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Found 46 results

  1. I would like to share with you a short demo video to show you how to make a beautiful and natural green colour using black, yellow and white. My favourite oil paintings are those of Winsor & Newton , I think the relationship between quality and price is very convenient. And more ... I always try to use the "Artist´s" quality, it is undoubtedly the best. Learning to mix oil paints is highly recommended because you get the colour you want and it´s cheap because you don´t spend money purchasing all the colours you need, instead you can count on a limited range of colours bu the best quality of them. Don't be afraid to buy the best oil paintings you need, a good quality tube will be much better than several of poor quality. The interesting thing is to know what colours to get. Well, here I leave an example to follow. To get the green I needed, I used "Lamp Black", "Cadmium Lemon" and "Titanium White" (W&N of course). To know about some technical references as permanence, pigments quality, opacity and price visit this Amazon´s page. I used this mixing to give colour to this painting: Thanks so much for watching!! Hope it's useful for you.
  2. Fabian Perez, 1967 | Abstract Figurative painter In 2009 Fabian Perez was named the official artist of the 10th annual Latin Grammy Awards. In 2010 Perez was selected to paint the 2010 Winter Olympics. For Fabian Perez, the purpose of art is to perpetuate beauty. Pausing, he says, "I would like to say that it is not important what you have, but how you enjoy it". Born in 1967 in Buenos Aires, Argentina, Fabian had a difficult childhood. His father owned bordellos and nightclubs that were illegal. He also was a gambler. To this day, Fabian remembers the police coming to their home looking for his father who would try to escape through the back door. Eventually his father gave up the business, lost everything and lapsed into depression. Meanwhile, Fabian’s mother, who was artistic herself, encouraged her son to develop his aptitude for art. From an early age he loved to draw and she would proudly display these endeavors. He was also passionate as a boy about soccer and martial arts-the latter becoming an integral part of his life and his work as an artist. As a young adult, he did decide to take a few art courses to learn more about the true craft of drawing and painting, but it was never formal training. It is imagery from his past that he draws from in his painting, his father his inspiration. He is the cool guy outside the nightclubs and bordellos in Fabian’s images. And the women are his memories of those he saw at his father’s brothels and nightclubs-their somber mood, brooding thoughts and intense sensuality emanating from his canvases. But that is now. For several years after his parents died, his mother when he was 16, his father when he was 19, he lived as a gypsy. The sadness and despair he experienced left him confused and searching for answers. It was in martial arts that he found an inner strength. He immersed himself in the discipline. Alone and struggling to take care of himself, he began to teach karate while living in martial arts studios or friends’ homes. It was then that he crossed paths with a Japanese karate master, Oscar Higa, who became his teacher, mentor, friend and father figure. For a while, Fabian spent time in Rio; living the life of a nomad, finding refuge on warm beaches. Then he collected himself, deciding to follow Oscar to Italy. It was there, in the small town of Padova outside Venice, that he began his career as an artist. European tourists liked his work. Fabian began having small exhibitions. He spent his time painting and teaching martial arts, the latter to support himself. His dream was to become a karate master. After seven years in Italy, where he traveled frequently, giving martial arts exhibitions, he moved to Japan and continued to teach karate, not realizing that martial arts would become such an influence in his painting technique and, indeed, in his life’s path. Inspired by the Shodo, he utilized this influence to combine figurative and abstract styles. Shodo is often practiced by Samurais and Buddhist monks. It is as much a discipline as an art form. The influence of artists such as Lautrec, Picasso, Sargent and Cezanne are felt in Fabian’s work. "But in the end it is my own", he says. Today, Fabian has a studio in Los Angeles, where he also lives with his wife, Luciana and his three children. She is in many of his paintings. Mostly he works in the mornings and early afternoon, when the light is best. Usually he uses acrylic paint, so that he doesn’t have to wait for it to dry. He likens painting to music and this is particularly evident in his Flamenco pieces, where the dancer creates complex rhythmic patterns. The scenes from his youth in Argentina reflect a time that, in his view, is more romantic than the present day. Fabian Perez è un artista nato a Buenos Aires, ma il suo spirito irrequieto lo spinge a viaggiare per il mondo. Dopo aver trascorso parti significative della sua vita in Argentina, Italia e Giappone si stabilisce negli Stati Uniti. Attualmente risiede a Los Angeles ed è conosciuto per i suoi dipinti del tango e per i suoi ritratti. Nel 2009 Perez è stato nominato artista ufficiale del 10 ° annuale Latin Grammy Awards. Nel 2010 è stato scelto per dipingere le Olimpiadi Invernali 2010 e le Olimpiadi estive del 2012. Le sue opere non passano mai inosservate. Gli piace dipingere con colori acrilici, perché si asciugano velocemente e gli consentono di seguire i suoi impulsi, senza che l’attesa di un colore ancora bagnato lo limiti nel generare un nuovo tratto col pennello. Le sue immagini hanno la forza di trasmettere il carisma e la sensualità del suo autore. Un'arte che difficilmente si può sintetizzare in una categoria. Non a caso lo ribadisce spesso nelle sue dichiarazioni "..ciò limita tanto l’artista quanto le sue opere". FOR MORE SUCH ARTWORKS & ARTISTS' FOLLOW SUJITH PUTHRAN
  3. HER - collection

