tag:blogger.com,1999:blog-58360705604704146652023-11-16T08:06:52.268-07:00Wilde Meyer GalleryWilde Meyer Gallery is an art gallery in Scottsdale and Tucson Arizona, with contemporary and Western art. Our blog is written from the point of view of an artist by painter Judy Feldman. We hope readers will come to know the artists we represent better and about the process and thoughts of creating art.
Wilde Meyer has been showing the best in contemporary and western art since 1983.Wilde Meyer Galleryhttp://www.blogger.com/profile/08898614664939009485noreply@blogger.comBlogger81125tag:blogger.com,1999:blog-5836070560470414665.post-66345206260858837872018-10-08T16:20:00.000-07:002018-10-08T16:20:53.851-07:00The Art of Stephanie Paige<div style="text-align: center;">
<i><span style="font-size: x-large;">All art is but imitation of nature</span></i></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRbHg_F-9gb_WBBB89UDi3r773GjW4lWygnj8fvXKqUDnfzrUGYP0WN69qya9H2ZZPPK-5iqO95wTZavUjTr5uKxgmlSsRYdoEpn-qnBMjXxHVLUgBT8vHNRoQnJtGmBlirhTz1zQC4fk/s1600/Paige-+Phoenix+48__x+48__x+++3___large.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1283" data-original-width="1280" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRbHg_F-9gb_WBBB89UDi3r773GjW4lWygnj8fvXKqUDnfzrUGYP0WN69qya9H2ZZPPK-5iqO95wTZavUjTr5uKxgmlSsRYdoEpn-qnBMjXxHVLUgBT8vHNRoQnJtGmBlirhTz1zQC4fk/s200/Paige-+Phoenix+48__x+48__x+++3___large.jpg" width="170" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Phoenix, </i>Mixed media on panel 48" x 48"<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq2xMgOrothVDajaXfqjNbBCnkGSS-KPmqaiekPsyBvC0SSuucOoW2UMziV4p3hojWhwvZxWazROs09gKRk2bJJpw6Oy53kR2ZS2_dASvADXNvHPyIlMHhQOuAWGBTcuHPFMUNZGxz3a0/s1600/1+Stephanie+Paige+At+Work+4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="600" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq2xMgOrothVDajaXfqjNbBCnkGSS-KPmqaiekPsyBvC0SSuucOoW2UMziV4p3hojWhwvZxWazROs09gKRk2bJJpw6Oy53kR2ZS2_dASvADXNvHPyIlMHhQOuAWGBTcuHPFMUNZGxz3a0/s200/1+Stephanie+Paige+At+Work+4.jpg" width="200" /></a>This phrase, coined by ancient Roman philosopher Lucius Annaeus Seneca, perfectly describes the artistic approach of mixed-media painter Stephanie Paige. Her contemporary paintings are abstract landscapes pared down to simplistic compositions, which are anything but simple to construct. Large-scale panels balanced around stark horizon lines are created through a mixture of pigment and marble-dust plaster, a tricky medium that Paige discovered as a muralist painting frescos and Venetian plasters in southern California.<br />
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“It appeals to me because of how different it is,” explains Paige. “More than just the way it looks, I love the way it feels and what it can do.”<br />
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<img border="0" data-original-height="640" data-original-width="632" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrGMyXZLyMeVhKadPBf5hKeJ-mxVrS7cfwTSyeX_zXeviCzhuewI-AujGzuy1RY_291U-CHxhiDBfJGLtcHC_FmtExWDtvW-J9hhO6PWh7zA9U4h2KP4omz0sB-yX-lTAZiz7jcmfBW_0/s200/Paige-+Hidden+Sol+12__x+12__x+++3__.jpg" width="150" /></a>
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<td class="tr-caption" style="text-align: center;"><em>Hidden Sol</em> </td>
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<td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcNKqbOB9MNAz98dA7uvCvRrXpbe5FqFsx6FjuNrp2DoCjk7b3w3j53hX2I48j1aq8ZO-qk0wiuxrXL2jek71JHbuwS0ixD5hUyAa71FKOK0Hktx8UkTtgSbj9j8YkOunVQ7BAGSEH1eU/s1600/Paige-+Luna%2527s+Reflection+72__x+++72__x+3__.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="640" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcNKqbOB9MNAz98dA7uvCvRrXpbe5FqFsx6FjuNrp2DoCjk7b3w3j53hX2I48j1aq8ZO-qk0wiuxrXL2jek71JHbuwS0ixD5hUyAa71FKOK0Hktx8UkTtgSbj9j8YkOunVQ7BAGSEH1eU/s200/Paige-+Luna%2527s+Reflection+72__x+++72__x+3__.jpg" width="200" /></a>
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<td class="tr-caption" style="text-align: center;">Luna's Reflection
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<td class="tr-caption" style="text-align: center;">Naranja Sol </td>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgabshA7efToHIxUUXi31X3dR1hI-qT83Oa3RZg87yT9LIu1IwHok64xyTVbD9t3FEmRaOBBFoTGr5jP0Tv82e1NiHeFo4CAJLSm08C3yO79kuKA3dIOaxP3-1n7ZEa3Hr2-TdSOw0FIx4/s1600/17105_852417084795629_2579487935076851161_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgabshA7efToHIxUUXi31X3dR1hI-qT83Oa3RZg87yT9LIu1IwHok64xyTVbD9t3FEmRaOBBFoTGr5jP0Tv82e1NiHeFo4CAJLSm08C3yO79kuKA3dIOaxP3-1n7ZEa3Hr2-TdSOw0FIx4/s200/17105_852417084795629_2579487935076851161_n.jpg" width="150" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw9XsYHxwaHCb8ynxIOpLbu9LPzn8NbVOrSCGh6ZgyE3CqKsmLRiM8KU8t7CXd-5P5hyphenhyphenM_DkmXok-0s2ogT28KLS8zTxcOf25xTfwUcwevCyxH-3Lc1-LMcRDklhOZHocZnxLOAWoWWNE/s1600/77238cb7dd5d38153b939680ed519085.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="564" data-original-width="564" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw9XsYHxwaHCb8ynxIOpLbu9LPzn8NbVOrSCGh6ZgyE3CqKsmLRiM8KU8t7CXd-5P5hyphenhyphenM_DkmXok-0s2ogT28KLS8zTxcOf25xTfwUcwevCyxH-3Lc1-LMcRDklhOZHocZnxLOAWoWWNE/s200/77238cb7dd5d38153b939680ed519085.jpg" width="200" /></a>Paige began this abstract mixed-media style in 2008 after a search for peace<br />
and balance in her life and a consequent discovery of Buddhism. This tranquility is reflected on her panels, with symmetry and balance playing a large role in the compositions. Nature is the inspiration and motivation for Paige’s art, and she creates each piece in honor of Mother Earth.<br />
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“In my work, I see rich textured soil, clear blue water, spacious open sky, or a soft breeze,” says Paige. “In my pieces, you can see the contemporary feel mixed with a rustic earthiness, two complete opposites that dance well together.”<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhamW8Lwo5yZWbRyOHu_9xAqbVrpBUp2ehGn0SvZ7JAdMCrUf8cvZpQzx6k4IHz9Q8lAOU-NfLxhZW-XEkZKIyaMMWNBGN_DG6-91U9zx-so2AmnUREOUUatAWMawQwB69S52l5Kio00BE/s1600/Paige-+Center+of+Love+64__x+80__x+++1.5__.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhamW8Lwo5yZWbRyOHu_9xAqbVrpBUp2ehGn0SvZ7JAdMCrUf8cvZpQzx6k4IHz9Q8lAOU-NfLxhZW-XEkZKIyaMMWNBGN_DG6-91U9zx-so2AmnUREOUUatAWMawQwB69S52l5Kio00BE/s320/Paige-+Center+of+Love+64__x+80__x+++1.5__.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Center of Love,</i> mixed media on panel 64" x 80"</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4sD44xcSNrNIZiWWL8i_FIpFA-MmKVj08cqh81qbl9-7mXZnMbFVUIckaUhN9vpsIm1eZEJJ46kqqi42Ipl8eWoKZmMzPvrOzcN2lnFCqU8OKimqasGxmjCAobtgroYGLoVkRMopBGRE/s1600/1+Stephanie+Paige+Praying+.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="498" data-original-width="500" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4sD44xcSNrNIZiWWL8i_FIpFA-MmKVj08cqh81qbl9-7mXZnMbFVUIckaUhN9vpsIm1eZEJJ46kqqi42Ipl8eWoKZmMzPvrOzcN2lnFCqU8OKimqasGxmjCAobtgroYGLoVkRMopBGRE/s200/1+Stephanie+Paige+Praying+.jpg" width="200" /></a></div>
Not only does nature inspire Paige’s work, it also dictates the physical outcome of each piece. Plaster is sensitive to weather conditions and temperature, a quality that Paige sometimes takes advantage of to create texture. A piece with wet paint and plaster placed outside on a dry day opens up with cracks and peels, adding unique textural details to its surface.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj3m3B1DEnSx2bASLkl_Qlz-nxMn55JoyzI_ZyVJ1Ifmu2GBAXBTmRTEfPCxk2T6_abeDyz2h7VaN7C1iewP32heATv3koBnFCjIuCRfysdC7by5yRYdhLBPSoWqM8ZOvmAZz51gQd6k0/s1600/1+Stephanie+Paige+IMG_3572.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1236" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj3m3B1DEnSx2bASLkl_Qlz-nxMn55JoyzI_ZyVJ1Ifmu2GBAXBTmRTEfPCxk2T6_abeDyz2h7VaN7C1iewP32heATv3koBnFCjIuCRfysdC7by5yRYdhLBPSoWqM8ZOvmAZz51gQd6k0/s200/1+Stephanie+Paige+IMG_3572.jpg" width="154" /></a><br />
Paige’s paintings will be introduced at Wilde Meyer Gallery at 4142 N. Marshall Way, Scottsdale The show title is Sophisticated Style Special Demonstrate ArtWalk, Thursday October 11th, 7:00 – 9:00 PM. Stephanie Paige will be demonstrating her painting skills with a pallet knife and marble plaster on wood panels.
