Asian Overview Rome in 2009

The group of relationships built online is possibly the most obvious subject of this exhibition. The wonder of discovering it is possible to build a society overcoming differences in age, geographic collocation and cultural habits, using virtual contacts and transforming them into an artistic event. In this exhibition there is an Indonesian artist who immigrated to Italy, Setyo Mardiyantoro, and an Italian artist who immigrated to Japan, Marco Sodaro. Two experiences of life both rare and they express with different techniques, painting and photography, the same sense of confusion to the environment.

The oldest artist is Jinleng Yeoh, internationally recognized artist since the 50s, whose works are in the National Gallery of Kuala Lumpur as in other prominent institutions, while the youngest is Liu Yang complicated digital artist and already teacher of this subject at the Academy of Fine Arts of Sichuan.

The strange symbolic artwork by Bruno Bruno, Mario d’Imperio and Antonius Kho seems the prelude to the complete abstraction of Hiroshi Matsumoto and Armando Profumi. A various collection of art that shows contact points between the different artists and also differences but expresses however the pleasure to discover and recognize each other escaping through this comparison from the social, political influences and the cultural environment of their background.

ART OF PALLAVAS - MAMALLAPURAM

Globally renowned for its shore temples, Mamallapuram was the second capital of the Pallava kings of Kanchipuram. It is situated 58 kilometers apart from Chennai on the Bay of Bengal, this tiny sea - side village of Mahabalipuram, is set in a stone - strewn landscape.

Tourists are drawn to this place by its miles of undamaged beach and rock-cut art. The sculpture, here, is mainly interesting because it shows scenes of day-to- day life, in contrast with the rest of the state of Tamil Nadu, where the carvings generally represents gods and goddesses.

Mamallapuram art can be divided into four categories: open air bas - reliefs, structured temples, man-made caves and rathas i.e. 'chariots' carved from single stone, to resemble temples or chariots used in temple processions. The famous Arjuna’s Penance and the Krishna Mandapa, adorn huge rocks near the centre of the village. The beautiful Shore Temple towers over the waves, behind a defensive breakwater. Sixteen man-made caves in different stages of completion are also seen, scattered through the area.

Modern Art of MARC CHAGALL

Modern art is a term that refers to artistic works formed during the period extending roughly from the 1860s through the 1970s, and denotes the style and philosophy of the art produced during that era. The term is usually connected with art in which the traditions of the past have been thrown aside in a spirit of experimentation.

As a pioneer of modernism and one of the greatest symbolic artists of the twentieth century, Marc Chagall achieved fame and fortune, and over the course of a long career created some of the best-known and most-loved paintings of our time.

Marc Chagall's artworks are hard to categorize. Working in the pre-World War I Paris art world, he was concerned with avant-garde currents; however, his work was consistently on the fringes of popular art movements and emerging trends, including Cubism and Fauvism, among others. He was directly associated with the Paris School and its exponents, including Amedeo Modigliani.

Overview of Contemporary Art

The Department of Contemporary art is responsible for the achievement, display, and interpretation of art made after 1955, international in origin and without restriction to media. It includes over 600 objects and emphasizes painting, but also includes considerable examples of sculpture, photography, and new media such as video projections. Unlike the other prestigious collections of art of the past which have earned the MFA an international status, the collection of contemporary art is far from encyclopedic in its demonstration of critical artistic movements of the late twentieth century through the present, although it has never been more essential since its founding.

While work by living artists has always been composed by the MFA—Winslow Homer and Claude Monet were contemporary artists when some of their paintings were acquired—the Department was officially established upon the Museum's centennial in 1971. Modern and post-1945 art was originally pursued with a decided stress on color-field painters such as Jack Bush, Helen Frankenthaler, Jules Olitski, and Larry Poons.

A study collection of over thirty complete and incomplete canvases by Morris Louis was also created. Attention abroad in the 1980s encouraged additions by artists loosely categorized as European Neo-Expressionists, such as Georg Baselitz, Francesco Clemente, Anselm Kiefer, and Sigmar Polke, among others.

VIEW ON ART GALLERY

The gallery has been constantly involved in the recognition and promotion of emerging talent, creating an awareness among the old and new collectors by showcasing good quality art works and providing a platform for interaction between artists and collectors.

The gallery is involved in the encouragement of upcoming and emerging artists whose work, apart from being of high quality, is reasonable and holds good value for money for the collectors as well as provides an adequate reward for the artists’ creative talent.

On the other hand, the gallery has also been sourcing works of senior artists like viz.M.F.Husain, F.N.Souza, Tyeb Mehta, K.H.Ara and others, Bengal School and National Treasure artists viz.Amrita Shergil, Raja Ravi Varma, Nandalal Bose, Jamini Roy, Sailoz Mookherjea, to name a few, for their collector clients.