    Latest painting from "HER" collection - It’s a collection of paintings about “HER” in different instances, one of them with at least one point of view. Look at the paintings and loose yourself in the flow of your imagination.
  4. egg formed painting on wood

    From the album Painting on Wood

    19x13,5cm, 2018, oil and gouache on wood, my first peace of the east see trip inspired to paint not on rechtangle form, but on egg formed plates. Motive also east see inspired: sky and see with horizont and zenith. Other exemles will follow.
  5. Anders Zorn | Realist painter

    Anders Zorn | Realist painter One of the most famous living artists at the turn of the 20th century, Anders Leonard Zorn (1860-1920) dazzled the art world with his bravura paintings, watercolors, and etchings. His early travels took him to Spain and Algeria where the intense color and light inspired the virtuoso watercolorist to perfect his craft. In Paris he emulated the Impressionists as a chronicler of modern life, while in America he rivaled John Singer Sargent as the most sought-after portraitist of glittering high society. Back at home Zorn captured his native folk culture and the serenity of the Nordic landscape. Featuring 100 rarely seen works drawn from public and private collections throughout Europe and the United States, this major retrospective promises to be a revelation for those yet to discover the vibrant artistic personality of Sweden’s master painter. The prodigiously gifted Anders Zorn (1860-1920) squandered a portion of his talent, but what he left behind shimmers with sensual delight. Few people recognise his name today, though his stature as a painter of the gaudy rich once rivalled that of John Singer Sargent. Posterity has been unfair: Zorn deserves much more acclaim for the theatrical virtuosity he whipped into his portraits, and for his stupefyingly deft watercolours. The moment for his resurrection seems ripe, and the National Academy Museum has seized it by mounting a charming retrospective of this misjudged master. If only today’s financial titans had a chronicler as sparkling and adroit as Zorn. The illegitimate son of a brewery maid from the Swedish countryside and a German master-brewer who scarpered off to Helsinki, he grew up on his grandparents’ farm. At 15 was accepted into the Royal Swedish Academy of Art in Stockholm, where he wowed his teachers and peers with his technique. A fellow student recalled: In 1881 Zorn fell in love with Emma Lamm, whose wealthy Jewish family disapproved of her marrying a rustic with a dubious trade. The couple got secretly engaged, and Zorn set off on a four-year quest to earn her family’s approval. He moved to London and set up a fashionable studio in Mayfair. Commissions began pouring in. In one of the finest of these made-to-order portraits a dapper fellow in a crisp striped suit complaisantly receives the tribute of Zorn’s dazzling brush - and the demands of his earnest dog. This fellow, a grandson of Commodore Cornelius Vanderbilt, was among the first Americans to recognise how adept Zorn was at lacquering new wealth with a veneer of delicacy. But attentive viewers must have noted how the dog’s sleek majesty far outshines the youth’s callow glamour. Zorn balanced his subjects’ need for validation against the joy of pure painting, just as he found a perfectly pitched compromise between painterly abstraction and exacting realism. The magnificent “Mrs Walter Rathbone Bacon” also has a canine companion, but this collie’s fur swells into waves of pure delight that dash upon the lady’s dress. And even more important than dog or dress are the feverish lavender, indigo and navy-blue shadows swirling across the floor and up the right half of the painting. Sargent, Zorn’s chief rival, had done a version of Mrs Bacon the year before, rendering her à l’espagnole. It wasn’t one of his successes. Decked out in Spanish ruffles, she leans awkwardly against a wall as the flesh of her face curdles into a bilious yellow. Her brother-in-law, the railway magnate Edward Bacon, challenged the Swede to best Sargent by painting her again. When Sargent saw Zorn’s canvas at the Paris Salon, he conceded that Zorn had won a “resplendent victory”. Self-legend has it that Whistler chimed in with comparable admiration. Zorn may have won this particular contest, but he also made his share of paint-by-numbers duds. He couldn’t animate the cardboard US President William Howard Taft, for instance, or breathe intelligence into Mrs Richard Howe. Then again, he painted some 550 portraits (at $4,000 a pop, in 1901 dollars – more than $100,000 today). Like Sargent he regarded these deluxe commissions as his day job; what he really wanted to do was paint watercolours. In his time off, he did - among them a radiant view of the fish market in St Ives, Cornwall, where he and Emma (they did eventually marry) lived briefly in the late 1880s. Zorn steers clear of the picturesque: the corpses of immense fish sprawl across the beach, eyes bulging and mouths agape as if toiling for one last breath. Above the catch the fisherman’s wife looms. We fix on the bulk of body pressing up against her clothes, and especially on broad expanses of exposed flesh. “Those