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<br />Wilde Meyer Galleryhttp://www.blogger.com/profile/08898614664939009485noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-5792337051393070222018-09-12T09:45:00.000-07:002018-09-12T09:45:39.447-07:00What Catches Your Eye?<span style="background-color: black; color: white; font-family: "open sans"; font-size: 14.85px;">By </span><a href="http://wildemeyer.com/artists/judy-feldman/" style="background-color: black; color: white; font-family: "Open Sans"; font-size: 14.85px;">Judy Feldman</a><span style="background-color: black; color: white; font-family: "open sans"; font-size: 14.85px;"> | </span><a href="http://www.wildemeyer.com/" style="background-color: black; color: white; font-family: "Open Sans"; font-size: 14.85px;">www.wildemeyer.com</a><br />
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What makes you stop and look at a painting? Is it the subject, the colors, the textures? We are all drawn to art for different reasons, and often, it’s on a subconscious level. However, a skilled artist makes conscious decisions about how to attract a viewer’s attention. There are techniques such as composition, color manipulation, brushstrokes, and even canvas shapes that can influence our reaction to a particular work of art. Of course, the best paintings look effortless, but don’t be fooled!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_po4Xj_sdbKL72Ugon5PK5_Ft1sUOdgjYCYKIXru0EHUN2lsBNuufmR88awNj6O_xT9AazN6asJWwrhxZlrhWwX14BS1vFaM4G3jdfLdF9k2JWKiQYy6Toxpc9GmSJqVwOsnQ2ZfmGGY/s1600/MCG0037.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="414" data-original-width="522" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_po4Xj_sdbKL72Ugon5PK5_Ft1sUOdgjYCYKIXru0EHUN2lsBNuufmR88awNj6O_xT9AazN6asJWwrhxZlrhWwX14BS1vFaM4G3jdfLdF9k2JWKiQYy6Toxpc9GmSJqVwOsnQ2ZfmGGY/s200/MCG0037.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Late for Supper,</i>
Peggy McGivern<br />
16" x 20"
mixed media on canvas</td></tr>
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<b><a href="http://wildemeyer.com/artists/peggy-mcgivern/">Peggy McGivern</a></b> has an interesting way to begin a painting. She sketches with a blind contour line, which means she looks at her subject, not her sketchbook or canvas, and draws continuously without lifting her pencil. “With this technique, I can get interesting, exaggerated shapes from which to start my painting,” she said. “If I’m working plein air, I look at the scene, and what attracted me to it in the first place. I think that my viewers will respond to that initial impression.”<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhit2dYGVpW68UNHoJAEyq5GJO-G_4msVBzhM4FHg8bXLxuO0JHdWxxGTzaoB3bSneOmNap_ztzFccWuLL99pZBqb6kHd0GUq0lW0FoFxFofz6OksPIwCBVVZDXYjPG3TpdJlzYgJDc530/s1600/MCG0021.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="539" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhit2dYGVpW68UNHoJAEyq5GJO-G_4msVBzhM4FHg8bXLxuO0JHdWxxGTzaoB3bSneOmNap_ztzFccWuLL99pZBqb6kHd0GUq0lW0FoFxFofz6OksPIwCBVVZDXYjPG3TpdJlzYgJDc530/s400/MCG0021.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Come in Out of the Rain</i>,
Peggy McGivern<br />
72" x 48" (diptych)
oil on canvas</td></tr>
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Peggy told me that when she’s considering a painting idea, she first looks at big shapes. In her painting entitled “Late for Supper,” about two-thirds of her canvas is the large area of land. The two figures’ vertical paths lead us up the painting towards the village, where she wants our eyes to rest. Peggy also said that she likes to avoid typical horizon lines. Here, the paths create bold geometric shapes that contrast with the distant buildings, and they give us the sense that the figures are quite far away from their homes, in a hurry to get there.<br />
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Color choices and brushstrokes convey the message in Peggy’s painting entitled “Come in Out of the Rain.” In this work, she wanted the viewer’s eye to go to where the rain is coming down on the cattle, so she chose beautiful iridescent paints and energetic brushstrokes to focus on that area of her work. The dark sky and purple hills in the background add weight to the scene, augmenting the feeling of an imminent downpour. Although it might look spontaneous, these decisions are thoughtful. “I’m always looking for weird, wonderful combinations for people to enjoy,” she said.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihpWm37xKdY-aU-GkIu5kEHs-zKgl6oZmW7GlitXXaFXpGmvBF_JThj4B8FvAoZTIZjp0le9ErbwLokwuzG6temEt1TAdGS5ZtsW8EGLUxusL9CMfbZKsDmcvnnGiq1hfbGV4PZYj4MGo/s1600/JOH0122.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="673" data-original-width="864" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihpWm37xKdY-aU-GkIu5kEHs-zKgl6oZmW7GlitXXaFXpGmvBF_JThj4B8FvAoZTIZjp0le9ErbwLokwuzG6temEt1TAdGS5ZtsW8EGLUxusL9CMfbZKsDmcvnnGiq1hfbGV4PZYj4MGo/s320/JOH0122.jpg" width="260" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Split Rock,</i> Melissa Johnson<br />
48" x 60"
Oil, Cold Wax, and Silver Leaf</td></tr>
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Texture and paint application are other ways to call attention to a painting. <b><a href="http://wildemeyer.com/artists/melissa-johnson/">Melissa Johnson </a></b>mixes in cold wax to give her oil paints more body. Working with her palette knife, she can adjust the fluidity of the paint. She also uses the wax to adhere the different types of metal leaf she applies to parts of her canvas. Melissa doesn’t use a paint brush too often. “I use all sorts of tools to build up my layers: palette knives, credit cards (expired, I hope), dough scrapers, and any tools I might find at the local Dollar Store.”<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCd1i5U2gz5_wzOeuv5Q9xPXjA-0IkRFvVlok4cUAFaHWvhAze8xB0GHrTzuUbbLq7LtjtJTfug25J2OQ4h1zlRKwaE8AQj-5x4yN50aF7LjaCKTy1L5S_zITLvfBs0V2VH5GO6DUZEFI/s1600/JOH0121.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="720" data-original-width="720" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCd1i5U2gz5_wzOeuv5Q9xPXjA-0IkRFvVlok4cUAFaHWvhAze8xB0GHrTzuUbbLq7LtjtJTfug25J2OQ4h1zlRKwaE8AQj-5x4yN50aF7LjaCKTy1L5S_zITLvfBs0V2VH5GO6DUZEFI/s320/JOH0121.jpg" width="220" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Manville Road</i>,
Melissa Johnson<br />
48" x 48"
oil & cold wax metal leaf</td></tr>
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Although Melissa’s paintings look three-dimensional, they don’t really have thick texture. It’s her skillful technique of applying multiple layers of wax-mixed paint that makes her images jump out, as you can see in her painting entitled “Split Rock.” The different tones and shapes of the cliff surface, along with the beautifully rendered crevices and light areas really pull the viewer into the painting and direct us to the lighthouse on the bluff.<br />
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Melissa explained that cold wax also speeds up drying time and adds transparency to the color. With this product, she can keep working on her painting by scraping off and applying more paint and wax until she is satisfied.<br />
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Mailboxes are the subject in her 48X48” painting entitled “Manville Road.” I really like this composition – even though the mountains in the background catch our eye with their gorgeous colors and 3-D presentation, the five mailboxes command our attention, as the applied metal leaf conveys strong reflected light.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8i-sB1pHgjArc1jB4qXJidJ3UdEnLbZXmwTVZH1UyDXF_jopFU4FzBN-gXyzax9quRQJGirGsNm0ZgAVdWIO_oqiLvrcYwXE5z_unRKL0lLtfNnw3r7TiZq6HK9GkpWQ2amAvEY4ieFQ/s1600/yon123.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="504" data-original-width="334" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8i-sB1pHgjArc1jB4qXJidJ3UdEnLbZXmwTVZH1UyDXF_jopFU4FzBN-gXyzax9quRQJGirGsNm0ZgAVdWIO_oqiLvrcYwXE5z_unRKL0lLtfNnw3r7TiZq6HK9GkpWQ2amAvEY4ieFQ/s320/yon123.jpg" width="130" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Two Horned Cows,</i>
Joseph E. Young <br />
36" x 24"
acrylic on canvas</td></tr>
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If you pass by one of <b><a href="http://wildemeyer.com/artists/joseph-young/">Joseph Young’s </a></b>paintings at Wilde Meyer, changes are, you’ll stop and look. Joseph is all about patterns, and there are so many! “I’ve always been a decorative painter,” he says Trained as an art historian, Joseph is influenced by many art movements, such as Art Nouveau, Arts and Crafts, and modernism. “Even abstract expressionists such as Jackson Pollack were decorative artists in their own way,” he commented.<br />
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Joseph likes to paint flat, and uses pattern to give the illusion of three dimensions. He juxtaposes colors that vibrate off each other. “If there’s no vibration, I add another contrasting color, until I get the desired effect. I want the colors to either work with or against each other to create excitement in the painting.”<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQixECttGk4JYJiasW4Uzit3qFKq91VpuEXQaJ7StuEsJGIC3dmr-ci27bU0PHiEX94v6wgERGFmKS0URFhMMrij3GoqwUSemw3rpzozwm5Jux3pJQsHFVFatrElF3wIqtcG7-iaK-1bs/s1600/YON0133.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="540" data-original-width="540" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQixECttGk4JYJiasW4Uzit3qFKq91VpuEXQaJ7StuEsJGIC3dmr-ci27bU0PHiEX94v6wgERGFmKS0URFhMMrij3GoqwUSemw3rpzozwm5Jux3pJQsHFVFatrElF3wIqtcG7-iaK-1bs/s320/YON0133.jpg" width="195" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Five Doves and Flowers,</i>
Joseph E. Young <br />
36" x 36"
acrylic on canvas</td></tr>
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To achieve patterns such as these requires considerable patience. As you can see in his painting entitled “Two Horned Cows,” there are many different elements, and each has its own pattern. There are so many varieties of butterflies, flowers and fish; yet they are grouped in an organized, thoughtful way. You can tell that Joseph has a very strong sense of design (and an amazing ability to stay focused!).<br />
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“Five Doves and Flowers” is another example of this artist’s unique style. At first glance, we see the white doves, then the tulips, but on closer inspection, those small orange shapes are flowers and, wait, are those little eyes peeking out here and there among the flowers? Maybe they’re butterfly patterns, but they sure caught my attention!<br />
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So, the next time you’re drawn to a work of art, consider what made you stop and look. What emotions did it elicit? What do you admire about the artist’s style, and if it really excites you, consider adding it to your collection!<br />
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See more art by <b><a href="http://wildemeyer.com/artists/peggy-mcgivern/">Peggy McGivern</a></b>, <a href="http://wildemeyer.com/artists/melissa-johnson/" style="font-weight: bold;">Melissa Johnson </a>, and <a href="http://wildemeyer.com/artists/joseph-young/" style="font-weight: bold;">Joseph Young</a> at <b>Wilde Meyer Gallery.</b><br />
<br />Judy Feldmanhttp://www.blogger.com/profile/05720901028949462797noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-70901723347387420152018-08-24T21:33:00.000-07:002018-10-24T17:01:02.369-07:00Day of the Dead<div>
By Laura Orozco Allen | <a href="http://www.wildemeyer.com/">www.wildemeyer.com</a></div>
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<b><span style="color: red; font-size: x-large;">Celebrate with Us</span></b></h4>
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<span style="font-size: large;">Wilde Meyer Scottsdale galleries will have a Day of the Dead reception on </span></div>
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<span style="font-size: large;">Thursday, November 1st, 2018, 7:00 – 9:00 PM.</span></div>
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<span style="font-size: large;">Tucson gallery will be on Friday, November 2nd, 2018, 5:00 – 7:00 PM.</span></div>
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So come celebrate with us! We will have an Altar and "Ofrendas" with treats for our dogs and cats, and Pan De Muertos and coffee for us humans. We welcome you to send copies of your favorite photos (non-returnable), to be displayed on our altars.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP7ZFNPiFNHXyx0kcs38XdGP7oBn2Crm2eXSGYwXECE13XW8RkT1OcNgm8Ip-joh9THAWwHCeXejyE3dwS602UnQN8I9CErph9tYZvWoqezW3iK0UASW6M9VlKB2KAzkq6BUinudMFI0Y/s1600/DoD+altar.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1554" data-original-width="1600" height="387" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP7ZFNPiFNHXyx0kcs38XdGP7oBn2Crm2eXSGYwXECE13XW8RkT1OcNgm8Ip-joh9THAWwHCeXejyE3dwS602UnQN8I9CErph9tYZvWoqezW3iK0UASW6M9VlKB2KAzkq6BUinudMFI0Y/s400/DoD+altar.jpg" width="400" /></a></div>
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It is not a scary holiday. I can say it because I grew up celebrating it. Although I'm from the most northern part of Mexico, my hometown city's customs are a little Americanized and because of it, the typical Mexican traditions from Central and South Mexico are more diluted. But still, it was an important celebration. <br />
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As a child it meant my favorite time of the year was here! The air is (or was) full of the toasty smell of burning leaves. The air is cold and is windier there. The leaves walk with you as you go along with the wind... and we walked; my friend Norma and I walked everywhere.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEExaj4z-TFVIXSxEebe5JLk9BQbdNPq9PoF7n27tdJbpZbjh5RARQaZzcVxRmPXQixejGBFjZ3BbRRM6y53r55iW6dzm3tQHJMtAOgqhj9uURG_lKC_3xN5GWjS8ILxVJtix83USHduM/s1600/breadAndSkulls.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEExaj4z-TFVIXSxEebe5JLk9BQbdNPq9PoF7n27tdJbpZbjh5RARQaZzcVxRmPXQixejGBFjZ3BbRRM6y53r55iW6dzm3tQHJMtAOgqhj9uURG_lKC_3xN5GWjS8ILxVJtix83USHduM/s1600/breadAndSkulls.jpg" width="200" /></a>The "Panaderias” (bakeries) would start selling the white sugar skulls, brightly decorated and with names on the forehead. It is fun to find yours and hopefully it is decorated in the colors you like.<br />
