the Prix de Rome by completing a old-master copy of Raphael's The Triumph of Galatea. In many of his works, he followed the same classical approach to composition, form, and subject matter. The Dance 1856 In 1856, he married Marie-Nelly Monchablon and subsequently had five children. By the late 1850's, he made strong connections with art dealers, particularly Paul Durand-Ruel (later the champion of the Impressionists), who helped clients buy paintings from artists who exhibited at the Salons. The Salons annually drew over 300,000 people, thereby providing valuable exposure to exhibited artists. Bouguereau's fame extended to England by the 1860's and then he bought a large house and studio in Montparnasse with his growing income. Bouguereau was a staunch traditionalist whose realistic genre paintings and mythological themes were modern interpretations of Classical subjects-both pagan and Christian-with a heavy concentration on the female human body. Although he created an idealized world, his almost photo-realistic style brought to life his goddesses, nymphs, bathers, shepherdesses, and madonnas in a way which was very appealing to rich art patrons of his time. Some critics, however, preferred the honesty of Jean-Francois Millet's truer-to-life depiction of hard-working farmers and laborers. Bouguereau employed traditional methods of working up a painting, including detailed pencil studies and oil sketches, and his careful method resulted in a pleasing and accurate rendering of the human form. His painting of skin, hands, and feet was particularly admired. He also used some of the religious and erotic symbolism of the Old Masters, such as the "broken pitcher" which connoted lost innocence. One of the rewards of staying within the Academic style and doing well in the Salons was receiving commissions to decorate private houses, public buildings, and churches. As was typical of these commissions, sometimes Bouguereau would paint in his own style, and other times he had to conform to an existing group style. Early on, Bouguereau was commissioned in all three venues, which added enormously to his prestige and fame. He also made reductions of his public paintings for sale to patrons, of which The Annunciation (1888) is an example. He was also a successful portrait painter though many of his paintings of wealthy patrons still remain in private hands. Bouguereau steadily gained the honors of the Academy, reaching Life Member in 1876, and Commander of the Legion of Honor and Grand Medal of Honor in 1885. He began to teach drawing at the Academie Julian in 1875, a co-ed art institution independent of the Ecole des Beaux-Arts, with no entrance exams and with nominal fees. In 1877, both his wife and infant son died. At a rather advanced age, Bouguereau was married for the second time in 1896, to fellow artist Elizabeth Jane Gardner Bouguereau, one of his pupils. He also used his influence to open many French art institutions to women for the first time, including the Academie francaise. Near the end of his life he described his love of his art, "Each day I go to my studio full of joy; in the evening when obliged to stop because of darkness I can scarcely wait for the next morning to come if I cannot give myself to my dear painting I am miserable". He painted eight hundred and twenty-six paintings. Bouguereau died in La Rochelle at age 80 from heart disease.
William-Adolphe Bouguereau was born in La Rochelle, France on November 30, 1825, into a family of wine and olive oil merchants. He seemed destined to join the family business but for the intervention of his uncle Eugene, a curate, who taught him classical and biblical subjects, and arranged for Bouguereau to go to high school. Bouguereau showed artistic talent early on and his father was convinced by a client to send him to the Ecole des Beaux-Arts in Bordeaux, where he won first prize in figure painting for a depiction of Saint Roch. To earn extra money, he designed labels for jams and preserves. Through his uncle, Bouguereau was given a commission to paint portraits of parishioners, and when his aunt matched the sum he earned, Bouguereau went to Paris and became a student at the Ecole des Beaux-Arts. To supplement his formal training in drawing, he attended anatomical dissections and studied historical costumes and archeology. He was admitted to the studio of Franccois-Edouard Picot, where he studied painting in the academic style. Academic painting placed the highest status on historical and mythological subjects and Bouguereau won the coveted Prix de Rome in 1850, with his Zenobia Found by Shepherds on the Banks of the Araxes. His reward was a stay at the Villa Medici in Rome, Italy, where in addition to formal lessons he was able to study first-hand the Renaissance artists and their masterpieces. Bouguereau, completely in tune with the