Heidi Daub at Aarhus Original Oil Painting Gallery

Oil Painting Aarhus gallery is excited to exhibit the lively color Original Oil Painting work of the talented Blue Hill Oil Painting artist Heidi Daub September 2-21. The public is invited to an Fine art reproductions opening reception on Friday September 5th from 5-8pm.

With a personal vivid style and recognizable imagery, Heidi's modernistic landscapes play along the border of abstract and representational Original Oil painting.

"I am concerned with ordinary things and the extraordinary ways in which the ordinary shapes our lives. My Oil paintings and Fine art Paintings evolve from an introspection,... an awareness,... There is an aspiration to a holy moment so to speak. How we perceive and feel, the nebulous space between the physical reality of a given situation, person or place, and the perceptions we carry, the curiosity and non-linear ways of looking at time."

Heidi Daub graduated from Montserrat School of Visual Fine Art Reproductions, has lived and worked in Maine since 1984 and exhibited her Oil paintings on canvas widely throughout New England since 1987. Heidi is represented by oil painting galleries throughout New England and her work is housed nationally in many private Oil Painting collections.

In 2008, Heidi has inaugurated the Women of Maine Visionary Fine Arts Reproduction Award to support women involved in audio, visual or literary Fine Arts Paintings who exhibit outstanding commitment and are inspiring to others.

Work by New Brunswick Printmaker Dan Steeves on Exhibit at Tides Institute

Eastport, Maine?The Tides Institute and Museum of Art gallery and Art Reproduction (TIMA) will open its third exhibition of the season featuring a one-person show of work by one of eastern Canada?s foremost printmakers, Dan Steeves. The exhibition opens on August 23 and will be on view through September 21, 2008. The public is invited to an Opening Reception for the Original Oil paintings artist on Saturday, August 23, 2008 from 5:00 ? 7:00 p.m. A letter in support of the exhibition by New Brunswick?s Premier Shawn Graham will be read at the opening.

Dan Steeves was born in 1959 in Moncton, New Brunswick. He received his B.F.A. from Mount Allison University in 1981. He currently lives in Sackville, New Brunswick where he is Printmaking Instructor and Lecturer in the Fine Arts Reprodcution and Oil painting Department at Mount Allison University. In 2007, Dan won the prestigious Sheila Hugh McKay Foundation's Strathbutler Award, which honors exceptional Oil painting on canvas artistry in the province.

Steeves' work has been exhibited in art galleries in Canada, the United States, Holland, Italy, Japan, Poland, Taiwan and the Ukraine. His prints are represented internationally in both public and private collections including Canadian House, (Nagoya, Japan), Royal Bank, Beaverbrook Art Gallery Reprodcution, Regent College, Istituto Per La Cultura E L'Arte, (Catania, Italy), Chernobyl Disaster Museum, (Kharkov, Ukraine, USSR), Canada Council Art Gallery Bank, Permanent Collection, University of New Brunswick Art Reprodcution Centre and New Brunswick Oil painting Art Bank, among others. He is represented by the Abbozzo Gallery of Oakville, Ontario, and the Peter Buckland Gallery of Saint John, New Brunswick. The prints included in this exhibition are on loan from the Peter Buckland Gallery.

Also on view and on loan to TIMA until October is an Original oil painting by N.C. Wyeth titled, The Little Cockle, originally created to illustrate a passage from the book, The Black Arrow by Robert Louis Stevenson.

The Tides Institute is open Wednesday through Sunday, 10 a.m. ? 5 p.m.

The Tides Institute and Museum of Art gallery and Art Reproduction(TIMA) is located in the former Eastport Savings Bank Building, an 1887 National Register of Historic Places anchor property in downtown Eastport, Maine. Open year round, TIMA curates three to four new exhibitions each year, as well as exhibits works from its permanent collections, which focuses on the international Passamaquoddy region and the broader U.S./Canada northeast coast. Art Gallery and Art Reproduction TIMA operates as a cultural catalyst ? acting as a cultural resource, cultural facilitator, and cultural collaborator working with a wide range of partners on both sides of the U.S/Canada border.