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Also “El Pan de Muerto” (Day of the Dead bread) would make their once a year appearance for a few weeks. The bread, sweet but a little bland, and is wonderful with a cup of hot chocolate or coffee. It is enjoyed in the evenings after a light supper.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_egeHcATOnQmmC28iow5f0WDhwcaL8y-eKDVFf81T7UHj881xoH-FeqS0UZco81K5kF3qKAOX_iC-jaukIdTu1x8SpvcIiESItqNdczy3xnT4tyh53E0Mwy3F8WM_9F1YSPgCXkiMW00/s1600/IMG_1223.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_egeHcATOnQmmC28iow5f0WDhwcaL8y-eKDVFf81T7UHj881xoH-FeqS0UZco81K5kF3qKAOX_iC-jaukIdTu1x8SpvcIiESItqNdczy3xnT4tyh53E0Mwy3F8WM_9F1YSPgCXkiMW00/s1600/IMG_1223.JPG" width="200" /></a>Another sign that the "El Dia De Los Muertos" is near, is the flowers you'll see. "Mota De Obispo" is such a strange but beautiful flower. Deep red purple color and velvety to the touch. It looks like the ruffles and folds of a very elegant Spanish dancer dress.<br />
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The "Cempasuchitl" or Marigolds is another popular flower for this day. More than their bright orange color, what comes to my mind is their smell. They can fill the air with their aroma in churches and even the cemeteries. You can smell them from far away! In the spring I see them at the nurseries here, and to me, they will always be "Day of the Dead" flowers. Not a bad thing.<br />
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The cemeteries are full with visitors (live ones) the weekend before, the week of, and the weekend after. And it's really a celebration. People make it a point to come. Headstones get swept, polished, and even repainted. They are then decorated with flowers and veladoras (candles.) A mariachi band would play in the background or someone might bring a guitar and sing our gone relatives' favorite songs. Since it is an all day event people bring chairs, blankets, food, and drinks! Food vendors pass by saying "Elootess!" (corn on the cob) or it could be "Paleetass!” (ice pops) or something else. The rosary is read and yes, it can be a very sad day especially if it is a recent passing. But with the passing of the years it really becomes a day when you only think of the happy memories. The afternoon would be full of remember when’s… <br />
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In college, at La Univerisdad Autonoma De Cd. Juarez, we would have competitions of "Altares." Each group was assigned a different State to represent. This is really how I learned about some of the different traditions and customs each Mexican State has. One of my professors even had a real skull that she would bring for this special evening! While this was an academic assignment, it was a favorite, and looking back it gave me a deeper respect and admiration for this wonderful day!<br />
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<span style="font-size: large;">Los esperamos! (or, we are looking forward!)</span></div>
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Anonymoushttp://www.blogger.com/profile/07485892895226549169noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-57010206864241571572018-03-30T21:55:00.000-07:002018-03-30T21:56:18.311-07:00Self-Taught Narrative Painter<div>
By Linda Carter Holman </div>
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For whatever reason my expression of the world has generally been eclectic. <br />
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It must have something to do with my essence and the world born into…Oklahoma, South America, the Southwest, and California.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjajwdURwgJw2IkZkW8mlcO6rkvQYyj1YK5TpoAakTw-vh1gUGZWZClOCPX4BykxRc3PP1RLqviArSKJwb3LGeCkVtVpaR2FIcZa0f59iKQTYqTTT8LA-Hxac9AevvZ2F8M-vFT_DiBtZI/s1600/first.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="929" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjajwdURwgJw2IkZkW8mlcO6rkvQYyj1YK5TpoAakTw-vh1gUGZWZClOCPX4BykxRc3PP1RLqviArSKJwb3LGeCkVtVpaR2FIcZa0f59iKQTYqTTT8LA-Hxac9AevvZ2F8M-vFT_DiBtZI/s320/first.jpg" width="235" /></a></div>
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My father and his grandfather were both story tellers. Guess I inherited that gene. Being men, their stories seemed to be more about their adventures out in the world. My tales are based more on feelings… observed in simple everyday moments of life. </div>
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Once upon a garden ...this story is based on events from my growing up to which I now have two large tortoises in the yard as living symbols.<br />
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“The creation of art</div>
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in all it’s diverse forms</div>
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allows each one of us</div>
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to sing the song anew.”</div>
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<span style="font-size: large;">Along the way......</span></div>
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<span style="font-size: large;">(the dark haired child...boy/girl)</span></div>
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The first part of my painting life, as I see it now was devoted to learning a language…technique, developing characters…mostly a woman’s perspective. I decided early on to use women and children as my story telling characters. One day I noticed that my men had a feminine/masculine look and the women masculine/feminine. So from then on woman became my symbol for both. Though I still picture the man child.</div>
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<b><span style="font-size: large;">Creating a Personal Myth</span></b></h2>
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<span style="font-size: large;">Here on the Journey<br />(red Book, blue vase with fish <br />and Mount Fuji)</span></div>
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Myth is a feature of every culture.<br />
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I guess, Mythology has always been there in the background of my work. Throughout time man has used symbols to give clues to what I refer to as “The Mystery of Life.” Over the years I have collected a variety of images that have developed special meanings for me in my narratives…like the blue vase with goldfish that appear repeatedly in my stories.The red book has been there from the beginning. My stories on canvas were once more genre scenes.<br />
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In nature. Now they have become more personal and symbolic.<br />
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“Standing witness to the world that surrounds me…<br />
Translating ideas, impressions and observations…<br />
Getting to play all the parts in the story as it unfolds<br />
With color, form and thought…<br />
Each painting reflecting the world at particular moments in my life…<br />
Accented with personal symbols<br />
Collected over my 48 years of painting”</blockquote>
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<span style="font-size: large;">Crossing over</span><br />
<span style="font-size: large;">(fish, boat and swan plus my special character)</span></div>
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<span style="font-size: large;">Pilgrimage to Mount Fuji ........(Mount Fuji a new symbol)</span></div>
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<blockquote class="tr_bq" style="margin: 0 auto; width: 250px;">
“the paintings are symbolic tales<br />
Personal stories<br />
Characters playing their parts<br />
In witness to the all”</blockquote>
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Judy Feldmanhttp://www.blogger.com/profile/05720901028949462797noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-4332003647240847502017-06-04T11:29:00.000-07:002017-06-18T06:18:46.471-07:00The Language of Color<span style="background-color: black; color: white; font-family: "open sans"; font-size: 14.85px;">By </span><a href="http://wildemeyer.com/artists/judy-feldman/" style="background-color: black; color: white; font-family: "Open Sans"; font-size: 14.85px;">Judy Feldman</a><span style="background-color: black; color: white; font-family: "open sans"; font-size: 14.85px;"> | </span><a href="http://www.wildemeyer.com/" style="background-color: black; color: white; font-family: "Open Sans"; font-size: 14.85px;">www.wildemeyer.com</a><br />
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This winter, I took a trip to San Miguel, Mexico. This colonial city bursts with color, and it’s not unusual to see homes painted in bright yellow, reds and greens, enhanced with beautiful foliage. The many shops display handcrafts that reflect Mexicans love of color.
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<tr><td style="text-align: center;"><a href="http://wildemeyer.com/wp-content/uploads/2013/09/FEM0159.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://wildemeyer.com/wp-content/uploads/2013/09/FEM0159.jpg" data-original-height="540" data-original-width="648" height="265" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Colors of San Miguel</i><br />
Judy Feldman<br />
30" x 36", oil on canvas</td></tr>
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When I returned here to the desert, I realized that our homes are painted to blend into the landscape, so color must occur inside.<br />
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That’s where art comes in. Many painters, especially those at <a href="http://wildemeyer.com/">Wilde Meyer</a>, enjoy expressing themselves through the use of bright color. The gallery is known for its artists’ love of a strong palette, expressed in a variety of styles. <br />
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<tr><td style="text-align: center;"><a href="http://wildemeyer.com/wp-content/uploads/2016/11/CAE0014.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://wildemeyer.com/wp-content/uploads/2016/11/CAE0014.jpg" data-original-height="628" data-original-width="522" height="200" width="165" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>For Evermore</i><br />
Cathy Carey<br />
25" x 21", oil on canvas</td></tr>
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<a href="http://wildemeyer.com/artists/cathy-carey/">Cathy Carey</a> describes herself as a “contemporary expressive colorist,” and says that she strives to “use color to create emotional meaning and visual depth.” Although Cathy paints landscapes, she doesn’t use much local color. Instead, her goal is to communicate what the scene feels like to her, using strong hues. Cathy is very knowledgeable about color theory, and works with contrasts, such as warm against cool, light against darks, and brilliant hues adjacent to neutral tones. Her painting entitled “For Evermore” illustrates this technique. The purple mountains and vegetation pop against the bright yellow sky and paler yellow foreground. The tree trunk texture is created by warm hues against cool ones. Adding to the vitality of the painting are her beautiful brushstrokes, which remind me so much of Van Gogh.
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<tr><td style="text-align: center;"><a href="http://wildemeyer.com/wp-content/uploads/2016/11/CAE0020.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://wildemeyer.com/wp-content/uploads/2016/11/CAE0020.jpg" data-original-height="648" data-original-width="518" height="200" width="159" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Sounds of Life</i><br />
Cathy Carey<br />
30" x 24",
oil on canvas</td></tr>
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Cathy told me that she is very influenced by the impressionist and post-impressionist masters. She said that Monet’s writings about color and composition are of particular importance to her. “I’ve learned to use diagonal shapes to guide the viewer’s eyes, and to circulate a color throughout the painting to create a unified look,” she said. You can see these ideas expressed in her painting entitled “Sounds of Life.” The diagonal movement of the painting images takes our eyes upward at first glance; then we can focus on the shapes, and see the animal curled up among the plants. Cathy uses her blues and greens in different areas, which unifies the painting, and the pop of red/orange against the greens enlivens it up. Her energetic brushstrokes, reminiscent of Van Gogh’s, really make the painting appealing to me.<br />
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<a href="http://wildemeyer.com/artists/jack-roberts/">Jack Roberts</a> also strives to create a visual sensation through color. He, too, wants to stir the viewer’s emotions, and says that his abstract paintings are about pushing color and shape buttons. Jack works on a large canvas, on a flat surface. He says that he likes to paint wet-on-wet, so the paint is always moving. He uses many different implements, from plastic spatulas to push brooms and house paint brushes. A garden hose is used to remove paint in some areas, and reveal other dry paint underneath, to create the layers he wants.<br />
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<tr><td style="text-align: center;"><a href="http://wildemeyer.com/wp-content/uploads/2013/09/JRO0102.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://wildemeyer.com/wp-content/uploads/2013/09/JRO0102.jpg" data-original-height="648" data-original-width="648" height="320" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Acoma<br />
Jack Roberts<br />
50" x 50", acrylic on canvas</td></tr>
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I’m a person who thrives on color, so I’m very drawn to Jack’s paintings. As you can see in his painting entitled “Acoma,” his colors are very clear; he mixes beautiful opaques with jewel-toned transparent hues.<br />
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<tr><td style="text-align: center;"><a href="http://wildemeyer.com/wp-content/uploads/2013/09/JRO0104.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://wildemeyer.com/wp-content/uploads/2013/09/JRO0104.jpg" data-original-height="667" data-original-width="800" height="166" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pow Wow<br />
Jack Roberts<br />
50" x 60", acrylic on canvas</td></tr>