bare, blotchy red arms clearly absorbed most of the painter’s interest”, he later noted, with dry self-deprecation. Where Sargent’s watercolours dabbled in delicate pleasures, Zorn’s rejoice in crude physicality. His technique was always meticulous, but women’s bodies swelled voluptuously beneath his brush. “A hybrid between a gentleman and a farmer”, is how one of his wife’s relatives aptly described him. It’s easy to account for the total eclipse of Zorn’s reputation. Like Sargent he was pushed aside by an unsympathetic avant-garde who labelled him a stylistic dinosaur and flunky to the nouveau riche. The generation of gilded Americans willing to pay record-breaking sums for portraiture was dying out. And there was little legroom for a peripatetic cosmopolitan in an era of surging nationalism. The years after 1910 were arid and lonely ones as Zorn saw his reputation wither before his dimming eyes. It’s a shame, though, that this proudly comfortable man didn’t yearn more fervently for freedom. On the whole, his work is erratic and sometimes lazy, but the National Academy show offers glimpses of wonder. Viewers are left to wish he had charged even more outrageous sums for his bespoke paintings, and bought himself the leisure to pursue art that wouldn’t sell. Zorn, Anders Leonard - Pittore (Mora 1860 - ivi 1920), il maggiore esponente, in Svezia, di una pittura superficialmente impressionistica, tendente a vistosi effetti di colore. I suoi dipinti (nudi, paesaggi, ritratti) si distinguono per fluidità di pennellata. Ebbe molto successo, anche all'estero (a Parigi espose dal 1888 al 1896 e fu premiato all'Esposizione universale del 1900). Fu pure scultore e notevole incisore. Figlio di un birraio tedesco, che mai conobbe ma che comunque acconsentì di dargli il suo cognome riconoscendolo come figlio proprio e di una contadina stagionale, Zorn Leonard Anders, nacque nel 1860. Passò gran parte dell’infanzia con i nonni poiché la giovane madre, rimasta sola per la scomparsa del compagno già nel 1872, fu costretta a lavorare per garantire la permanenza a scuola e il proseguimento degli studi del giovane talento. Inizialmente l’artista sembrava indirizzato verso la scultura, infatti fin da piccolo amava lavorare il legno e trarne figure anche complesse come dei cavalli in movimento, ma con il passare del tempo emerse sempre di più la sua abilità per la pittura e in particolare per gli acquerelli. Dal 1875, anno in cui entrò a far parte dell’accademia d’Arte di Stoccolma, iniziò a specializzarsi nella tecnica degli acquerelli, che praticò per molti anni, almeno fino al 1887. Nel 1881 il giovane artista inizia a viaggiare per l’Europa in cerca di fortuna. Dall’Inghilterra alla Spagna, le peregrinazioni dureranno quattro lunghi anni, ma ogni estate Zorn non può fare a meno di tornare a Mora, alla quale è profondamente legato sentimentalmente. Nell’autunno del 1885 decide di sposare la giovane Emma Lamm, con la quale partirà di nuovo alla volta dell’Inghilterra e dell’Europa in un viaggio che durerà circa undici anni, sempre tornando d’estate in Svezia. La figura di Emma è molto importante per il pittore, poiché essa lo spinge a superare le sue insicurezze costringendolo ad affrontare le debolezze della sua pittura e incoraggiandolo a passare alla pittura a olio. E questo è il passaggio fondamentale della sua carriera, durante il suo soggiorno parigino tra il 1888-1896. In questo periodo si convince ad incentrare le sue opere per lo più sulla ritrattistica. I suoi personalissimi dipinti raccontano lo spirito e il carattere dei protagonisti ed è questa la sua grande capacità, raccontare l’anima dei suoi soggetti e tradurla in arte rendendola chiara. Nel 1893 Zorn intraprese un breve viaggio negli Stati Uniti, durante il quale ebbe l’occasione di dipingere Roosvelt e Cleveland. Fu il primo di una lunga serie che lo porterà per alcuni anni a pensare di trasferirsi seriamente negli Usa. Tuttavia nel 1896 decide di stabilirsi definitivamente a Mora, sua città natale, alla quale dedicò tutte le attenzioni di un amante fedele. Infatti già nel 1910 la famiglia Zorn aveva contribuito a migliorare la città regalandogli una biblioteca, una scuola di lettura, una scuola per bambini e la prima scuola popolare. Infine per preservare la musica popolare svedese, istituì un concorso di musica folk, ancora attivo, che al giorno d’oggi è chiamato il premio Zorn. Il ritorno a Mora fu senza dubbio un motivo di cambiamento importante che ha generato nuovi sentimenti nella poetica del pittore svedese. Tralasciando il periodo parigino, Zorn torna a dipingere paesaggi incontaminati e scene di vita rurale che rimarranno impresse come un documento della tradizione svedese. “Danza d’estate” è senza dubbio il suo quadro più importante proprio per questo motivo, poiché solo nella sua terra si riesce ad esprimere la vera maturità raggiunta a seguito delle esperienze all’estero. Anders Zorn morì pochi anni dopo, nel 1920. A testimonianza della grande popolarità raggiunta e dell’amore dimostrato dalla gente nei suoi confronti, al suo funerale parteciparono anche alcuni esponenti della famiglia reale svedese. FOR MORE SUCH ARTOSTS' & ARTWORKS FOLLOW SUJITH PUTHRAN
  6. Detail from the Pic before