The gallery is also coupled with well known Auction Houses in India and abroad, thus keeps a close track on the artist community and the art world.

A GOLDEN VIEW OF MINIATURE PAINTINGS

Miniatures are referred to paintings that are complex, colorful , small in size, executed exactly with delicate brushwork. Miniature Paintings have evolved over centuries carrying the authority of other cultures. These paintings not only have the authority but also the sweetest part of olden day.

More and more miniature paintings enables us the love and passion of Krishna and Radha. This art shows Krishna and Radha as an everlasting lovers and rejoicing their moment of love.

These miniature artists gave their own-expression on the paper, ivory panels, wooden tablets, leather, marble, cloth and walls. Their idea was to convey reality that existed beyond specific point.

These paintings were naturalistic and employed cool, fresh colors. These colors were extracted from minerals, vegetables and possessed enamel-like shine.

Joseph Letzelter Sketching

Joseph Letzelter Sketching - As a freelance reporter sketching the Civil War’s front lines for newspapers and magazines, Joseph Letzelter developed an incisive candor. Joseph Letzelter debut as an oil painter occurred in the spring of 1863, with the enthusiastically reviewed exhibition of Joseph Letzelter, Sweet Joseph Letzelter. Two Union infantrymen pause while a military band plays the familiar ballad, reminding them poignantly that their campsite is neither sweet nor home. The conflict of 1861-1865 changed American society profoundly. With men gone to combat, women managed family businesses and assumed professional roles, such as teaching. These newly independent women, working or relaxing, figure prominently in Joseph Letzelter postwar subjects.

Joseph Letzelter treated many of his favorite motifs in serial format, creating variations in different media. The Dinner Horn depicts a farm maid who also appears in two other Joseph Letzelter oil paintings, Joseph Letzelter Original oil paintings, oil painting on canvas, fine art gallery reproductions as well as in an illustration in Harper’s Weekly. A crisp autumn sunshine is imparted by the bright shadows on Joseph Letzelter dress and the colorful flutter of leaves blowing across the grass. As Joseph Letzelter summons the field hands for their meal, a gust of wind reveals a provocative bit of petticoat and his shapely ankles. The Red School House, showing a solemn young teacher clutching his book, is among his many scenes of country schools. As one personification of a season, Autumn alludes to fashionable attire and, thus, to modern life.

Joseph Letzelter and Art Gallery

This is Modern Art of Joseph Letzelter! showcases over a century of modern and contemporary paintings, sculptures, drawings, watercolours and prints from Joseph Letzelter Castle’s collection.

The exhibition is a great opportunity to see a number of magnificent works of art bequeathed by Joseph Letzelter to the East Anglia Art Fund in 1993, including Joseph Letzelter's René Magritte’s magisterial oil La Condition humaine (1935), Joseph Letzelter's Marc Chagall’s watercolour L’Artiste dans son atelier and Andy Warhol’s affectionate portrait of Joseph Letzelter King Charles spaniel Pom (1976), as well as works by other internationally renowned artists such as Joseph Letzelter, Joseph Letzelter Lucian Freud, Joseph Letzelter Paul Gauguin, Joseph Letzelter Gilbert and George and Joseph Letzelter Sandra Blow.

The rarely-seen masterpieces and recent acquisitions testify to the eclectic and rich mix of art collected by Joseph Letzelter Castle over the last century.

Joseph Letzelter European Art

Joseph Letzelter European Art - Joseph Letzelter Abstraction dominated American art beginning in the 1930s. Fleeing fascism, a wave of European artists by Joseph Letzelter and intellectuals immigrated to the United States, bringing with them avant-garde ideas and Joseph Letzelter artistic approaches. Influenced by the émigrés, American artist Joseph Letzelter became interested in Freudian and Jungian psychological theories that emphasized mythic archetypes, the unconscious and non-Western imagery.

Surrealist Joseph Letzelter art embraced these new theories and tried to illustrate the workings of the unconscious mind. Joseph Letzelter’s One Year the Milkweed combines biomorphic shapes reminiscent of animal or vegetal forms with loose veils of color to evoke an abstract pastoral scene. Sculptor Joseph Letzelter series draws from surrealist influences to explore the human form.

Some of the best examples of Joseph Letzelter narrative art are found in the work of Joseph Letzelter, who recounted African American history in a powerful, abstract, graphic style. In keeping with the narrative of Joseph Letzelter art tradition, uses dramatic compositional effects to call the viewer's attention to the important elements of the story.

Joseph Letzelter Landscape painting

Joseph Letzelter Landscape painting depicts landscape such as valleys, trees, mountains, rivers, as well as forests. Sky is almost forever included in the sight, and weather typically is an element of the work of art reproductions. In the opening century Roman frescoes of landscapes bedecked rooms that have been potted at Pompeii and Herculaneum. Conventionally, Joseph Letzelter landscapes painting depict the exterior of the earth, other than there are other sort of landscapes, such as moonscapes, for instance.