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“Pow Wow” is another burst of color. Jack said that he was inspired by Native American dancers’ costumes. “What you see here are the garments, and a suggestion of figures moving,” he said. “But, I’m not interested in a linear interpretation. I like to work freely and go where the paint takes me. Although I want my work to look spontaneous, each painting requires considerable thought, to make sure that I achieve the proper composition and color relationships.”<br />
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An interest in color also drives the work of <a href="http://wildemeyer.com/artists/theresa-paden/">Theresa Paden</a>. Her paintings convey her love of animals, but they are not the usual wildlife art. They’re vivid and exciting because she employs energetic colors that aren’t traditional in any way. “When I’m painting, I enjoy experimenting with different color combinations,” Theresa said. “First, I do a drawing, based on a photo. Then, I do several small color studies to see which combinations depict the feelings I want to express.”<br />
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<tr><td style="text-align: center;"><a href="http://wildemeyer.com/wp-content/uploads/2016/02/PAD0022.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://wildemeyer.com/wp-content/uploads/2016/02/PAD0022.jpg" data-original-height="450" data-original-width="720" height="200" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bison on the Move<br />
Theresa Paden<br />
30" x 48",
acrylic on canvas</td></tr>
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Like all of us color-obsessed painters, Theresa says that she is inspired by the Fauves and Post-Impressionists. She adds that her color palette had been initially inspired by a trip to Santa Fe, when she was so enchanted by the light and the colors of the city, especially turquoise, red and coral. You can see this influence in her painting entitled “Bison on the Move.” The bright turquoise on the animal’s head and light yellow on its back tells us that it’s in sunlight. These colors, along with warm reds and browns enliven the painting and give it a contemporary look.<br />
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<tr><td style="text-align: center;"><a href="http://wildemeyer.com/wp-content/uploads/2016/02/Wilde-Meyer-Paden-Meandering.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://wildemeyer.com/wp-content/uploads/2016/02/Wilde-Meyer-Paden-Meandering.jpg" data-original-height="795" data-original-width="795" height="150" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Meandering<br />
Theresa Paden<br />
20 X 20",
acrylic</td></tr>
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Theresa’s paintings are fresh and modern because she’s not trying to set her animals in a traditional wildlife environment. Instead, she creates abstract backgrounds with bold strokes of color. “Meandering” is a good example of this technique. “I’m trying to show dappled light coming through the trees on to the animal,” she said. “These backgrounds also set the animal apart and enable me to work in looser shapes and brushstrokes. I like to do something the camera can’t do.”<br />
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Playing with color enables artists to explore creative possibilities and convey their emotions. Even though people say that “art imitates life,” I think that strong color can make art much more interesting than what we see!<br />
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You can see more work by <a href="http://wildemeyer.com/artists/theresa-paden/" target="_blank">Theresa Paden</a>, <a href="http://wildemeyer.com/artists/jack-roberts/" target="_blank">Jack Roberts</a>, and<a href="http://wildemeyer.com/artists/cathy-carey/" target="_blank"> Cathy Carey</a> at Wilde Meyer Gallery.Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-90961807636919868242017-01-28T05:02:00.000-07:002017-02-08T05:09:23.713-07:00Procrastination<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRc-77TEavwPNr_4dYFwzZd5ARscQDq1prGbqzAy29ylHT9gURVbbqJ_NWSgJU56szuTz8xcu4Q8h__piL8MxAG8wbxFdfWpbti6NMnY1Fru8YnVPad5eh8G2vockCNbIyKYYU1ZziHlo/s1600/FEM0155.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRc-77TEavwPNr_4dYFwzZd5ARscQDq1prGbqzAy29ylHT9gURVbbqJ_NWSgJU56szuTz8xcu4Q8h__piL8MxAG8wbxFdfWpbti6NMnY1Fru8YnVPad5eh8G2vockCNbIyKYYU1ZziHlo/s320/FEM0155.jpg" width="228" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Morning Shadows</i><br />
Judy Feldman<br />
36" x 30", oil on canvas</td></tr>
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<span style="font-size: large;">Can dilly-dallying help the artistic process?</span><br />
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By <a href="http://wildemeyer.com/artists/judy-feldman/">Judy Feldman</a> | <a href="http://www.wildemeyer.com/">www.wildemeyer.com</a><br />
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I’ve been thinking about writing this blog for a while. But different commitments and distractions have gotten in the way. Is that procrastination? Sometimes, that happens before I start a painting. Then, I can really procrastinate, with laundry, gardening, cooking, whatever is a good stalling technique. When people ask me how long it takes to do a painting, like “Morning Shadows,” I guess I have to add a few hours to the process.<br />
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Why do creative people procrastinate? Is it productive? I had to ask some fellow artists.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivxWfwBn8KunH_b-NsPnQKuzamlTZcigkHGW2GPWsjayuMlw1lFtvSSJU5CAe2s9rEpKkgFOivv548_iS1VNlVX899dcNm_N2x6taOQuXADDfOAWRnXQSe3CHa3Ano42UwidZNU9dpvbQ/s1600/CHA0321.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="153" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivxWfwBn8KunH_b-NsPnQKuzamlTZcigkHGW2GPWsjayuMlw1lFtvSSJU5CAe2s9rEpKkgFOivv548_iS1VNlVX899dcNm_N2x6taOQuXADDfOAWRnXQSe3CHa3Ano42UwidZNU9dpvbQ/s200/CHA0321.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Zebrid Display Tactics<br />
Timothy Chapman, 16" x 20" acrylic on panel</td></tr>
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<a href="http://wildemeyer.com/artists/timothy-chapman/" target="_blank">Timothy Chapman</a> admitted that procrastination is part of his personality. “I know it’s there, and I just have to deal with it,” he said. But, he explained that for him, procrastination is like drawing your bow to get ready to make art. “I need some time to reflect,” he explained. “I’ll go into my studio and clean up a bit, then play a quick game. But once I get going, I get into the zone, and paint for hours.”<br />
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Timothy studied biology in school, and is fond of depicting animals in his own way., which, according to him, is “basically inaccurate, by using humor, irony and a surrealistic sensibility that is not available to a scientist.” So part of his process involves looking through reference material – often Victorian animal portraiture – and then doing some sketches, before going on to a canvas. “Sketching deflects procrastination,” he explains. Great idea!<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgax0eov5kxFIu33wc77JCoPA8j0HKRaZ4HPEr5UuR2u45Q_lLeHVowpJvSdN8IrlrJidolUJhJbDngjfFS6SckTRnCD0GpU2eKDwt9fMNSJo_1qKtdbr3wLRPdLcbBd-c4pfW1k95h0j4/s1600/CHA0344.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgax0eov5kxFIu33wc77JCoPA8j0HKRaZ4HPEr5UuR2u45Q_lLeHVowpJvSdN8IrlrJidolUJhJbDngjfFS6SckTRnCD0GpU2eKDwt9fMNSJo_1qKtdbr3wLRPdLcbBd-c4pfW1k95h0j4/s320/CHA0344.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Evening Guardian Ritual</i><br />
Timothy Chapman, 36" x 48" acrylic on panel</td></tr>
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Once Timothy examines old animal engravings and starts riffing on their weirdness (these illustrators rarely saw the real thing), he gets his ideas. How to explain “Zebrid Display Tactics” except to note how wonderfully the red blanket shows off the black and white stripes. And, what about the flying? “Gravity is optional is most of my paintings,” he says. Levitation is also present in “Evening Guardian Ritual,” a mélange of species and patterns. Timothy says that these patterns develop as he is painting, as do the drips that dribble down from the sky.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEiqP5XD7TwLbBdznM3livdjS4hP9fzKNit2181LfcJ_ZzCpXH_5VKEALdnwcjhBA3Vl6JQ6p7CGcmrW4CMTaEfnZ1BF0lHFTc9wfzFjEhd770iSDqX2U2b5A1TrgYYALWdp8cWU53w-o/s1600/SCA0100.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEiqP5XD7TwLbBdznM3livdjS4hP9fzKNit2181LfcJ_ZzCpXH_5VKEALdnwcjhBA3Vl6JQ6p7CGcmrW4CMTaEfnZ1BF0lHFTc9wfzFjEhd770iSDqX2U2b5A1TrgYYALWdp8cWU53w-o/s320/SCA0100.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Landscape #868</i><br />
Albert Scharf, 36" x 48", oil on canvas</td></tr>
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<a href="http://wildemeyer.com/artists/albert-scharf/" target="_blank">Albert Scharf</a> has a ritual he performs before painting. A student of Kabbalah, he tries to guide his thoughts beyond barriers to creativity. “I think about the energy of the day, and try to open myself up spiritually” he says. “In Kabbalah, creative thinking is closest to wisdom, the path to seeking unknown knowledge. So, procrastination can be productive.”<br />
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To get started on a project, Albert says he often visualizes a color palette, and then puts paint on his canvas. “Then, I’m off and running,” he says. “I work back and forth to fix mistakes on an unconscious level. Ultimately, that becomes a painting.”<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8KrO3_sQrsJTeT58fKbsUlfP9i0OKXH7gx6PYExcwKX4lkrGb9NC0qXOxvhWVxgYozWGbr3sR-1bBX1R2aLX2IOfIhcOxAgiHB4a_NFKkqwU8Kdkwtn1snmO4BsZmX0ISLVjDfxQwhnA/s1600/SCA0086.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8KrO3_sQrsJTeT58fKbsUlfP9i0OKXH7gx6PYExcwKX4lkrGb9NC0qXOxvhWVxgYozWGbr3sR-1bBX1R2aLX2IOfIhcOxAgiHB4a_NFKkqwU8Kdkwtn1snmO4BsZmX0ISLVjDfxQwhnA/s320/SCA0086.jpg" width="247" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Landscape 802</i><br />
Albert Scharf, 54" x 42", oil on canvas</td></tr>
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Albert’s luminous cloud paintings, such as “Landscape 868” convey a dreamy state of mind to me, stimulated by a beautiful sunrise or sunset. His very low horizon, with just a hint of land, gives lots of room for his ethereal clouds. Looking at “Landscape 802,” I feel as if they are moving across the canvas. The glowing highlights on the ground below seem to reflect the setting sun.<br />
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Another arsenal in his combat against procrastination is to work on three or four canvases at a time. “I focus on a main one, but if problems arise, I can go to another, without getting off track.” He also has other, more playful projects, to “work in a different creative mode and lighten up the tendency to get into a rut.”<br />
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<a href="http://wildemeyer.com/artists/jeff-cochran/" target="_blank">Jeff Cochran</a>, the third artist I called, seems to have a good handle on procrastination. “I basically make myself sit and drink coffee until I can’t sit anymore,” he says. I’m guessing that enough caffeine will propel him into his studio. Since his move to Taos, New Mexico, Jeff has been painting landscapes of areas surrounding his home. So he does need to muster up the energy and enthusiasm to load up his van and get out to do the plein air studies he paints, before doing the larger ones in his studio.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkbrwxrhuoVqA8_cDe3r9hHxVM7NjZvkrhCiWT7UpTDiveB7xHEbT9dxrAGrbY2-_p1zio-1drBrWLw7OVFVrnytM1Wp4kLqgSbZ89pK14K_Exe0QvpSfbuSOpC-qC2cx4pjF5bTFJoQU/s1600/COC0358.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkbrwxrhuoVqA8_cDe3r9hHxVM7NjZvkrhCiWT7UpTDiveB7xHEbT9dxrAGrbY2-_p1zio-1drBrWLw7OVFVrnytM1Wp4kLqgSbZ89pK14K_Exe0QvpSfbuSOpC-qC2cx4pjF5bTFJoQU/s320/COC0358.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Ray of Light in the Pasture (study)</i><br />
Jeff Cochran, 48" x 50", oil on canvas</td></tr>
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“I try to do eight or nine paintings outdoors,” he says. “I like to work near my home, since I really don’t want to drive very far. Painting is a full-time job for me so I do work every day, unless I struggle, in which case, I wait for the next day.”<br />
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Looking at Jeff’s beautiful landscapes, I can sense his love of the painting process. “Mountain Range in Autumn,” for example, shows his knowledge of color and his energetic brushstrokes (caffeine-related?) transform a quiet scene into something exciting. Jeff said that sometimes, he’ll create a scene that reflects his outdoor observations, then he adds more drama, as in his painting entitled “Ray of Light in the Pasture.”<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_bAjBhB34VkpeF0HkzH6E_7BnQyKR_97OuKxB6NsS4_N9Wlr0L8UG0LUDz5B3kqO29nYLvzH5wEqqHUYvbqxN1G_ISK9wRtPfpdArrhje9yb6K1iVZyLFIrn4c1U7uIC8d-G60FWoK00/s1600/COC0359.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_bAjBhB34VkpeF0HkzH6E_7BnQyKR_97OuKxB6NsS4_N9Wlr0L8UG0LUDz5B3kqO29nYLvzH5wEqqHUYvbqxN1G_ISK9wRtPfpdArrhje9yb6K1iVZyLFIrn4c1U7uIC8d-G60FWoK00/s320/COC0359.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Mountain Range in Autumn
</i><br />
Jeff Cochran, 48" x 52", oil on canvas</td></tr>
</tbody></table>
<br />
Jeff is single, so he can do things like make his recent impulsive trip to the Baja in Mexico, set up camp and paint a while with no distractions. But, maybe I’m just rationalizing. Maybe some of us creative types are just super skilled at creating techniques for delaying the work we love.<br />
In closing, I’d like to quote from a line by Ellen DeGeneres: “Procrastinate now, don’t put it off!”<br />
<br />
You can see more work by <a href="http://wildemeyer.com/artists/timothy-chapman/" target="_blank">Timothy Chapman</a>, <a href="http://wildemeyer.com/artists/albert-scharf/" target="_blank">Albert Scharf</a>, <a href="http://wildemeyer.com/artists/jeff-cochran/" target="_blank">Jeff Cochran</a>, and <a href="http://wildemeyer.com/artists/judy-feldman/" target="_blank">Judy Feldman</a> at <a href="http://wildemeyer.com/" target="_blank">Wilde Meyer Gallery</a>.