    From the album Painting on Wood

    © istvan seidel

  7. The Spiderweb

    From the album Oil paintings

    oil painting, 50 x 65cm - 2018
  8. Oil painting - underpainting demo

  9. Fito, composition for an oil painting

    Hi, this time I would like to share with you the steps I did for "Fito, triple portrait of my doggie", an oil painting you can see in my gallery. I leave this first video where I show the composition process Thanks for watching!! Hope you have enjoyed it.
  10. A triple oil portrait of my doggie.

    Hi, I´m glad to leave you the last video demo, where I show the oil overpainting process. Fito, a triple portrait of my doggie - oil on canvas - 50 x 65 cm - 2017 Thanks for watching!!
  11. The Mona Lisant

    From the album My Various Works

    An oil painting done with humor in mind and as an homage to Leonardo Davinci famous piece, and referencing Yukinori Yanagi's work with ants.
  12. A triple oil portrait of my doggie.

    Hi, I´m glad to leave you the last video demo, where I show the oil overpainting process. Fito, a triple portrait of my doggie - oil on canvas - 50 x 65 cm - 2017 Thanks for watching!!
  13. Summer house.jpg

    From the album Oil Paintings

  14. David Gray David's signature style reveals a personal and contemporary expression of beauty and order which pays homage to the Classical Tradition in its craftsmanship. Collectors of David's work often relate that his painting evokes a sense of peace, stillness, or a contemplative mood. His award-winning works have been covered by major art publications including Southwest Art, Art of the West, and American Art Collector. David also teaches several workshops per year in portraiture and still life painting throughout the United States and abroad. Fans of David's work will notice a change in style beginning in late 2017. This new style, while retaining the mastery of draftsmanship characteristic of earlier work, finds a new freedom of brushwork and color application. This new dialect of painting is influenced in part by French Impressionism of the late 19th century, particularly the work of Monet. Forms are often suggested rather than completely rendered, though a solidly sculpted structure is still evident. David's former work communicated a stirring beauty and meditative stillness. His current painting will push that expression into a new strength of emotion through bold brushwork, inventiveness, and a new found creative conviction. Education and Instructors Ten Day Figure Painting Workshop, Douglas Flynt, The Grand Central Academy of Art, New York, NY Hans Nordlund, Tacoma Academy of Fine Art, Tacoma, WA Terry Furchgott, Gage Academy of Art, Seattle, WA Bachelor of Fine Art, Pacific Lutheran University, Tacoma, WA
  15. Hello everyone, I am an artist from India facebook page: https://www.facebook.com/sujithputhranartist website: https://rockersujith.wixsite.com/sujithputhran Artbyte Address: AbcixgYXTTbXd2pgQhwhiYzKcpRFm2fcm4
  16. "Spring" - Glazing & Scumbling demo

    Scumbling and Glazing are both two important oil painting techniques. In this video, I show you in simple how I applied these. Thanks for watching!!
  17. Spring - finished work