traditional Academic style, exhibited at the annual exhibitions of the Paris Salon for his entire working life. An early reviewer stated, "M. Bouguereau has a natural instinct and knowledge of contour. The eurythmie of the human body preoccupies him, and in recalling the happy results which, in this genre, the ancients and the artists of the sixteenth century arrived at, one can only congratulate M. Bouguereau in attempting to follow in their footsteps Raphael was inspired by the ancients and no one accused him of not being original." Raphael was a favorite of Bouguereau and he took this review as a high compliment. He had fulfilled one of the requirements of the Prix de Rome by completing a old-master copy of Raphael's The Triumph of Galatea. In many of his works, he followed the same classical approach to composition, form, and subject matter. The Dance 1856 In 1856, he married Marie-Nelly Monchablon and subsequently had five children. By the late 1850's, he made strong connections with art dealers, particularly Paul Durand-Ruel (later the champion of the Impressionists), who helped clients buy paintings from artists who exhibited at the Salons. The Salons annually drew over 300,000 people, thereby providing valuable exposure to exhibited artists. Bouguereau's fame extended to England by the 1860's and then he bought a large house and studio in Montparnasse with his growing income. Bouguereau was a staunch traditionalist whose realistic genre paintings and mythological themes were modern interpretations of Classical subjects-both pagan and Christian-with a heavy concentration on the female human body. Although he created an idealized world, his almost photo-realistic style brought to life his goddesses, nymphs, bathers, shepherdesses, and madonnas in a way which was very appealing to rich art patrons of his time. Some critics, however, preferred the honesty of Jean-Francois Millet's truer-to-life depiction of hard-working farmers and laborers. Bouguereau employed traditional methods of working up a painting, including detailed pencil studies and oil sketches, and his careful method resulted in a pleasing and accurate rendering of the human form. His painting of skin, hands, and feet was particularly admired. He also used some of the religious and erotic symbolism of the Old Masters, such as the "broken pitcher" which connoted lost innocence. One of the rewards of staying within the Academic style and doing well in the Salons was receiving commissions to decorate private houses, public buildings, and churches. As was typical of these commissions, sometimes Bouguereau would paint in his own style, and other times he had to conform to an existing group style. Early on, Bouguereau was commissioned in all three venues, which added enormously to his prestige and fame. He also made reductions of his public paintings for sale to patrons, of which The Annunciation (1888) is an example. He was also a successful portrait painter though many of his paintings of wealthy patrons still remain in private hands. Bouguereau steadily gained the honors of the Academy, reaching Life Member in 1876, and Commander of the Legion of Honor and Grand Medal of Honor in 1885. He began to teach drawing at the Academie Julian in 1875, a co-ed art institution independent of the Ecole des Beaux-Arts, with no entrance exams and with nominal fees. In 1877, both his wife and infant son died. At a rather advanced age, Bouguereau was married for the second time in 1896, to fellow artist Elizabeth Jane Gardner Bouguereau, one of his pupils. He also used his influence to open many French art institutions to women for the first time, including the Academie francaise. Near the end of his life he described his love of his art, "Each day I go to my studio full of joy; in the evening when obliged to stop because of darkness I can scarcely wait for the next morning to come if I cannot give myself to my dear painting I am miserable". He painted eight hundred and twenty-six paintings. Bouguereau died in La Rochelle at age 80 from heart disease.
Pinturas de Edmond Demirdjian
Biography:
Edmond Demirdjian (born 1951) is a famous European artist. He lives and works in Sofia. In 1995 he was honored with the prestigious grant from The Pollock-Krasner Foundation, New York, USA for the exceptional and innovative quality of his art. In 2006 he received the award of Sofia for pronounced achievements in the field of culture and arts. Edmond Demirdjian has organized numerous shows in Europe and in the USA. To mention just few of them: Gallery Il Saggiatore, Rome, Italy; Gallery Zinzen, Brussels, Belgium; Landeskulturzentrum, Linz, Austria; Volksbank Gallery, Dornbirn, Austria; Gallery Quatro, Glattfelden, Switzerland; Folly Theater Gallery, Kansas City, USA; Deutsche Bank, New York; Gallery 88, Luxemburg; Schroder Gallery, Ausburg, Germany, etc.