<br />
<br />Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-65508150318101587422016-09-02T20:49:00.000-07:002016-09-02T20:49:34.002-07:00What Fuels our Creativity?By <a href="http://wildemeyer.com/artists/judy-feldman/">Judy Feldman</a> | <a href="http://www.wildemeyer.com/">www.wildemeyer.com</a><br />
<br />
I
just finished reading an amusing book called “Steal Like an Artist,” by
Austin Kleon. On one of the first pages, he says “What a good artist
understands is that nothing comes from nowhere. All creative work builds
on what came before. Nothing is completely original.” <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN4F5p34iqLtCDeDtGUaWYJSaBB-UO_oZLiUICNyYXoxFm002FuWz98pYPNDFVy331DhyAzTsysLj9BPsYDr9aVnsikR2CKYocAKi9rYcaomxhFJwx-W6QBKGSJuCHZpMSl_v_LYYGf5U/s1600/FEM0137.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN4F5p34iqLtCDeDtGUaWYJSaBB-UO_oZLiUICNyYXoxFm002FuWz98pYPNDFVy331DhyAzTsysLj9BPsYDr9aVnsikR2CKYocAKi9rYcaomxhFJwx-W6QBKGSJuCHZpMSl_v_LYYGf5U/s320/FEM0137.jpg" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="slb_data_title"><i>Treats</i></span><br />
<div class="slb_data_desc">
<span class="slb_template_tag slb_template_tag_item slb_template_tag_item_description">36" x 48"
oil on canvas</span><br />
<span class="slb_template_tag slb_template_tag_item slb_template_tag_item_description"><span style="font-size: 12.8px;">Judy Feldman</span></span></div>
</td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQi0QxMBSb0kyZcUIBhyphenhyphenjWb6pZ_kk4lG5jpMWk6uFr8ONm59Ieq9nAXBTa5HQqZg5M-kGSCdOUsbqh_FPE3AGC19esmA89G6AJtsfwn8EmeFhOXFue1sGwJjyLQY8zmi6MwBlCepVAhV4/s1600/AfternoonattheCotedAzur.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQi0QxMBSb0kyZcUIBhyphenhyphenjWb6pZ_kk4lG5jpMWk6uFr8ONm59Ieq9nAXBTa5HQqZg5M-kGSCdOUsbqh_FPE3AGC19esmA89G6AJtsfwn8EmeFhOXFue1sGwJjyLQY8zmi6MwBlCepVAhV4/s320/AfternoonattheCotedAzur.jpg" width="180" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Afternoon at the Cote d'Azur </i><br />
40" x 30" oil on canvas<br />
<span style="font-size: 12.8px;">Judy Feldman</span></td></tr>
</tbody></table>
Almost all
artists have their muses, and I think it’s so interesting to see how
artists can take inspiration from work they admire, and then incorporate
certain elements into their own uniq...ue style. I also believe that
inspiration comes from the subconscious, from experiences we’ve had and
places we’ve been during our lives. <br />
<br />
For me, it’s always been the
post-Impressionists – especially Matisse! I admire his amazing use of
color, his disregard for the rules of perspective, and his emphasis on
his reactions to what he saw, and how he transmitted those feelings in
his paintings. Can you see his influence in my painting called <b>“Treats?”</b>
Other painters, such as Bonnard and Gabrielle Munter also have inspired
me. I’ve spent quite a bit of time in France, and I think that this,
too, shows up in my paintings, such as <b>“Afternoon at the Cote d’Azur.”</b><br />
<br />
<br />
Following this theme of influences, I phoned a few Wilde Meyer artists to see who their muses were. Here are their responses: <br />
<br />
<a href="http://wildemeyer.com/artists/ryan-hale/" target="_blank">Ryan Hale </a>said his biggest influence is the work of the abstract expressionist Mark Rothko. “I particularly like his color field paintings, he explained. “I agree with his theory that color can expressfeeling, and admire his technique of painting thin, then building up layers to create soft, as well as defined areas.” You can see Rothko’s influence in Ryan’s painting entitled “<b>Earthbound</b>.” <br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjayiLz2mlscX_uJoYF8nkfvJh1d8hDcWyBrP263AYzwnDytJzmItX4ItNzV2UgGdJzF44z76XPcr7iUDcURi0IGn737xlKt4Ub3SjAY8wYD1BAtL8qkbmInWheuwZAbrdzkP9UbzCA8K0/s1600/HAE0439.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjayiLz2mlscX_uJoYF8nkfvJh1d8hDcWyBrP263AYzwnDytJzmItX4ItNzV2UgGdJzF44z76XPcr7iUDcURi0IGn737xlKt4Ub3SjAY8wYD1BAtL8qkbmInWheuwZAbrdzkP9UbzCA8K0/s320/HAE0439.jpg" width="225" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Earthbound</i> <br />
60" x 48" acrylic on canvas <br />
Ryan Hale</td></tr>
</tbody></table>
Ryan is very
interested in aerial imagery, and he refers to maps to provoke ideas
about “where civilization ends and nature takes over.” He likes to play
with the contrast of organic, unorganized shapes, contrasted with the
geometric restraints of the city grids. He explained, “I’m trying to
organize chaos.” I think that <b>“The Elements of Nature”</b> expresses this
effort. <br />
<br />
<div style="text-align: left;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNmzN8_f9LkQukKclfpTeYpten0srcy-f0bEo92QDv-f_lh7sKHFatrMmMgl0jXCkdgHjM0CHtGSED3jaSmPGqDP9CUIqa18JrhxaiUkaCXvtAkjBmHrrsV2CrG1Jhp87romeC8tEawtE/s1600/HAE0418.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNmzN8_f9LkQukKclfpTeYpten0srcy-f0bEo92QDv-f_lh7sKHFatrMmMgl0jXCkdgHjM0CHtGSED3jaSmPGqDP9CUIqa18JrhxaiUkaCXvtAkjBmHrrsV2CrG1Jhp87romeC8tEawtE/s320/HAE0418.jpg" width="225" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Elements of Nature </i><br />48" x 48" acrylic on canvas<br />Ryan Hale</td></tr>
</tbody></table>
</div>
<br />
<div style="clear: left;">
</div>
Barnett Newman is another muse to Ryan. He, too, is known
for his color field paintings. According to Wikipedia, “His paintings
are existential in tone and content, explicitly composed with the
intention of communicating a sense of locality, presence and
contingency.” Newman’s influence appears to me in Ryan’s painting
entitled “<b>The City Sunset.</b>” <br />
<br />
<div style="clear: both;">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwT5M03FXOXsGyLGTIC-FZ2Hd2TdZprLpozsxiwVNtqfk6olG81hnzAVbonyqMYxvGV7pbhALMWCeiLQt565rqVMylEYh_C-_GLCQA_vHIqL9bGSYjkZdwKXU5CDq-jSiW7s49Ns-CNXQ/s1600/HAE0443.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwT5M03FXOXsGyLGTIC-FZ2Hd2TdZprLpozsxiwVNtqfk6olG81hnzAVbonyqMYxvGV7pbhALMWCeiLQt565rqVMylEYh_C-_GLCQA_vHIqL9bGSYjkZdwKXU5CDq-jSiW7s49Ns-CNXQ/s320/HAE0443.jpg" width="280" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The City Sunset</i><br />
60" x 72" acrylic on canvas<br />
Ryan Hale </td></tr>
</tbody></table>
<br />
<a href="http://wildemeyer.com/artists/sushe-felix/" target="_blank"><b>Sushe Felix</b> </a>lives in Colorado. Her
southwest landscapes have a distinctive style, which she claims is
derived from her interest in American abstract painters from the 1930’s
and 40s, as well as the modernist and cubist movements. “In particular,
I’ve been influenced by Raymond Jonson, who led the Transcendental
Painting Group in Santa Fe,” Sushe explained. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ4yAlaGcxKT0iwW2AMvfB5nyUkmLEuLDn10IUIxCmvUF5R8I-03NWfwoz_DY3JIjwHJJxDzs-uanZzzq9M1hWOdmReFJjoYNYLbaX3mDHvYAtPx_qXyw_N7YFVklpQRXmlZJtwUGDikY/s1600/FEI0117.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ4yAlaGcxKT0iwW2AMvfB5nyUkmLEuLDn10IUIxCmvUF5R8I-03NWfwoz_DY3JIjwHJJxDzs-uanZzzq9M1hWOdmReFJjoYNYLbaX3mDHvYAtPx_qXyw_N7YFVklpQRXmlZJtwUGDikY/s200/FEI0117.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Summer Afternoon </i><br />
20.5 " x 20.5" acrylic on panel<br />
<span style="font-size: 12.8px;">Sushe Felix </span></td></tr>
</tbody></table>
I looked
up the group on Google, and discovered that the aim of the
Transcendental Painting Group was "to defend, validate and promote
abstract art. They sought to carry painting beyond the appearance of the
physical world, through new expressions of space, color, light and
design." <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1aqL_jFSQF5rzX12Gfyl8cB_KigeZikYkuxyl0VZDgaHN2Jp7AXi708jq1lcbp3gp7rq9jH-SZdQ3IcKWPbkSr2UYHGhpdv1PqD-5S6yeibtyWPujYRXs1Ny8E53Ql4HodsJ7VIIteEQ/s1600/FEI0098.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1aqL_jFSQF5rzX12Gfyl8cB_KigeZikYkuxyl0VZDgaHN2Jp7AXi708jq1lcbp3gp7rq9jH-SZdQ3IcKWPbkSr2UYHGhpdv1PqD-5S6yeibtyWPujYRXs1Ny8E53Ql4HodsJ7VIIteEQ/s320/FEI0098.jpg" width="225" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Sunlit Canyon </i><br />
29.5" x 35.5"<span class="Apple-tab-span" style="white-space: pre;"> </span>acrylic on panel<br />
<span style="font-size: 12.8px;">Sushe Felix</span></td><td class="tr-caption"><br /></td><td class="tr-caption"><br /></td><td class="tr-caption"><br /></td></tr>
</tbody></table>
Thomas Hart Benton, who was at the forefront of the
Regionalist movement, also influenced Sushe, as did the southwest
regionalist painters, who took the local landscape and abstracted it.
She has her own spin on this inspiration, with a strong focus on forms,
shapes and color. You can see her unique style in these paintings,
entitled <b>“Summer Afternoon”</b> and <b>“Sunlit Canyon.”</b> Sushe has a favorite
color palette, using strong complementary colors to draw attention to
areas of interest for her. <br />
<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdAqeHIdFHuApuI4ZldMWMccq3uIxi3stUns4Ju9ZsTH9bZqU6byiaKezXWUZAWBukGd87HtMmbwni1ua8cLkbpfkm42LeauETxZHFBbXWsdIE-uceLlJuhVC-K4fgSi2hyphenhyphenxy5yZTrvWs/s1600/BRU0183.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdAqeHIdFHuApuI4ZldMWMccq3uIxi3stUns4Ju9ZsTH9bZqU6byiaKezXWUZAWBukGd87HtMmbwni1ua8cLkbpfkm42LeauETxZHFBbXWsdIE-uceLlJuhVC-K4fgSi2hyphenhyphenxy5yZTrvWs/s320/BRU0183.jpg" width="134" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Oranges I <br />
30 " x 22" acrylic on paper<br />
<span style="font-size: 12.8px;">Rudie van Brussel</span></td></tr>
</tbody></table>
<b><a href="http://wildemeyer.com/artists/rudie-van-brussel/" target="_blank">Rudie van Brussel’s</a></b> artistic
inspiration stems from his very interesting background. He grew up in
Surinam, originally a Dutch colony in South America. Although he was
first educated in a Dutch school, he was greatly affected by the deep
colors of the tropics. Imagine Vermeer and Rembrandt in South America!
When Surinam became independent, Rudie and his family moved to the
United States, and Rudie attended ASU, obtaining a degree in
engineering. But, that was not satisfying, and so after traveling the
world, he starting painting, recalling the images and memories of his
island life. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghQeWZJXGZCWWSIbifvmQyIzuE3VU4gxCszH4u9G39BE6OpiyVPaSCfedunjGOoMl-AwEArjhjaLVUclEhxWXXZtQUgebib_uj_e8MhHyYd3SZXmTVzNAjcWr_wuyZB9cBDL6uh0FEbE0/s1600/BRU0180.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghQeWZJXGZCWWSIbifvmQyIzuE3VU4gxCszH4u9G39BE6OpiyVPaSCfedunjGOoMl-AwEArjhjaLVUclEhxWXXZtQUgebib_uj_e8MhHyYd3SZXmTVzNAjcWr_wuyZB9cBDL6uh0FEbE0/s320/BRU0180.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fruit Table <br />
45" x 61" oil on canvas<br />
<span style="font-size: 12.8px;">Rudie van Brussel</span></td></tr>
</tbody></table>
<div class="separator" style="clear: left; text-align: center;">
</div>
<br />
“Fruit Table” shows Rudie’s love of color, tempered
by a soft layer of shading that reflects the influence of the Dutch
masters. In another series, instead of the formal portraits done by the
Old Masters, Rudie has chosen to paint animal portraits in a formal, yet
whimsical style. I think Rudie also has been
influenced by the magical realism of South America, when I look at his
somewhat surreal paintings such as “Feathers” and “Tumbler.” As I said
previously, our inspiration often springs from our subconscious – a mix
of current and past experiences. <br />
<div class="separator" style="clear: left; text-align: center;">
</div>
<br />
<br />
<table align="center" cellpadding="12" cellspacing="0" style="border-collapse: collapse; border: none; width: 550px;">
<tbody>
<tr><td></td><td style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRygV87B8AMA7-Lg5zWkAQ_fWPtmEXhzoE-OriR5XZtf_qm2ZomSAtoXw3bhpDJ5JJC5bi5uPVsf6YVGqh1-F_A1GlAsO6uZJROSEfq-eE0XGebkNP-tVZa2G-A-BTcq5q7gFBrrI6Lbg/s1600/BRU0181.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRygV87B8AMA7-Lg5zWkAQ_fWPtmEXhzoE-OriR5XZtf_qm2ZomSAtoXw3bhpDJ5JJC5bi5uPVsf6YVGqh1-F_A1GlAsO6uZJROSEfq-eE0XGebkNP-tVZa2G-A-BTcq5q7gFBrrI6Lbg/s320/BRU0181.jpg" width="186" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tumbler <br />
53" x 36" acrylic on canvas<br />
<span style="font-size: 12.8px;">Rudie van Brussel</span></td></tr>
</tbody></table>
</td>
<td style="text-align: center;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbYECF_aZstDyCjRkfyyl2N01mvEzsmxD039iU-RVlVSpL1yw-g_y2R6xfdX0Zbpgl68tGOOSXouxSRK0POU53KiWR_zJPl1WJr1mpjtE5CI-cjxfba6NirqCRvX-F3rs4Owp7NCZ0N2A/s1600/bru173.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbYECF_aZstDyCjRkfyyl2N01mvEzsmxD039iU-RVlVSpL1yw-g_y2R6xfdX0Zbpgl68tGOOSXouxSRK0POU53KiWR_zJPl1WJr1mpjtE5CI-cjxfba6NirqCRvX-F3rs4Owp7NCZ0N2A/s320/bru173.jpg" width="186" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Feathers</i><br />
<span style="font-size: 12.8px;">48" x 36" oil on canvas</span><br />
Rudie van Brussel</td></tr>
</tbody></table>
</td></tr>
</tbody></table>
<br />
I think we all have muses in our
lives – people we admire and who inspire us in our pursuits, artistic
or otherwise. And, someday, we may be an inspiration to someone else!<br />
<br />
You can see more work by <a href="http://wildemeyer.com/artists/rudie-van-brussel/" target="_blank">Rudie van Brussel</a>, <a href="http://wildemeyer.com/artists/sushe-felix/" target="_blank">Sushe Felix</a>, <a href="http://wildemeyer.com/artists/ryan-hale/" target="_blank">Ryan Hale,</a> and <a href="http://wildemeyer.com/artists/judy-feldman/" target="_blank">Judy Feldman</a> at <a href="http://wildemeyer.com/" target="_blank">Wilde Meyer Gallery</a>.Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-64668386619000281882016-05-19T20:57:00.001-07:002016-05-19T20:57:34.006-07:00Collecting for a Cause By <a href="http://wildemeyer.com/artists/judy-feldman/">Judy Feldman</a> | <a href="http://www.wildemeyer.com/">www.wildemeyer.com</a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2mW3m942cfXTcjuLfQq6xcqk9T_gxDciEC_lwudtqigxt16fbO1AHBhynSLfsOBWQgvzJpw2XdMCPcp0NwQXGGA5Met4i5AJ0Jy1sh5L5CCyo07oPEwJh6NKvHe2u8kTTM5VD_FwuGrg/s1600/FullSizeRender.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2mW3m942cfXTcjuLfQq6xcqk9T_gxDciEC_lwudtqigxt16fbO1AHBhynSLfsOBWQgvzJpw2XdMCPcp0NwQXGGA5Met4i5AJ0Jy1sh5L5CCyo07oPEwJh6NKvHe2u8kTTM5VD_FwuGrg/s200/FullSizeRender.jpg" width="160" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Bruno Waiting</i><br />
Judy Feldman</td></tr>
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In June, Wilde Meyer is hosting its <a href="http://wildemeyer.com/event/the-100-show/" target="_blank">100 for $100 show</a>. Now in its fourth year as an annual event, the gallery at Marshall Way is displaying the work of many Wilde Meyer artists, and each work of art will sell for $100. In addition to offering original artwork for an amazing price, much of the proceeds will go to several animal charities.