Painting the Bold Coast exhibit at Bayview Gallery, Camden

Bayview Gallery presents Of Land and Sea: Online Painting the Bold Coast - an exhibit of marine Online paintings in our Camden gallery, featuring the works of William R. Beebe, Vern Broe, Robert Spring and other gallery artists.

Marine artist William Beebe has been Online oil painting the coast for over 16 years, and he now dedicates himself to rendering the historical wooden schooners of the 19th and 20th centuries. An admirer of Impressionist Claude Monet and Frank W. Benson for their brushwork, palette and interplay of light, Beebe creatively uses layers of various colors to achieve depth in his images. A black hull may have Naples Yellow, Cobalt Blue, or Umber added to create light and dark or warm and cold areas. His crisp lines and detailed renderings bring vitality to his maritime work along with a traditional realism honoring the excitement and joy of the nautical journey. His oils capture movement and place, celebrating the timeless grandeur of these majestic sailing vessels.

Vern Broe has painted the coast from several New England locations - Gloucester, Marblehead, and of course Maine. Versatile marine painter and former draftsman, Broe explores the contrasting qualities of light and dark and their various tones in his Original oil paintings. Water takes on an illusionary sense due to his skillful, delicate use of multiple washes of acrylic paint. Well-studied, keen lines define his vessels, giving them a subdued character against a receding, dream-like backdrop. He pays homage to the sailing and working crafts that grace the coastline.

Maine resident Robert Spring is well versed in portraying images in both oil and watercolors. Influenced by J.M.W. Turner, his oils are luminous and impressive, exhibiting an inventive palette that plays up the frequently subtle nature of his subject matter. Texture and color create a rhythmic energy, bringing new life to his seascapes. A sculptor as well, Robert's use of thick impasto suggests a tangible quality with his oils, texture and movement working in unison. His watercolors evoke a feeling of mystery, leaving the viewer to draw his own conclusions as to the outcome of the oil painting on canvas. A heightened sense of drama with no resolution contrasts with a momentary stillness and peace.

Oil Painting Workshops with Nina Weiss

On Friday, August 15, Nina will teach Beyond Green: Oil Painting Exploring Color Through art gallary Landscape. In this five hour workshop participants will study the Oil Paintings complex colors of nature. They will begin with a basic review of the Oil Paintings color wheel and examination of Original oil painting color groupings and relationships. Oil Paint mixing and Art Gallery color exercises will strengthen awareness of how to effectively use Oil painting color in landscape paintings and fine art drawings.

On Saturday and Sunday, August 16 & 17, Nina will offer Oil Painting and art reproduction Drawing the Maine Landscape, a two day, ten hour, workshop. Students will work plein-aire studying the inspirational oil painting on canvas landscapes around the beautiful harbor town of Corea. Emphasis of this workshop will be on rendering basic forms of the landscape, using line and gesture and seeing and expanding the use of Art reproduction color in landscapes. Students will begin with compositional sketches and Oil Paintings color studies and progress to works in the color medium of their choice.

The one day (Friday) workshop is $75 and the two day (Saturday / Sunday) workshop is $140. Each workshop is capped at 15 participants.

Paper Marbling an Oil Painting

Paper marbling Oil Painting is a method of aqueous surface oil reproduction design, which can produce oil painting patterns similar to art reproduction marble or other stone, hence the name. The original oil painting patterns are the result of colors floated on either canvas painting plain water or an art reproduction viscous solution known as size, and then carefully the oil painting transferred to a piece of paper (or other surfaces such as fabric).

This oil painting on canvas decorative material has been used to cover a variety of oil painting surfaces for several centuries. It is often employed as a fine art painting writing surface for oil painting calligraphy, and especially book covers art reproductions and endpapers in book binding and stationery. Part of oil painting appeals is that each oil painting print is a unique monoprint.

Aurora Triumphans (1877-8) oil painting by Evelyn de Morgan (1855-1919)

One of the key paintings of Bournemouth’s Russell-Cotes Art Gallery & Museum returns home today, Tuesday 15 April 2008, following a two-year absence for important conservation work.

Evelyn de Morgan’s (1855-1919) Aurora Triumphans has been a big draw to the town for art lovers for many years. It was bought by Herbert Russell-Cotes, son of Sir Merton & Lady Russell-Cotes, in circa 1922.