Edmond Demirdjian (born 1951) is a famous European artist. He lives and works in Sofia. In 1995 he was honored with the prestigious grant from The Pollock-Krasner Foundation, New York, USA for the exceptional and innovative quality of his art. In 2006 he received the award of Sofia for pronounced achievements in the field of culture and arts. Edmond Demirdjian has organized numerous shows in Europe and in the USA. To mention just few of them: Gallery Il Saggiatore, Rome, Italy; Gallery Zinzen, Brussels, Belgium; Landeskulturzentrum, Linz, Austria; Volksbank Gallery, Dornbirn, Austria; Gallery Quatro, Glattfelden, Switzerland; Folly Theater Gallery, Kansas City, USA; Deutsche Bank, New York; Gallery 88, Luxemburg; Schroder Gallery, Ausburg, Germany, etc.
30 de diciembre de 2012
Pinturas de Jo Joosten
Biography:
Jo Hoosten. ''I was born in Maasbracht (The Netherlands)in 1956. I can't remember any period in my life in wich I haven't been painting or drawing. From 1976 till 1982 I attended the "tehatex" art-education in Nijmegen. After that I ended up as a teacher of expresive arts. Besides teaching , I kept qualifying and training in my profession, and I ran a commercial agency for a decade , and I worked as a grafhic designer. The mixture between teaching and the manufacturing of housestyles , illustrations etc.was a good mariage , They couldn't live without each other , and I didn'twant to miss either one of them . But still , suddenly I realised that the creativity in my job as a designer had totally disappeared. Painting became my ultimate form of freedom and I decided to completely go for that. It was only in 2006 , when the need arose to step out with my work. Very soon , individual expositions followed , and I took part in group exhibitions . All that is left for me , is to wish you a lot of fun seeing my paintings. If you have any questions , you can always mail me''
Jo Hoosten. ''I was born in Maasbracht (The Netherlands)in 1956. I can't remember any period in my life in wich I haven't been painting or drawing. From 1976 till 1982 I attended the "tehatex" art-education in Nijmegen. After that I ended up as a teacher of expresive arts. Besides teaching , I kept qualifying and training in my profession, and I ran a commercial agency for a decade , and I worked as a grafhic designer. The mixture between teaching and the manufacturing of housestyles , illustrations etc.was a good mariage , They couldn't live without each other , and I didn'twant to miss either one of them . But still , suddenly I realised that the creativity in my job as a designer had totally disappeared. Painting became my ultimate form of freedom and I decided to completely go for that. It was only in 2006 , when the need arose to step out with my work. Very soon , individual expositions followed , and I took part in group exhibitions . All that is left for me , is to wish you a lot of fun seeing my paintings. If you have any questions , you can always mail me''
Pinturas de Blanco
Biography:
Blanco Artist. Barcelona 1952. Art focus : Hyperrealism Technique : Oil Art education : Autodidact.
Blanco Artist. Barcelona 1952. Art focus : Hyperrealism Technique : Oil Art education : Autodidact.