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUNjTkSurmBepjO1QEjBzEzUQZaiVcxHmgyw1h78yBDPzR4Zqw7GFBdLRRMkKs15w3O6YwiZRSnfJpkljM8oCvYHPR84bdqm_T628VbLk1an1KBIpHY4pZ_Y2SFvfGkA2YUoPKmCKWwwo/s1600/IMG_6769.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUNjTkSurmBepjO1QEjBzEzUQZaiVcxHmgyw1h78yBDPzR4Zqw7GFBdLRRMkKs15w3O6YwiZRSnfJpkljM8oCvYHPR84bdqm_T628VbLk1an1KBIpHY4pZ_Y2SFvfGkA2YUoPKmCKWwwo/s200/IMG_6769.jpg" width="167" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Cinnabar Green</i><br />
Judy Feldman</td></tr>
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“This is a great way to get acquainted with many different artists,” said owner Betty Wilde. “it’s always easy to find a place for a small painting or sculpture, and at this price, you can even make a grouping of several pieces without spending too much.” <br />
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I’m excited to be participating again. This time, I’ll have several paintings in the show, including “Cinnabar Green” (I found an awesome new tube of green paint), and “Bruno Waiting.” And, I’m looking forward to seeing what the other artists are showing. I may collect, too! <br />
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Here’s a small sample of some of the works that have been brought in for the show.<br />
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Please know that this event has been so successful, that the gallery will be selling more than 100 works of art through a lottery system. The images will be emailed to all of you; you can put your name on a list for a particular painting starting Thursday, June 2, and a name will be drawn for each painting on Friday, June 3. I hope you’ll participate and enjoy some wonderful new art! <br />
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Be on the lookout for additional information coming up via email soon!
Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-36633537895517370412016-03-05T08:50:00.000-07:002016-03-08T07:44:53.019-07:00Where does your eye go?<span style="font-size: large;">The power of the horizon line</span><br />
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By <a href="http://wildemeyer.com/artists/judy-feldman/">Judy Feldman</a> | <a href="http://www.wildemeyer.com/">www.wildemeyer.com</a><br />
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A few weeks ago, while driving up to Flagstaff, I felt as if I were enveloped in a mass of fluffy grey clouds. It was pleasant, and yet, disconcerting. Something was a little off, and I realized that it was because from my perspective, the horizon was so low. My view was all about the sky and its atmospheric effect.<br />
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<tr><td class="tr-caption" style="font-size: 11px; text-align: center;"><i>Landscape #715</i><br />
50" x 60" oil on canvas<br />
<span style="font-size: 11px;"> Albert Scharf </span></td></tr>
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Painters use horizon placement as a technique to convey their story. It can orient the viewers to where the artist wants them to be. A low horizon, like the “cloudscape” I saw, suggests a deep, open space; whereas a high horizon places the emphasis on the foreground. If the horizon is basically in the middle of the canvas, then the eye will be drawn more to color and shapes.<br />
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<tr><td class="tr-caption" style="font-size: 11px; text-align: center;"><i>Landscape 802</i><br />
54" x 42" oil on canvas<br />
<span style="font-size: 11px;"> Albert Scharf </span></td></tr>
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When I was pondering the low horizon line, I immediately thought about <a href="http://wildemeyer.com/artists/albert-scharf/" target="_blank">Albert Scharf</a>, a Wilde Meyer artist who lives in Santa Fe. Looking at Albert Scharf’s beautiful cloud paintings, you can really sense the vastness of the sky I was feeling myself. When I spoke with him, he said that he finds that clouds are an interesting subject because of what they do to the light, and since they have abstract shapes, he’s not bound by form or structure. <br />
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“Clouds have an amorphic shape that enable me to pursue my interest in the emotional content of color,” he said. “Also, the manipulation of their hard and soft edges gives great energy to the paintings.”<br />
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At first, Albert just painted clouds, but he then decided to add the thin slice of land below as a counter balance which, he noted, makes the sky look even larger. This is the effect of the low horizon that intrigues me. You can see how this happens in Albert’s painting entitled “Landscape 802.” (Yes, he numbers all his paintings.) In “Landscape 715,” he has increased the size of the ground and textured it with a palette knife, which separates the land and sky and gives the painting a completely different look.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7jjfgvgOTImVli89hqC3kqp-7ZpJIBVdLIcrsspYbhoARJ-GDVQTMubLSagIuhSAjiUXbwqRG0W_RrhiWbZpypvRWB7peU4AqV7J-r06sspdpFEpXiPvzBjT1EOg-puqab969SNvgl4c/s1600/SCA0087.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7jjfgvgOTImVli89hqC3kqp-7ZpJIBVdLIcrsspYbhoARJ-GDVQTMubLSagIuhSAjiUXbwqRG0W_RrhiWbZpypvRWB7peU4AqV7J-r06sspdpFEpXiPvzBjT1EOg-puqab969SNvgl4c/s320/SCA0087.jpg" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 11px; text-align: center;">Landscape 852<br />
60" x 48" oil on canvas<br />
<span style="font-size: 11px;">Albert Scharf </span></td></tr>
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Although he has seen many beautiful Santa Fe skies in the 30 years he has lived there, Albert does not use local color; rather he prefers to present his ”skyscapes” in analogous saturated hues that transcend through the conscious into the subconscious. “I want to take my viewers to a place where they feel good,” he said. A great example of this technique can be seen in “Landscape #852,” where the sky bursts with hues of pink, gold and violet.<br />
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On the other hand,<a href="http://wildemeyer.com/artists/lawrence-taylor/" target="_blank"> Larry Taylor’s</a> interest lies in the beautiful gardens he paints, so he purposely keeps his horizon line high. He says that it’s his personal preference, “just the way I look at the scene.”<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCwAOGLgL7HMdL7Cc1JQJnO85DPLDWv5RMVCPE3cnyBmCb5EWp73cysH-L6-BQIClKh43n-2-rNu2TkUzeGGzkykYEDuo-3Mg_fBSIyqG3KW5D40ueSfwgY-o7ZLUEghB0mXMIR4G5A4w/s1600/TAY0256.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCwAOGLgL7HMdL7Cc1JQJnO85DPLDWv5RMVCPE3cnyBmCb5EWp73cysH-L6-BQIClKh43n-2-rNu2TkUzeGGzkykYEDuo-3Mg_fBSIyqG3KW5D40ueSfwgY-o7ZLUEghB0mXMIR4G5A4w/s200/TAY0256.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 11px; text-align: center;">The Well Traveled Path <br />
35" x 35" oil on canvas<br />
<span style="font-size: 11px;">Lawrence Taylor</span></td></tr>
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Since the 1980s, Larry has made periodic trips to England and Wales, visiting the gardens of the British National Trust. The photographs he takes on site are used for inspiration in his paintings. In his work entitled “A Quiet Place,” Larry leads the viewer’s eye up the steps to the horizon, and along the way, we are treated to a gorgeous display of red tulips, purple irises and mounds of golden hued flowers. I just want to walk right into the scene!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUtqTtIyr9YgKn8cLH8bidDOkCPpBfICxH6xpd99YVNbp9WErlLLEEufF5imrdRwoTLM5fYmJMEyWbemzoV6gX_YBu-n7_eA_pwCczdPen8NBBq19F3Ag6msUiYtsnrD7rN-3fxDZGOHg/s1600/TAY0252.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUtqTtIyr9YgKn8cLH8bidDOkCPpBfICxH6xpd99YVNbp9WErlLLEEufF5imrdRwoTLM5fYmJMEyWbemzoV6gX_YBu-n7_eA_pwCczdPen8NBBq19F3Ag6msUiYtsnrD7rN-3fxDZGOHg/s320/TAY0252.jpg" width="274" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 11px; text-align: center;">Quiet Place <br />
40" x 44" oil on canvas<br />
<span style="font-size: 11px;">Lawrence Taylor</span></td></tr>
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“The Well-Traveled Path” is another example of Larry’s technique of getting the viewer to travel from the foreground to the end of a path near the high horizon. His clusters of blooms vibrate with color. Although our eyes are initially attracted to the brilliant red flowers in front, we still want to go up the path and see what’s going on at the house in the background.<br />
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Is horizon line placement always important to create drama? Not necessarily. Judy Choate is more interested in perspective and balance when painting her stylized landscapes. The excitement in her work comes from the brilliant colors and somewhat abstract shapes she uses to convey her impressions of the mountains of the Southwest. Judy has observed their interesting formations for years, while living in Sedona, on driving trips, and, now near her home in Tucson.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4TsWTLlmCIf0_xIlGCpRU0mkjeV0QTESnd3QBhLOR1MLVbrExn_kmskeLPKp2-dPSGzYTEfHGDcoOlQMYAUKoMe_yRKht2_B8BAtEcmcx3rcYT80Z35aLjExv-CxDHUbzq3_alhBYQ_E/s1600/CHT0023.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4TsWTLlmCIf0_xIlGCpRU0mkjeV0QTESnd3QBhLOR1MLVbrExn_kmskeLPKp2-dPSGzYTEfHGDcoOlQMYAUKoMe_yRKht2_B8BAtEcmcx3rcYT80Z35aLjExv-CxDHUbzq3_alhBYQ_E/s400/CHT0023.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 11px; text-align: center;">Approaching Storm <br />
48" x 60" acrylic on canvas<br />
<span style="font-size: 11px;">Judy Choate</span> </td></tr>
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In her large (48”X60” painting entitled “Approaching Storm,” the horizon is actually in the middle of the scene. She catches our eye in a different way, by painting dark shapes in the foreground as a foundation, describing the mountains in warm pure hues in front and in more opaque colors behind. The slash of deep blue defines the horizon and adds more depth. Then our eye goes up to the whirling shapes of the sky.<br />
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Judy often lets the shape of a canvas determine her design. For example, in “Approaching Sunset,” the 20”X60” format dictates a wide-angle view of the mountains. We see a piece of the horizon line behind the golden shapes, where the sky swirls upward.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx577xxopX3NJxI8J3ks1yY9E0StHkNOEb13kL-Jc5ED-j0oQ-XN2BD3H059OV23cVkxPmtpII_9wSDyntGGeWojKrtdquMMNLIyrNiF2EuimuOSTBIydiGaGoX_aDYFOaPz5ybcKfGGI/s1600/CHT0046.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="66" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx577xxopX3NJxI8J3ks1yY9E0StHkNOEb13kL-Jc5ED-j0oQ-XN2BD3H059OV23cVkxPmtpII_9wSDyntGGeWojKrtdquMMNLIyrNiF2EuimuOSTBIydiGaGoX_aDYFOaPz5ybcKfGGI/s200/CHT0046.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 11px; text-align: center;">Approaching Sunset <br />
20" x 60" acrylic on canvas<br />
<span style="font-size: 11px;">Judy Choate </span></td></tr>
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Some artists do away with a horizon line altogether. But, that’s another story, another blog!<br />
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You can see more work by <a href="http://wildemeyer.com/artists/albert-scharf/" target="_blank">Albert Scharf</a>, <a href="http://wildemeyer.com/artists/lawrence-taylor/" target="_blank">Lawrence Taylor</a>, and <a href="http://wildemeyer.com/artists/judy-choate/" target="_blank">Judy Choate</a> at <a href="http://wildemeyer.com/" target="_blank">Wilde Meyer Gallery.</a><br />
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<br />Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-58601183952217507262015-12-14T10:20:00.000-07:002015-12-14T10:31:19.253-07:00 Art treasures for the holidaysBy <a href="http://wildemeyer.com/artists/judy-feldman/">Judy Feldman</a> | <a href="http://www.wildemeyer.com/">www.wildemeyer.com</a><br />