Aurora Triumphans is one of Evelyn de Morgan’s key works. It was exhibited at the Grosvenor Gallery, London, in 1886, the year before her marriage to the potter William de Morgan. The de Morgans were leading figures in the Art & Crafts movement.

The subject of the painting is Aurora, the ancient Greek goddess of dawn, ‘breaking free’ from the ‘shackles of night’. It is a fitting subject for the Russell-Cotes Art Gallery & Museum with the ‘day & night’ theme that runs throughout the house. Further background information about the painting and the artist follows this news release.

The oil painting is being brought back and hung in the gallery by conservator Elizabeth Holford, on Tuesday 15 April at 2.00pm.

Hard-edge oil painting

Hard-edge oil painting consists of rough, straight edges original oil painting that are geometrically consistent. It encompasses rich solid colors of art reproductions, neatness of surface, and arranged forms all over the oil painting on canvas. The Hard-edge oil painting style is related to Geometric abstraction of fine art painting, Post-painterly Abstraction, and Color Field oil painting. The term Original oil painting was coined by writer, curator and Los Angeles Times art reproduction critic Jules Langsner in 1959 to describe the work of original oil painters from California, who, in their reaction to the more painterly of oil paintings or gestural forms of Abstract expressionism, adopted a knowingly impersonal original oil paint application and delineated areas of painting color with particular sharpness and good clarity. This approach to abstract oil painting became widespread in the 1960s, though California was its creative center of fine art reproductions.

Hard edge oil painting is also a simply descriptive term, as applicable to past works as to future original oil artistic production. The term oil painting on canvas refers to the abrupt transition across "hard edges" between one color area to another color area. Canvas painting Color within "color areas" is generally reliable, that is, homogenous. Hard-edged oil painting can be both figurative and nonrepresentational.

Theft of Tom Roberts oil painting

ACT Policing is investigating the theft of a valuable oil painting by renowned Australian landscape artist Tom Roberts.

The work, which in its frame measures 560mm in height by 455mm wide, was stolen from a wall at University House on Balmain Crescent in Acton.

The work is entitled “Road near the Goulburn River” and is conservatively valued at $25,000.

The theft was reported to police yesterday, and has occurred while University House underwent refurbishment.

It is believed the painting was stolen sometime between April 30 and June 18 this year.

Contemporary Art Reproduction Galleries

The term contemporary art gallery refers generally to a privately-owned for-profit commercial art gallery. These art galleries are often found clustered together as art reproductions in large urban centers. The Chelsea district of New York City, for illustration, is widely considers to be the heart of the contemporary art gallery world. Even smaller towns will be home to atleast one contemporary art gallery, but these art reproductions may also be found in small communities and remote areas where artist congregate.

Contemporary art galleries are generally open to the general public with no charge; yet, some are semi-private. These Art reproductions usually profit by taking a cut of the art's sales; from 25 to 50% is common. There are also numerous not-for-profit and art-collective art galleries. Some art reproduction galleries in cities like Tokyo charge the artist a flat rate per day, though this is considered offensive in some international art Gallery markets. Art reproduction Galleries often hang solo shows. Curators frequently create group shows that say something about a certain matter, fashion in art, or group of associated art gallery artists. Art reproduction Galleries sometimes choose to represent artists exclusively, giving them the chance to show regularly. One peculiarity of contemporary art reproduction galleries is their aversion to signing business contracts, even though this seems to be changing.

A contemporary art gallery's definition can also include the art gallery artist run centre, which often operates as a space with a more independent selection and attitude.

Acrylic Paint, Water-Color Painting

Acrylic paint is fast aeration paint that contains pigment hovering in an acrylic polymer emulsion. Acrylic paints could be diluted with water, but turn into water-resistant when dried up. Depending on how greatly the paint is diluted (with water) or customized with acrylic gels, mediums, or paste, the completed acrylic painting can look like a watercolor or an oil painting, or have its own unique characters not attainable with the other medium.