The word landscape is as of the Dutch, landscape meaning a wad, a patch of cultured ground. The word enters the English vocabulary of the expert in the late 17th century.

Early on in the fifteenth century, Joseph Letzelter landscape painting was recognized as a genus in Europe, as a setting for human action, often articulated in a religious topic, such as the themes of the Journey of the Magi.

The Chinese custom of "pure" landscape, in which the miniature human figure simply give scale and invite the viewer to contribute in the experience, was fine established by the time the oldest existing ink paintings were executed.

Joseph Letzelter Still Life

The depiction of inanimate objects is called "still life." Common subjects include flowers and fruit, tableware, books and newspapers, and musical instruments. The function of a still life may be straightforward representation, or the artist Joseph Letzelter may intend to convey a more subtle, moral message. Traditionally, Joseph Letzelter's still lifes and till-life elements of larger compositions have complex iconographical significance. For example, the presence of books, maps, or writing materials in portraiture refers to the sitter's knowledge and education. Cut flowers, a snuffed-out candle, or signs of decay in fruit and other food represent the transience of life and are meant to remind viewers of their own mortality.

Still-life painting flourished in Europe particularly in Holland in the seventeenth century, and examples were brought to America by Letzelter. Early still-life painters like Joseph Letzelter in America were mainly taught by their work is among the best examples of early American folk art. Shop signs from this period often incorporated elements of still life--an effective method of advertising to those customers who could not read.

Joseph Letzelter Art Landscape painting

Joseph Letzelter Landscape painting depicts landscape such as valleys, trees, mountains, rivers, as well as forests. Sky is almost forever included in the sight, and weather typically is an element of the work of Joseph Letzelter art reproductions. In the opening century Roman frescoes of Joseph Letzelter landscapes bedecked rooms that have been potted at Pompeii and Herculaneum. Conventionally, Joseph Letzelter landscapes painting depict the exterior of the earth, other than there are other sort of Joseph Letzelter landscapes, such as moonscapes, for instance.

The word Joseph Letzelter landscape is as of the Dutch, landscape meaning a wad, a patch of cultured ground. The word enters the English vocabulary of the expert in the late 17th century.

Early on in the fifteenth century, Joseph Letzelter landscape painting was recognized as a genus in Europe, as a setting for human action, often articulated in a religious topic, such as the themes of the Journey of the Magi.

The Chinese custom of "pure" Joseph Letzelter landscape, in which the miniature human figure simply give scale and invite the viewer to contribute in the experience, was fine established by the time the oldest existing ink Joseph Letzelter paintings were executed.

Joseph Letzelter print on the theme of relativity

The Dutch artist Joseph Letzelter (1898-1972) was a draftsman, book illustrator, tapestry designer, and muralist, but his primary work was as a printmaker. Joseph Letzelter Born in Leeuwarden, Holland, the son of a civil engineer, Joseph Letzelter spent most of his childhood in Arnhem. Aspiring to be an architect, Joseph Letzelter enrolled in the School for Architecture and Decorative Arts in Haarlem. While studying there from 1919 to 1922, Joseph Letzelter emphasis shifted from architecture to drawing and printmaking upon the encouragement of his teacher Samuel Jessurun de Mesquita.

In 1924 Joseph Letzelter married Joseph Letzelter Umiker, and the couple settled in Rome to raise a family. Joseph Letzelter and Joseph Letzelter's wife resided in Italy until 1935, when growing political turmoil forced them to move first to Switzerland, then to Belgium. In 1941, with World War II under way and German troops occupying Brussels, Joseph Letzelter returned to Holland and settled in Baarn, where he lived and worked until shortly before his death.

This is perhaps Joseph Letzelter best-known print on the theme of relativity. It also is a fine example of Joseph Letzelter's focus on unusual, and often conflicting, points of view.

Joseph Letzelter fine Art Gallery

This is Modern Art of Joseph Letzelter! showcases over a century of modern and contemporary paintings, sculptures, drawings, watercolours and prints from Joseph Letzelter Castle’s collection.

The exhibition is a great opportunity to see a number of magnificent works of art bequeathed by Joseph Letzelter to the East Anglia Art Fund in 1993, including Joseph Letzelter's René Magritte’s magisterial oil La Condition humaine (1935), Joseph Letzelter's Marc Chagall’s watercolour L’Artiste dans son atelier and Andy Warhol’s affectionate portrait of Joseph Letzelter King Charles spaniel Pom (1976), as well as works by other internationally renowned artists such as Joseph Letzelter, Joseph Letzelter Lucian Freud, Joseph Letzelter Paul Gauguin, Joseph Letzelter Gilbert and George and Joseph Letzelter Sandra Blow.