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With the holiday season comes the quest for gifts for friends and family. For many people, it’s an overwhelming task, since stores are filled with merchandise, and finding the right present can be difficult. So, how about a gift of art? A hand-crafted glass or ceramic piece, a small painting or sculpture would be a unique way of showing your holiday wishes, and the recipient will enjoy it for a long time.<br />
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At this time of year, Wilde Meyer Gallery asks its artists to produce small works that would be appropriate for gifts. It’s a great way to give (or acquire for yourself!) a piece from a favorite artist that you may not have been able to afford in a larger size. It also gives you a chance to get to know most of the artists there, since many small pieces are be displayed at once. This year, the show is called “Treasures,” and it will run in Scottsdale until Christmas, then will open at the Tucson location.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbdmbl1yJKXORJbNqQMDNbWXmDUNGqkWNx9d8JN600UDlb06rGTN-N_jqsxSSXY-JERqVYQbFxeuixCtVL4vIs4hwJu-mtChEAcE0125V0gX-ZeSTv6QSnwVgJy_M-BG4wJUSr-Cv1ItQ/s1600/FEM0145.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbdmbl1yJKXORJbNqQMDNbWXmDUNGqkWNx9d8JN600UDlb06rGTN-N_jqsxSSXY-JERqVYQbFxeuixCtVL4vIs4hwJu-mtChEAcE0125V0gX-ZeSTv6QSnwVgJy_M-BG4wJUSr-Cv1ItQ/s200/FEM0145.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Holiday Nap</i> 12" x 12"<br />
Judy Feldman</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoRq3VYmgAcqsiunNiFR0Sb_C1VxGUj3EawcTHpyu8bU2H09NJ01MnhO9FuDF7WAf5aUTelY6cjQrw_O4jKwi2VdayC2leFAaFfOUiBIhT7ze9hjZuofnJRyhSENF8tm1CJ4CaRjGKiPM/s1600/FEM0144.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoRq3VYmgAcqsiunNiFR0Sb_C1VxGUj3EawcTHpyu8bU2H09NJ01MnhO9FuDF7WAf5aUTelY6cjQrw_O4jKwi2VdayC2leFAaFfOUiBIhT7ze9hjZuofnJRyhSENF8tm1CJ4CaRjGKiPM/s320/FEM0144.jpg" width="175" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Bruno Waiting </i>14" x 11"<br />
<span style="font-size: 12.8px;">Judy Feldman</span></td></tr>
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I find it fun to do small paintings, since I can work fairly quickly. The two here, “Bruno Waiting” and “Holiday Nap” have an intimate quality that I like. Even though I love details, I tried to keep the images fairly simple.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrIpD9ls_sxvZZYi80LvZ6m_8boIM082aMufbO3oUdjBKapBusVGJU6V1CtUilUcaWVuoy_zEpCKF7Yp7OFGMP5bdnZ76wD0994oW8_VjUzxTxMtZx2J73KXAHlrEesd3y7NVfRBv-lmU/s1600/LCH1334.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrIpD9ls_sxvZZYi80LvZ6m_8boIM082aMufbO3oUdjBKapBusVGJU6V1CtUilUcaWVuoy_zEpCKF7Yp7OFGMP5bdnZ76wD0994oW8_VjUzxTxMtZx2J73KXAHlrEesd3y7NVfRBv-lmU/s200/LCH1334.jpg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Sounds Reasonable </i>10" x 10"<br />
Linda Carter Holman</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghKymvgF_cwHUbz4U19G5JaUR1WgU_X1K-BDZdfEUF1aUeG3x3uC3k3YESwn9UseqXWKQivMKplxtzILR2wCDcIx3HigrgfZvKoBm8y9LeM3lb_uMmWbBWX4fgTHgvvEexclUqGW5jdMk/s1600/TOW0153.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghKymvgF_cwHUbz4U19G5JaUR1WgU_X1K-BDZdfEUF1aUeG3x3uC3k3YESwn9UseqXWKQivMKplxtzILR2wCDcIx3HigrgfZvKoBm8y9LeM3lb_uMmWbBWX4fgTHgvvEexclUqGW5jdMk/s320/TOW0153.jpg" width="175" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Crazy Eyes 14" x 11"<br />
Connie Townsend</td></tr>
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When I went to the gallery yesterday to look at the wall of small paintings, a few caught my eye. <a href="http://wildemeyer.com/artists/connie-townsend/" target="_blank">Connie Townsend</a> has a portrait of one of her chickens in her distinctive style called “Crazy Eyes.” <a href="http://wildemeyer.com/artists/linda-carter-holman/" target="_blank">Linda Carter Holman</a> has included some of her favorite things in her painting entitled “Sounds Reasonable,” such as the Calla lilies, the goldfish, fruit bowl and a dog with an expression that reminds me of one of her gracious ladies in larger paintings.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-wO9cMuVdQ9jJNZX1e2ODhyE3Om2aht20AGVQezhhoVlOSxW3bMpK0v9yWtoBHsdCXpgtMoo70GdnPhxxejs8acwK9yEauPhVJBVk_MTZtIk2ux72NDSu4x7qRLLPweTCdvBrLI3uBas/s1600/CHA0319.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-wO9cMuVdQ9jJNZX1e2ODhyE3Om2aht20AGVQezhhoVlOSxW3bMpK0v9yWtoBHsdCXpgtMoo70GdnPhxxejs8acwK9yEauPhVJBVk_MTZtIk2ux72NDSu4x7qRLLPweTCdvBrLI3uBas/s200/CHA0319.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Let's Go </i>12" x 12"<br />
Timothy Chapman</td></tr>
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<a href="http://wildemeyer.com/artists/timothy-chapman/" target="_blank">Timothy Capman’s </a>“Let’s Go” painting reflects his whimsical ideas; this time, a blue bird with a saddle is taking flight off a plateau. Great idea for a traveler friend! <a href="http://wildemeyer.com/artists/trevor-mikula/" target="_blank">Trevor Mikula </a>has painted one of his distinctive dogs with a touch of humor, entitled “She’s a Lady.” And, if you like Bill Colt’s cows, you’ll see a few on the wall.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQeUhcowYBjub078Ys6u415DyS3sGek-KV1b2QBwtZWkBXqQMyij3tu5UU9RbDTjPvL80BgWBj4AqSfwuD9cDfL88HMJvwoBceCke67t-ePdxinwCTDRLh0U-J8EMK-jyTtoKZZKbT4dc/s1600/TRE0700.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQeUhcowYBjub078Ys6u415DyS3sGek-KV1b2QBwtZWkBXqQMyij3tu5UU9RbDTjPvL80BgWBj4AqSfwuD9cDfL88HMJvwoBceCke67t-ePdxinwCTDRLh0U-J8EMK-jyTtoKZZKbT4dc/s200/TRE0700.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>She's a Lady </i>12" x 12"<br />
Trevor Mikula</td></tr>
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So stop by and see the amazing wall of Treasures. There’s really something for everyone’s tastes. The gift of art is a unique and memorable one!<br />
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<a href="http://wildemeyer.com/event/treasures/" target="_blank">Treasures </a>is on view until January 2, 2016. You can see more work by <a href="http://wildemeyer.com/artists/judy-feldman/" target="_blank">Judy Feldman</a>, <a href="http://wildemeyer.com/artists/connie-townsend/" target="_blank">Connie Townsend</a>, <a href="http://wildemeyer.com/artists/linda-carter-holman/" target="_blank">Linda Carter Holman</a>, and <a href="http://wildemeyer.com/artists/trevor-mikula/" target="_blank">Trevor Mikula</a> at <a href="http://wildemeyer.com/" target="_blank">Wilde Meyer Gallery. </a><br />
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Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-7179305296204700432015-12-01T15:26:00.001-07:002015-12-01T15:26:47.839-07:00Artists Make their MarkBy <a href="http://wildemeyer.com/artists/judy-feldman/">Judy Feldman</a> | <a href="http://www.wildemeyer.com/">www.wildemeyer.com</a><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMHQJTPEucYA78Ij9WgKI9x7GJEDmjhC7mzlS5pzEbou2LnNBGzxAaOW-sWWqC0jVuFyuyGAcQqIv67klkPSC7nwUX2yBZ-POR-Yv9wPtJ6RyoBSujXH05FgfQwA9zZpSUHpuCvPXta7g/s1600/RUS0018.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMHQJTPEucYA78Ij9WgKI9x7GJEDmjhC7mzlS5pzEbou2LnNBGzxAaOW-sWWqC0jVuFyuyGAcQqIv67klkPSC7nwUX2yBZ-POR-Yv9wPtJ6RyoBSujXH05FgfQwA9zZpSUHpuCvPXta7g/s320/RUS0018.jpg" width="214" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Close Red and Yellow Bands </i>72" x 48"<br />
<span style="font-size: 12.8px;">Ron Russon </span></td></tr>
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When we look at two-dimensional art, the overall image strikes us first. But then, our eye is usually drawn to the distinctive marks that define an artist’s work. By marks, I mean the brushstrokes, the textures and whether the image is done in a loose, gestural style, or a more controlled, structured way <a href="http://www.blog.wildemeyer.com/2015/08/planned-vs-intuitive-part-two.html" target="_blank">(see my last blogs about the latter)</a>. <br />
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Artists’ mark making is so personal; it may be deliberately planned at first, but then it becomes part of the flow of creating, an intimate part of their artistic process. <br />
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When I interviewed some Wilde Meyer artists about the way they work, quite a few told me that they like to use many layers when they’re painting. <a href="http://wildemeyer.com/artists/melissa-johnson/" target="_blank">Melissa Johnson</a> said that the process of layering “shows the history of the painting.” Melissa’s unique marks are related to the variety of tools she employs – never a paintbrush because she hates cleaning them! Instead, she uses old plastic gift cards; her husband’s old driver’s license, chopsticks and crushed paper, to name a few. “Each tool has a different flexibility, which gives different textures,” she said. If Melissa wants to pull paint away from the canvas, she uses tin foil, waxed paper or tissue paper to achieve different results. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-_azXHBP5MPhy4GgnQG7Z1sIPVsHJbMsEGj2ArCwPndsxRGCwkSv0bI3KqNql4oDOvGMP2S8z6Fh1QNFhnafZwd4Wje0a0lkpu7QSKqEj5K23nRNxy1X4mAcoOq_M_YakabS29Zi6uqM/s1600/JOH0054.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-_azXHBP5MPhy4GgnQG7Z1sIPVsHJbMsEGj2ArCwPndsxRGCwkSv0bI3KqNql4oDOvGMP2S8z6Fh1QNFhnafZwd4Wje0a0lkpu7QSKqEj5K23nRNxy1X4mAcoOq_M_YakabS29Zi6uqM/s200/JOH0054.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Structure</i> <br />
20 " x 20" oil, cold wax & metal leaf<br />
<span style="font-size: 12.8px;">Melissa Johnson </span></td></tr>
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“It’s not a predictable method, but I’ve learned over time the steps I need to take,” Melissa said. She noted that she begins with a realistic image, and as she builds up layers or takes away paint, the painting gets more abstract. Melissa’s marks are also a product of a medium she uses: cold wax. “By mixing in the wax with my paint, I get a beautiful translucency, even with opaque colors. Plus, I can also carve marks into it, using ceramic and sculptural techniques. When I’m finished, I give the painting a light coat of the wax, polished with a soft cloth.”<br />
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You can see an example of Melissa’s strongly textured painting in her work entitled “Structure.” Here, her abstract shapes take the form of a house, and you can decide if she began with a more detailed house, or if that image evolved along with the other geometric shapes. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd3FDuZyDN5uYDCgq2-5oiGWt5F-7yj2xjwo1ljmKpXGBS_cE_M9NcgSgiBhI5hMEFvYnltPENBLrJ3Z9i-fODW6TQUk3b1qDa_G_NI10a97Ak9XEboCghXzBewSgEFY_vPWq4bHMhMUw/s1600/JOH0053.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd3FDuZyDN5uYDCgq2-5oiGWt5F-7yj2xjwo1ljmKpXGBS_cE_M9NcgSgiBhI5hMEFvYnltPENBLrJ3Z9i-fODW6TQUk3b1qDa_G_NI10a97Ak9XEboCghXzBewSgEFY_vPWq4bHMhMUw/s400/JOH0053.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Ancestral</i> <br />
20" x 40" oil, cold wax & metal leaf<br />
<span style="font-size: 12.8px;">Melissa Johnson </span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaKF7D5RHWh0nOIg7gZEHr9THy3j86dv9se7ccOSSqmGsvDnsJO6XgUuG7h-vq8xGLOihRhoYw2-uEQGvBj7ru578W8Xfvj2WUzSZsc0IFr7z7Igw3D2S7gk4dL4BIQpUOlPKZA42MEGM/s1600/JOH0044.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaKF7D5RHWh0nOIg7gZEHr9THy3j86dv9se7ccOSSqmGsvDnsJO6XgUuG7h-vq8xGLOihRhoYw2-uEQGvBj7ru578W8Xfvj2WUzSZsc0IFr7z7Igw3D2S7gk4dL4BIQpUOlPKZA42MEGM/s200/JOH0044.jpg" width="156" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Digs</i><br />
8" x 10" <br />
oil, cold wax & metal leaf<br />