History of Acrylics Painting

Acrylics were first made commercially obtainable in the 1950s. These were mineral spirit-based paints known as Magna offered through Bocour Artist Colors. Water-based acrylic paints were later sold as "latex" home paints, even though acrylic dispersal uses no latex resultant from a rubber tree. Interior "latex" home paints tend to be a mixture of binder (occasionally acrylic, vinyl, pva and others), pigment, water and filler,. External "latex" home paints may also be a "co-polymer" blend, but the very finest exterior water-based paints are 100% acrylic. Soon after the water-based acrylic binder were introduced as home paints, artists and companies similar began to search the potential of the new binders. Water soluble artiste quality acrylic paints became commercially presented in the early on 1960s, offered by Liquitex.

Traditional Faux Painting

Faux painting are commonly called Faux finishing are terms used to portray a wide range of ornamental oil paintings techniques. From the French utterance for "fake", faux painting begin as a shape of replicating materials such as granite and wood with paint, but has come to encompass various other decorative finishes for ramparts and furnishings.

History of Faux Painting

Faux finishing has been in use for millennia, as of cave painting to Ancient Egypt, but what we usually think of as faux finishing in Decorative Arts begin with Plaster as well as Stucco Finishes in Mesopotamia over 5000 years before.

Faux became vastly popular in Classical times in the form of faux Wood, faux Marble, and Trompe l'oeil Murals. Artists would trainee for 10 years or further with a master faux artist before work on their own. Great credit was rewarded to artiste who could really trick viewers into believing their work was the genuine thing. Faux painting has continued to be more popular throughout the ages, but experienced main resurgences in the neoclassical revitalization of the nineteenth century and the Art Deco style of the 1920s. Throughout the modern history of attractive painting, faux finishing has been mostly used in profit-making and public spaces.

In the late 1980s and early on 1990s faux finishing saw another major revitalization, as wallpaper began to fall out of style. At this point, faux painting has started to become tremendously popular in home environment, with high end homes leading the trend. While it can be quite costly to hire an expert faux finisher, numerous faux painting techniques are easy enough for a beginning home proprietor to create with a little training. People are also fascinated to the ease of changing a faux finish, as it can be simply painted over compared with the harass of eliminating wallpaper.

Traditional Oil Painting Practices

Traditional oil painting technique frequently start with the oil paintings artist sketching the stature onto the canvas with charcoal or a "rinse," which is thinned paint. Oil paintings can be varied with turpentine or artiste grade mineral spirits or other type of solvents to make a thinner, faster aeration paint. Then the artiste builds the figure in sheets. An essential rule of oil paint appliance is 'fat over lean.' This means that every additional layer of oil paintings must be a bit oilier than the layer beneath, to allow correct drying. As a painting gets extra layers, the oil paintings have to get oilier or the last painting will break and peel. There are many other painting medium that can be use in oil painting, which includes resins, cold wax, and varnishes. These additional medium can assist the Oil painter in adjusting the transparency of the paint, the shine of the paint, the thickness or 'body' of the paint, and the aptitude of the paint to hold or hide the brush stroke.

These variables are strongly related to the expressive ability of oil paintings. When we look at original oil paintings, the various character of oil paint permit one to sense the choice the artiste made as they apply the paint. For the spectator, the paint is still, but for the artiste, the oil paintings is a fluid or semi-fluid and must be stirred 'onto' the painting surface.

Portrait Photography System

Portrait photography is a trendy commercial industry all over the earth. Numerous people enjoy having professionally finished family portraits to hang up in their homes, or special portraits to remember certain events, such as graduations or wedding ceremony.

Since the dawn of picture making, people have prepared portraits. The attractiveness of the daguerreotype in the heart of the 19th century was due in great part to the demand for low-priced portraiture. Studios spring up in cities around the earth, a few cranking out more than 500 plates a day. The technique of these early works reflects the technical challenges connected with 30-second exposure times and the painterly artistic of the time. Subjects were usually seated next to plain backgrounds and lit with the soft brightness of an overhead window and anything else might be reflected with mirrors.

As photographic system developed, a fearless group of photographers took their talent out of the studio and onto battleground, across oceans and into distant wilderness.

The Procedure of Oil Paintings

The procedures of oil paintings vary from artist to artist, but often include certain steps. First, the artiste prepares the surface. Even though surfaces like pressed wood, linoleum, wooden panel as well as cardboard have been used, the most admired surface since the 16th century is the canvas, although lots of artists used pane through the 17th century and further than. Before that it was pane, which is more costly, heavier, less easy to transfer, and prone to distort or split in poor circumstances.