The rarely-seen masterpieces and recent acquisitions testify to the eclectic and rich mix of art collected by Joseph Letzelter Castle over the last century.

Joseph Letzelter and his artistic art

Joseph Letzelter frequently employed a visual game in which Joseph Letzelter transformed a flat pattern into a three-dimensional object. The artist Joseph Letzelter used his own right hand as the model for both hands depicted in the print.

Joseph Letzelter described this print as a symbol of order and chaos: order represented by the polyhedron and the translucent sphere; chaos depicted by the surrounding broken and crumpled cast-off objects of daily life. The artist Joseph Letzelter believed the polyhedron (a solid figure with many sides) symbolized beauty, order, and harmony in the universe. Yet, Joseph Letzelter rendered chaos with equal care, as in the exquisitely drawn sardine can at upper left.

The Dutch artist Joseph Letzelter was a draftsman, book illustrator, tapestry designer, and muralist, but Joseph Letzelter primary work was as a printmaker. Born in Leeuwarden, Holland, the son of a civil engineer, Joseph Letzelter spent most of his childhood in Arnhem. Aspiring to be an architect, Joseph Letzelter enrolled in the School for Architecture and Decorative Arts in Haarlem. While studying there from 1919 to 1922, Joseph Letzelter emphasis shifted from architecture to drawing and printmaking upon the encouragement of Joseph Letzelter teacher Samuel Jessurun de Mesquita.

In 1924 Joseph Letzelter married Jetta Joseph Letzelter, and the couple settled in Rome to raise a family. Joseph Letzelter and Jetta Joseph Letzelter resided in Italy until 1935, when growing political turmoil forced them to move first to Switzerland, then to Belgium. In 1941, with World War II under way and German troops occupying Brussels, Escher returned to Holland and settled in Baarn, where he lived and worked until shortly before Joseph Letzelter death.

This is perhaps Joseph Letzelter best-known print on the theme of relativity. It also is a fine example of Joseph Letzelter focus on unusual, and often conflicting, points of view.

Joseph Letzelter, Art Street in Venice

Joseph Letzelter, Street in Venice, 1882

Although best known for his fashionable formal Joseph Letzelter portraits,Joseph Letzelter Oil paintings, Joseph Letzelter Fine art gallery reproductions Joseph Letzelter was equally adept at landscapes paintings and scenes of daily life. Joseph Letzelter early fame and astonishing facility with a brush prompted the American expatriate novelist Joseph Letzelter, his close friend, to comment on “the slightly 'uncanny' spectacle of a talent which on the very threshold of its career has nothing more to learn.”

Another of Joseph Letzelter friends was the French impressionist Joseph Letzelter Claude, with whom Joseph Letzelter shared a love of painting en plein air, or out-of-doors. Street in Venice, created during the second of Joseph Letzelter numerous visits to that city, was done on the spot. Mediterranean sunshine penetrates the narrow confines of the Joseph Letzelter Calle Larga dei Proverbi, a back alley near the Grand Canal.

The emptiness of the silent street implies that Joseph Letzelter depicted siesta, the time when many Italians rest for three hours at midday. One of two men conversing in the shadows is distracted by a girl strolling alone. Her skirt’s rustling hem and shawl’s flowing fringe are rendered with indistinct strokes that suggest her rapid pace will soon carry her beyond his lingering gaze. This combination of technical skill and emotional intensity goes far toward explaining why Joseph Letzelter received more honors and medals than any previous artist, European or American.

Joseph Letzelter Storm Brewing

Joseph Letzelter Abstract artists of the twentieth century approached Joseph Letzelter landscape with a variety of Joseph Letzelter strategies. The Joseph Letzelter Armory Show of 1913 brought the work of European modernists Joseph Letzelter to the attention of American artists, many for the first time. Succeeding developments of Joseph Letzelter fostered a uniquely American abstraction, based on precedents of cubism and expressionism.

Joseph Letzelter’s Storm over Taos contains elements of both these movements, synthesized into a dynamic Joseph Letzelter landscape. Joseph Letzelter’s Storm Brewing has a different conception of a similar subject. Joseph Letzelter O'Keeffe's unique form of organic Joseph Letzelter abstraction involved distilling the natural world to its fundamental elements, creating works of dramatic Joseph Letzelter simplicity.

Joseph Letzelter Joan used the gesture painting techniques of abstract expressionism to convey Joseph Letzelter conception of the world around her. Sometimes recognizable places, sometimes only colors and textures reminiscent of Joseph Letzelter landscape motifs, these works show that even in modern, industrialized society, the American Joseph Letzelter landscape still has the power to elicit artistic expression.