Pinturas de Paulo Martinez Fernandez
Biografìa:
Paulo Martinez Fernandez (1959-2001). Deixou um conjunto de obras – aproximadamente oitenta peças – que o posiciona, sem dúvida, como um dos mais brilhantes desenhistas brasileiros. É compreensível que sua produção, surpreendente pelas altas qualidade e originalidade, tenha sido limitada, já que o artista, vítima de câncer aos 41 anos de idade, realizava trabalhos de complexa elaboração e extrema meticulosidade. Tendo trabalhado com vários meios – óleo, aquarela, etc. –, a partir de 1983, no entanto, passou a dedicar-se exclusiva e intensamente ao desenho a grafite, técnica que elegeu, que desenvolveu até o final de sua vida e que elevou ao seu limite. A obra deixada por Paulo Martinez contribui certamente não apenas para a história da arte brasileira mas também para a internacional, dado que ele é um dos raros artistas de hoje que se desvencilharam dos ditames da arte moderna, trabalhando em uma nova direção e obtendo resultados que se diferenciam de quase tudo aquilo que foi feito no século XX. Autodidata, essa figura singular – tanto como artista quanto como ser humano – construiu sozinho a sua obra e sabia muito bem o que queria e o que fazia. Não sofreu influências externas, nunca se vinculou a nenhum grupo ou escola de moda, nunca se rendeu ao mercado. Sua única preocupação era fazer, construir. Ser humano de refinada sensibilidade e desconsertante inteligência, Paulo deixou grande saudade entre seus amigos e familiares. Extremamente lúcido e dono de humor único, possuía um reservatório de frases e expressões espirituosas que levantavam o astral de qualquer um de seus amigos em momentos mais difíceis. Lembro-me, por exemplo, da frase “Se não fosse eu, quem seria de mim?”, que ele usava em várias ocasiões, como uma espécie de lema. Além de, pela inteligência, provocar inevitavelmente o riso de quem estava próximo, a tonalidade de sua voz, ao proferir estas palavras – de um modo muito especial e impossível de ser descrito –, acompanhada de seu jeito e de seu sorriso, desencadeavam uma espécie de vibração que só quem o conheceu pessoalmente pode entender (não sei se há registro, em filmes ou em vídeos, de falas suas). Na maior parte do tempo, vivia em uma situação financeira limite, e, apesar de tudo, não se importava, não se rendia, embora fosse constantemente assediado por ilustradores publicitários, que o convidavam para trabalhar, e por pessoas que viam nele um grande retratista. Sem dúvida era um grande retratista, mas só fazia retratos quando não tinha dinheiro nem mesmo para comprar material de desenho. Não tinha tempo, estava construindo a cada dia, com grande atenção e paixão, a sua própria obra, da qual não se desligava um minuto sequer. Acordava e trabalhava até à noite em seu ateliê, absorvendo-se com a profundidade de quem procura minúsculos grãos de ouro em um monte de areia sustentado na mão – e é impressionante que esse seu solitário e intenso processo quotidiano de trabalho tenha se mantido por tanto tempo (dezessete anos).
Paulo Martinez Fernandez (1959-2001). Deixou um conjunto de obras – aproximadamente oitenta peças – que o posiciona, sem dúvida, como um dos mais brilhantes desenhistas brasileiros. É compreensível que sua produção, surpreendente pelas altas qualidade e originalidade, tenha sido limitada, já que o artista, vítima de câncer aos 41 anos de idade, realizava trabalhos de complexa elaboração e extrema meticulosidade. Tendo trabalhado com vários meios – óleo, aquarela, etc. –, a partir de 1983, no entanto, passou a dedicar-se exclusiva e intensamente ao desenho a grafite, técnica que elegeu, que desenvolveu até o final de sua vida e que elevou ao seu limite. A obra deixada por Paulo Martinez contribui certamente não apenas para a história da arte brasileira mas também para a internacional, dado que ele é um dos raros artistas de hoje que se desvencilharam dos ditames da arte moderna, trabalhando em uma nova direção e obtendo resultados que se diferenciam de quase tudo aquilo que foi feito no século XX. Autodidata, essa figura singular – tanto como artista quanto como ser humano – construiu sozinho a sua obra e sabia muito bem o que queria e o que fazia. Não sofreu influências externas, nunca se vinculou a nenhum grupo ou escola de moda, nunca se rendeu ao mercado. Sua única preocupação era fazer, construir. Ser humano de refinada sensibilidade e desconsertante inteligência, Paulo deixou grande saudade entre seus amigos e familiares. Extremamente lúcido e dono de humor único, possuía um reservatório de frases e expressões espirituosas que levantavam o astral de qualquer um de seus amigos em momentos mais difíceis. Lembro-me, por exemplo, da frase “Se não fosse eu, quem seria de mim?”, que ele usava em várias ocasiões, como uma espécie de lema. Além de, pela inteligência, provocar inevitavelmente o riso de quem estava próximo, a tonalidade de sua voz, ao proferir estas palavras – de um modo muito especial e impossível de ser descrito –, acompanhada de seu jeito e de seu sorriso, desencadeavam uma espécie de vibração que só quem o conheceu pessoalmente pode entender (não sei se há registro, em filmes ou em vídeos, de falas suas). Na maior parte do tempo, vivia em uma situação financeira limite, e, apesar de tudo, não se importava, não se rendia, embora fosse constantemente assediado por ilustradores publicitários, que o convidavam para trabalhar, e por pessoas que viam nele um grande retratista. Sem dúvida era um grande retratista, mas só fazia retratos quando não tinha dinheiro nem mesmo para comprar material de desenho. Não tinha tempo, estava construindo a cada dia, com grande atenção e paixão, a sua própria obra, da qual não se desligava um minuto sequer. Acordava e trabalhava até à noite em seu ateliê, absorvendo-se com a profundidade de quem procura minúsculos grãos de ouro em um monte de areia sustentado na mão – e é impressionante que esse seu solitário e intenso processo quotidiano de trabalho tenha se mantido por tanto tempo (dezessete anos).