The oil painting artist might draft an outline of their subject prior to applying color to the surface. “Pigment” may be any number of normal substances with color, such as sulphur for golden or cobalt for navy. The pigment is mixed with oil, typically linseed oil but additional oils may be used as well. The various oils dried up differently creating mixed effects.

Traditionally, an artiste mixed his or her own paints for every project. Mixing and Handling the raw pigments and mediums was excessive to transport. This altered in the late 1800’s, when oil paintings in tube became broadly available. Fine art reproductions Artists could mix colors rapidly and simply without having to crush their own pigments. Also, the portability of pipe paints allowable for plein air, or outdoor work of art gallery.

Prehistoric Eastern art

Eastern art reproductions has usually worked in a style similar to Western medieval oil paintings, namely a attention on surface pattern and local color (meaning the plain color of an item, such as essential red intended for a red robe, besides than the modulations of that color brought about by glow, gloom and reflection). A feature of this style is that the local color is often distinct by an outline (a contemporary art paintings equal is the cartoon). This is clear in, for example, the fine art gallery reproductions of India, Tibet as well as Japan.

Spiritual Islamic painting forbids iconography, and express religious thoughts through geometric design instead. Yet, there are a lot of Islamic paintings which display religious theme and scenes of story common among the three main monotheistic faith of Islam, Christianity, as well as Judaism.

ITALIAN PAINTING OF THE 15TH CENTURY

All over Europe, the late middle ages favored a decorative and courtly manner known as the International Style. By the early 15th century, however, people in Florence and other towns of central Italy genuinely believed they were living in a new era—the Renaissance. Not only did the Renaissance bring new, more naturalistic styles, but also increased patronage from private individuals, and new, secular subjects.

In the fifteenth century, artists learned to depict the visual world in a naturalistic manner. They extended their understanding of light and shadow, of space and anatomy. The idealized statuary of classical antiquity served as models, while in architecture the classical orders were applied to Renaissance buildings.

The prosperous mercantile economy of Florence helped to nurture the fine arts. Commissions came from the church, the state, and wealthy families. Classical as well as biblical heroes and heroines were portrayed as examples of virtue and moral fortitude.

However, to view the fine art oil paintings reproductions of the Renaissance as a mere conquest of naturalistic representation would overlook the complexity of the period. Carlo Crivelli painted sumptuous altarpieces in a boldly ornamental manner, and Cosimo Tura frequently departed from logical, naturalistic norms in favor of an energetic idiom with an eccentric elegance. Portraiture flourished during the Renaissance, and the Venetians, foremost among them Giorgione and Bellini, excelled in their depictions of pastoral landscape.

Purposes of Exterior Paint

Paint applied to exterior wood must withstand yearly extremes of both temperature and humidity. While never expected to be more than a temporary physical shield--requiring reapplication every 5 to 8 years--its importance should not be minimized. Because one of the main causes of wood deterioration is moisture penetration, a primary purpose for painting wood is to exclude such moisture, thereby slowing deterioration not only of a building's exterior siding and decorative features but, ultimately, its underlying structural members. Another important purpose for painting wood is, of course, to define and accent architectural features and to improve appearance.

Peale's an American Portrait

Peale was a major figure in both fine art reproduction and science during America's revolutionary and federal periods. In 1786 he converted the oil painting gallery attached to his Philadelphia home into a museum of "Natural Curiosities." Peale's enthusiasm for learning was such that he named most of his seventeen children after famous scientists or oil painters.

In 1788 the Lamings of Maryland commissioned Peale to paint this double portrait. In addition to working on the picture, which incorporates a "view of part of Baltimore Town," Peale studied natural history and collected specimens while in residence at the Lamings' suburban estate. Peale's diary records his progress from 18 September, when he "sketched out the design" after dinner, to 5 October, when he added the finishing touches "and made the portrait much better."

Peale cleverly devised a leaning posture for the husband so that his portly figure would not overshadow his petite wife. This unusual, reclining attitude binds the couple together and tells of their love. The spyglass and exotic parrot may indicate Laming's mercantile interest in foreign shipping. Mrs. Laming's fruit and flowers, although symbols of fertility, might refer to her own gardening activities. The detailed attention to the bird, plants, scenery, telescope, and complicated poses attests to Peale's encyclopedic range of interests.