    Spring Oil on fiberboard - 50 x 710 cm. - 2017 http://jorgevandeperre.com/en/about/ Details Thanks for regarding!!
  18. Hi, These are some steps in the overpainting process, that is, adding colours. For the sky, I used Payne´s Gray mixed with French Ultramarine and adding a bit of Titanium White The green dress, I painted with a mix of Viridian and Cadmium Lemon. The red colour I used here for the hat and shoulders is Indian Red. For the ground, I used Burnt Umber, Yellow Ochre Pale and Titanium White of course. Detail In order to give to the butterflies a vivid colour, I've painted these with white before applying the colours. Here, the butterflies are painted. I begin to give a second layer to the green colour. I gave another layer to the sky too. Here I am working on the sleeves of the dress, painting them with a pink colour I made with Alizarin Crimson and Zinc White. Thanks for regarding!! My ArtByte wallet: AKgD6DN9N2YVPQ59Faa4sy5e1dMG9Z8Tm4
  19. Hi, These are some steps in the overpainting process, that is, adding colours. For the sky, I used Payne´s Gray mixed with French Ultramarine and adding a bit of Titanium White The green dress, I painted with a mix of Viridian and Cadmium Lemon. The red colour I used here for the hat and shoulders is Indian Red. For the ground, I used Burnt Umber, Yellow Ochre Pale and Titanium White of course. Detail In order to give to the butterflies a vivid colour, I've painted these with white before applying the colours. Here, the butterflies are painted. I begin to give a second layer to the green colour. I gave another layer to the sky too. Here I am working on the sleeves of the dress, painting them with a pink colour I made with Alizarin Crimson and Zinc White. Thanks for regarding!! My ArtByte wallet: AKgD6DN9N2YVPQ59Faa4sy5e1dMG9Z8Tm4
  20. "Spring" - the underpainting.

    Hi, In my previous publication, I showed you the first sketches and drawings I made for "Spring", my oil painting project. Now I will share with you the process called "underpainting". UNDERDRAWING The first stage is the drawing on the painting support, in this case, I will use fiberboard that I have previously prepared with Gesso. I drew on a paper of 50 x 70 cm., Then I transferred the outlines to the fiberboard. IMPRIMATURHere, I painted the outlines with light brown watercolour ( it may be watercolour, ink or acrylic). Once it has well dried the outlines I apply a very transparent layer of oil painting to give a tone. I have used a mix of Burnt Umber and Yellow Ochre.What you see here is the result of this process. UNDERPAINTINGA first layer is painted with brown tones. Thanks for regarding!! My ArtByte wallet: AKgD6DN9N2YVPQ59Faa4sy5e1dMG9Z8Tm4
  21. Japanese Oil Master

    Japanese Oil painting master - Osamu Obi 1965 Born in Kanagawa, Japan 1988 Graduated from Musashino Art University (Department of Oil Painting) 1990 Completed Master's Degree Program in Oil Painting, Musashino Art University 1991 Exhibition of Grand Prize Paintings, Tokyo Central Museum. Awarded Grand Prize. 1993 Participated in Yasui Prize Exhibition 1996 Participated in Exchange Exhibition between South Korean and Japanese Oil Painters(Yo kohama & S eoul ) 1999 Hakujitsukai Art Exhibition, Incentive Award of Minister of Education 2004 6th Kanji Maeda Grand Prize Exhibition, Semi-grand-prix (Takashimaya Nihonbashi, Kurayoshi Museum) 2005 2nd Beauty of Existence Exhibition (Takashimaya, Tokyo and other places) 2006 Hakujitsukai Art Exhibition, The Prime Minister Award 2009 "The Tewaza" Exhibition (Mitsukoshi Nihonbashi) 2010 Beauty of Existence Exhibition (Takashimaya, Tokyo and other places) Scheduled to study in Paris for a year under the Japanese Government Overseas Study Programme for Artists 2012 Beauty of Existence Exhibition (Takashimaya, Tokyo and other places) "The Tewaza" Exhibition (Mitsukoshi Nihonbashi) Solo Exhibition 1999 Shunpudo Gallery (Tokyo) 2007 KIAF 2007 (Seoul Shunpudo Gallery Booth) Adjunct Instructor of Musashino Art University
  22. Spring - underdrawing.

    From the album Oil paintings

    Detail, oil painting.

    © J. Van de Perre

  23. Behind the scenes

    From the album Oil paintings

    Oil on canvas panel - 22 x 30 cm. - 2016

    © J. Van de Perre

  24. Gravitas

    From the album Oil paintings

    Oil on canvas – 65 x 100 cm. – 2017

    © J. Van de Perre

  25. Spring

    From the album Oil paintings

    Oil on fiberboard - 50 x 70 cm. (19.7 x 27.6 in.) - 2017

    © J. Van de Perre

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