Pinturas de Santiago Peñaloza Plascencia
Homenaje a Frida Kahlo. 
Medidas: 90 x 120 cm.
Pinturas de Santiago Peñaloza Plascencia
Fiesta Nocturna. 
Medidas: 80 x 100 cm
Pinturas de Santiago Peñaloza Plascencia
La Mujer en la mecedora. 
Medidas: 80 x 100 cm.
Biografìa:
Santiago Peñaloza Plascencia. Nace en Guadalajara, México. Realiza estudios artísticos en la Academia de San Carlos en la Ciudad de México. En 1968, exhibe escultura en forma colectiva en el Museo de Arte Moderno durante la Olimpiada Cultural. Se inicia profesionalmente en 1971 como pintor. Son más de 30 exposiciones realizadas en diferentes galerías en la capital de México, otras ciudades de la República y del extranjero. Su obra se encuentra también como parte de colecciones particulares nacionales y extranjeras. Actualmente, vive en la ciudad de Guadalajara donde ha realizado murales en el Hospital Civil y destacando su labor como maestro de artes plásticas en el gobierno municipal.
Santiago Peñaloza Plascencia. Nace en Guadalajara, México. Realiza estudios artísticos en la Academia de San Carlos en la Ciudad de México. En 1968, exhibe escultura en forma colectiva en el Museo de Arte Moderno durante la Olimpiada Cultural. Se inicia profesionalmente en 1971 como pintor. Son más de 30 exposiciones realizadas en diferentes galerías en la capital de México, otras ciudades de la República y del extranjero. Su obra se encuentra también como parte de colecciones particulares nacionales y extranjeras. Actualmente, vive en la ciudad de Guadalajara donde ha realizado murales en el Hospital Civil y destacando su labor como maestro de artes plásticas en el gobierno municipal.
29 de diciembre de 2012
Pinturas de Pauline Roche
Biography:
Pauline Roche was born in London but grew up in Australia from the age of seven. In 1995 she moved to the United States. She lived for a number of years in Boston, and also in Tucson, Arizona, and has recently settled in San Diego, California with her husband and two children.
Pauline Roche was born in London but grew up in Australia from the age of seven. In 1995 she moved to the United States. She lived for a number of years in Boston, and also in Tucson, Arizona, and has recently settled in San Diego, California with her husband and two children.
Pinturas de Lorenzo Mattotti
Biografìa:
Lorenzo Mattotti es un historietista, artista gráfico e ilustrador italiano. En el campo del cómic, Mattotti ganó un Premio Eisner en 2003 por su "Doctor Jekyll y Sr. WikipediaFecha de nacimiento: 24 de enero de 1954.
Lorenzo Mattotti es un historietista, artista gráfico e ilustrador italiano. En el campo del cómic, Mattotti ganó un Premio Eisner en 2003 por su "Doctor Jekyll y Sr. WikipediaFecha de nacimiento: 24 de enero de 1954.