Mather Brown, William Vans Murray, 1787

John Beale Bordley, a Maryland planter and judge, raised the funds to send Charles Willson Peale to London, where the young artist trained under Benjamin West for two years. Bordley also helped Peale obtain his first major commission in America—two life-size portraits, including this allegorical work, that were to be shipped to London as declarations of colonial independence.

The theme of tyranny dominates the foreground. Trained as a lawyer, Bordley raises his hand in a gesture of debate. He points to a statue of British Liberty holding the scales of justice, reminding English viewers that the American colonists lived under British law and thus were entitled to the rights it guaranteed. Britain's violation of these rights is signified by the legal document, lying torn and discarded at Bordley's feet. Growing at the statue's base is jimsonweed, a poisonous plant, which serves to warn of the deadly consequences of any attack on American civil liberties.

America's agricultural self-sufficiency is referred to in the background, which depicts Bordley's plantation on Wye Island in the Chesapeake Bay, where Peale painted the canvas. A peach tree and a packhorse signify America's abundance, while the grazing sheep suggest freedom from reliance on imported British woolens.

AMERICAN PAINTING

Much art of the American colonial period consisted of portraits, as settlers sought to establish their identities in a new world. After the new nation achieved its independence, landscapes and scenes of native flora, fauna, and folk customs began to express its unique qualities and illustrate its untapped resources.

Portraiture formed the mainstay of subject matter in colonial and federal American art, as immigrants to the New World attempted to bring a semblance of Old World civilization to their wild or, at best, provincial surroundings. When Benjamin West arrived in Rome in 1760, he was the first American artist to study in Europe. Upon seeing the Vatican's famous classical statue, the Apollo Belvedere, West exclaimed, "My God! How like it is to a young Mohawk warrior!" His astute comparison between a "noble savage" and the "glory that was Greece" won hearty applause from the connoisseurs. West soon emerged as Europe's foremost history painter, dropping the allegorical trappings from classical antiquity that had been the norm and basing his work on historical research.

John Singleton Copley followed West's example in depicting past and present occurrences with believable accessories and settings. Gilbert Stuart, who studied with West in London, revitalized the concept of "Grand Manner" portraiture; his Skater is invigorated with a sense of immediacy and activity.Read more...>

The Elegance of Chinese Painting

The history of Chinese painting can be dated back to the Neolithic age six thousand years ago. It was at this time that Chinese artists began to use brushes in their work. Chinese art and painting have evolved considerable after many years and influences from other cultures, but there are many elements in the painting that still remain a constant today.

Paper or silk used frequently used in Chinese painting producing a beautiful effect. You will see the pictures appear on murals, screens, and fans in the Chinese culture. Chinese pictures can consist of fine brush strokes and intricate detail, or pictures that employ a freehand brush stroke and images that are more abstract.

The primary subjects of Chinese paintings are the flower and birds. Other pictures are frequently seen in Chinese art include, beautiful landscape scenes, and paintings of figures.

Chinese Painting Art that Creates a Poem

Many pieces will include an inscription or seal that will help the audience of the picture understand what the artist was trying to convey through his painting. In order to convey the message of the piece the incorporation of calligraphy and engraving are regularly included into Chinese painting. These elements all work together in a beautiful combination to bring a story and a symbolism to each masterpiece.

Frequently seen in Chinese paintings are Bamboo and plum blossoms. As well, one of the ideas that a Chinese artist wants to convey through his canvas is the poetry that the culture finds in nature and natural scenes. That is why landscapes are so popular in Chinese art.

Chinese Painting Technique Elements and Tools

Chinese painting incorporates a variety of elements to create beautiful and serene natural landscapes. It is a treat to be able to enjoy the art of this particular culture.

The brush techniques used in the art of this culture require a coordination of the painter’s entire arm to create the long straight strokes of the bamboo poles that appear in many Chinese paintings. The motions require some practice to master, but will result in a free-flowing effect.

To this day, much of the Chinese art that you see is done with ink of various intensities to create lightness and dark in various objects. Color in Chinese painting generally consists of the hues that are found in nature. Tools used include ink sticks and writing brushes.