<span style="font-size: 12.8px;">Melissa Johnson</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWwp090RbPtq6JUb6jPPsKEmpG3__aADoUZKlhQ6ksS4tX0KoJOWIzJa0UWZI0cweekKxSmR16KdhEsqw9J3xHotbse3o34VMUFzddNZHW1NT-WJdSKJjUuyvvVZdqWMN4R9_rR3jIkc0/s1600/JOH0048.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWwp090RbPtq6JUb6jPPsKEmpG3__aADoUZKlhQ6ksS4tX0KoJOWIzJa0UWZI0cweekKxSmR16KdhEsqw9J3xHotbse3o34VMUFzddNZHW1NT-WJdSKJjUuyvvVZdqWMN4R9_rR3jIkc0/s200/JOH0048.jpg" width="125" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Village</i><br />
8" x 8" <br />
oil, cold wax & metal leaf<br />
<span style="font-size: 12.8px;">Melissa Johnson</span></td></tr>
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Melissa said that her art often has a Native American influence. Her painting entitled “Ancestral” is part of a series that reference reservation life. The texture in this painting and many others is also enhanced by the addition of metal leaf. The black and white checks are a recurring element in this series, which includes “Digs” and “Village.” <br />
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<a href="http://wildemeyer.com/artists/brenda-bredvik/" target="_blank">Brenda Brevik</a> describes her work as “representational, but not highly rendered.” There is definitely recognizable imagery in her paintings, but she is more interested in the physicality of the painting process. “I want to show evidence of the trip,” she said. “I use layering to add depth, and give the viewer some eye candy to explore the painting.” <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBEKtigUvPfuDQ9-D7EaCcKEOsPd6-4GPqq4SDtL55MUy0mcZqZy2jthSwKpJxWp_T3jns7I1CjkD12_8-ZXa9182f9DhYcBWKRnpGSOFXgHcQeg0Mdx8khyphenhyphenpXLaQ9MJcJsHLaKa9Dw5c/s1600/BRE0228.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBEKtigUvPfuDQ9-D7EaCcKEOsPd6-4GPqq4SDtL55MUy0mcZqZy2jthSwKpJxWp_T3jns7I1CjkD12_8-ZXa9182f9DhYcBWKRnpGSOFXgHcQeg0Mdx8khyphenhyphenpXLaQ9MJcJsHLaKa9Dw5c/s320/BRE0228.jpg" width="241" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>2 Nudes</i> <br />
60" x 48"<br />
<span style="font-size: 12.8px;">Brenda Bredvik</span></td></tr>
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Brenda has an array of mark making techniques. In her painting entitled “2 Nudes,” she purposely includes evidence of her line drawing of the two figures, especially the one on the right. For the background, she uses another mark – rough brushwork layered over what appears to be horizontal lines. To me, the figures are very appealing, but it’s the different marks Brenda makes that are so interesting. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPCjBwertcksCkhqYnzefNGxSn1MpWmy3R7MTALUF3QC68d8jYuaAzM-FQdTSLZ3DERZzpqWdC6j870kCAF4CnoR1Htxf5qQWsRRFLkrft2zo0vu41cf5MMEG-fNjh5VlO9OYtDGjkiX8/s1600/BRE0234.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPCjBwertcksCkhqYnzefNGxSn1MpWmy3R7MTALUF3QC68d8jYuaAzM-FQdTSLZ3DERZzpqWdC6j870kCAF4CnoR1Htxf5qQWsRRFLkrft2zo0vu41cf5MMEG-fNjh5VlO9OYtDGjkiX8/s320/BRE0234.jpg" width="280" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Breaking Free </i><br />
65" x 57" <br />
Brenda Bredvik</td></tr>
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Brenda’s layering often takes her painting from one subject to another. She said that “Breaking Free” started out as a painting of Mt. Whitney, then became an abstract, and then she added the horse. Her brushstrokes give the painting great energy, especially the flying mane, and the pop of orange squiggles on either side of the horse and the fuchsia one under its foot. This painting also shows another of Brenda’s marks: areas of dripped paint. “I like the pattern that’s created when I let paint with medium drip from the brush,” she said.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5L0ODEK3sfxFzyGJBwIaJ8iwJS8fnAI8AUuaY8OJ_wxmvyGp4JhxzsvokyCMlxZLVrReaY9o0yE6InO8GnFxWN7N3XDdiH1gZUqe52_A-GNPwH-LedSKGAAtoa7wjMT7pFTFhXvbeLt0/s1600/BRE0235.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5L0ODEK3sfxFzyGJBwIaJ8iwJS8fnAI8AUuaY8OJ_wxmvyGp4JhxzsvokyCMlxZLVrReaY9o0yE6InO8GnFxWN7N3XDdiH1gZUqe52_A-GNPwH-LedSKGAAtoa7wjMT7pFTFhXvbeLt0/s320/BRE0235.jpg" width="211" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Poetry</i> <br />
50" x 40" <br />
Brenda Bredvik</td></tr>
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“Poetry” also began as an abstract. To add interest and contrast, she painted the vase of flowers in a more realistic, elegant style, using much smaller brushes, and a palette knife, to make the flowers look “yummy.” The paint drips under the slash of white and the dark shadow conform to her mark-making style. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh45l8KPfTbcuBXvSpPnlsIgCIVcKBqEqOfIpYKw9YgsUL3aBzd4jQ5fEr-JUD9fuk0olszPZgg1iFoyXjepbCbOPsIYxvE0X3rYOS9Ux5K-LhYWGQFW7AFtcfGbjsdVPKGhj3gYB26Ros/s1600/RUS0027.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh45l8KPfTbcuBXvSpPnlsIgCIVcKBqEqOfIpYKw9YgsUL3aBzd4jQ5fEr-JUD9fuk0olszPZgg1iFoyXjepbCbOPsIYxvE0X3rYOS9Ux5K-LhYWGQFW7AFtcfGbjsdVPKGhj3gYB26Ros/s200/RUS0027.jpg" width="175" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Green Left Foot </i><br />
16" x 20"<br />
<span style="font-size: 12.8px;">Ron Russon</span></td></tr>
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<a href="http://wildemeyer.com/artists/ron-russon/" target="_blank">Ron Russon</a> has a degree in illustrative design, which is reflected in his stylized depiction of animals. “I used to paint traditionally, but I got bored,” he said. “So, I started to use non-traditional colors. That opened up a whole new world, in which I could make my own rules.” <br />
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In addition to his color choices, Ron’s marks also include thinned paint dripping, along with a mix of flat and three-dimensional rendering, all in the same artwork. You can see this technique in his painting entitled “Green Left Foot.” Ron said that he likes playing with planes, crossing back and forth between realism and his imagination. <br />
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Like the other artists mentioned above, Ron doesn’t use a paintbrush very much. He’ll use one to draw in the shapes, but then takes up his palette knife to add blocks of color, scrape away areas, and create textures. “Charolais Bull” is a good example of his mark-making process: the horizontal lines are both applied paint, and paint scraped away. Ron explained, “I started with drips of oil paint and turpentine, then I drew in the bull vaguely, then I moved back and forth, like a dance, between realism and abstraction. It’s like a dance: I lead and the painting follows!” <br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Charolais Bull</i> <br />
48" x 48"<br />
<span style="font-size: 12.8px;"> Ron Russon </span></td></tr>
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Most of all, Ron said that his style is always evolving, and that he strives to provide his viewers with something interesting to look at and reflect on. I think that his marks, and those of Brenda and Melissa, are successful in doing just that. <br />
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See more work by <a href="http://wildemeyer.com/artists/melissa-johnson/" target="_blank">Melissa Johnson</a>, <a href="http://wildemeyer.com/artists/brenda-bredvik/" target="_blank">Brenda Bredvik</a>, and <a href="http://wildemeyer.com/artists/ron-russon/" target="_blank">Ron Russon</a> at Wilde Meyer Gallery.<br />
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Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-36298787658704666022015-10-10T09:23:00.000-07:002015-10-10T09:23:20.813-07:00Divine Bovines are Udderly Wonderful at Wilde Meyer! <div>
By <a href="http://wildemeyer.com/artists/judy-feldman/">Judy Feldman</a> | <a href="http://www.wildemeyer.com/">www.wildemeyer.com</a><br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Growing Pains</i> 24″ x 48″ <br />
Sarah Webber</td></tr>
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Wilde Meyer artists tend to like animals. It’s not at all unusual to see images of dogs, horses and even chimpanzees when you walk into any of their galleries. But, this month, some other animals will be prominently displayed in Scottsdale at the first <a href="http://wildemeyer.com/event/divine-bovine/" target="_blank">“Divine Bovine”</a> show.<br />
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Here, you’ll see all sorts of bovine art: cows, buffalo, bison and yaks. At least 25 artists are participating in this themed show. Some of the artists, like Bill Colt and Sarah Webber, have favored painting bovines for quite a while.<span id="goog_1349627324"></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Onlookers</i> 18″ x 24″<br />
Bill Colt</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja7vVzpJVYA-kVfMRJV_IPNAGW_eYNhw2SHLySzEaQOV8bF6nkFCWSH8dQAoJ_b9MnMR8K5UROLS0HKSkRradlvpreg0avI-Nm34XCvV_A52n1B3ktNdUJ4v0ZYoSB5ygonrVmysPLG7s/s1600/Wilde-Meyer-Colt-Lily-Fair-2-24-x-20-e1443405007525.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja7vVzpJVYA-kVfMRJV_IPNAGW_eYNhw2SHLySzEaQOV8bF6nkFCWSH8dQAoJ_b9MnMR8K5UROLS0HKSkRradlvpreg0avI-Nm34XCvV_A52n1B3ktNdUJ4v0ZYoSB5ygonrVmysPLG7s/s200/Wilde-Meyer-Colt-Lily-Fair-2-24-x-20-e1443405007525.jpg" width="130" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Lily Fair </i> 24″ x 20″ <br />
Bill Colt</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN0RzcC_ld0H8IJirZxpGzqHjSiZIxJt_S9JUumfzuWjc0jnLyRZb5kAUY5Nrr5LzYz7A8YsI3koMe84UdN_h_SlAlki2FOd7pAhWn96YoN4l1rvTYsMEYgISm2Jy_Mi0oICCQWNQCtGo/s1600/Wilde-Meyer-Feldman-How-Now-Brown-Cow-30-x-30-e1443404926721.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN0RzcC_ld0H8IJirZxpGzqHjSiZIxJt_S9JUumfzuWjc0jnLyRZb5kAUY5Nrr5LzYz7A8YsI3koMe84UdN_h_SlAlki2FOd7pAhWn96YoN4l1rvTYsMEYgISm2Jy_Mi0oICCQWNQCtGo/s320/Wilde-Meyer-Feldman-How-Now-Brown-Cow-30-x-30-e1443404926721.jpg" width="170" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>How Now Brown Cow</i> 30″ x 30″ <br />
Judy Feldman</td></tr>
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For some, like me, it’s a first time we’ve painted a bovine. I don’t know why I never thought of it before, because I do think cows are beautiful, especially their expressive, heavily lashed eyes. I thoroughly enjoyed painting “How Now Brown Cow,” and I really did feel a bond with this lovely creature!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVq1b8EHef4XavEwkh_j2GOeLJ6jwtf2AyJmdXRciuqK00cLYil1E5zR5gFLiBOpSqpWHgamgOWa_PfzX7DpbNJE8xERy6w-F8IZ-hLgRe2m4DAT1lC3yXoALvU52LO4fUUq1yDmJ4Gg8/s1600/LCH-small-in-a-fuzi-dream-Yak.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="119" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVq1b8EHef4XavEwkh_j2GOeLJ6jwtf2AyJmdXRciuqK00cLYil1E5zR5gFLiBOpSqpWHgamgOWa_PfzX7DpbNJE8xERy6w-F8IZ-hLgRe2m4DAT1lC3yXoALvU52LO4fUUq1yDmJ4Gg8/s200/LCH-small-in-a-fuzi-dream-Yak.jpg" width="119" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Small in a Fuzi Dream</i> 18″ x 18″ <br />
Linda Carter Holman</td></tr>
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Linda Carter Holman has a personal relationship with the subject of her painting, entitled “Small in a Fuzi Dream.” The yak belongs to her! Linda has incorporated images that recur in her other paintings, such as the goldfish and the charming female figure, along with her typical color palette.<br />
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As a matter of fact, you can probably identify the artists of many paintings. Although the subject may be new, our styles still come through! Sherri Belassen’s “Retro Vache” definitely reflects her technique and choice of hues. Connie Townsend’s “Red” has the same crazy expression you see in many of her driving dogs. And, of course, Trevor Mikula has come up with a witty way of showing his cows in “Heads or Tails!”<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggNGsr7uIGuhNtoLDCEULrfTCV-oK7Q8kPH6iaFrByHCe2EUGFSsE-h4vjsB4Axqo5AJIRj6qwndPyucF0ZRqpGlVpvzdd2zpvzcdaH67cpGk20qugTN0SpEevCTxZ32TBCxrLkUkpVzo/s1600/BEL1346.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggNGsr7uIGuhNtoLDCEULrfTCV-oK7Q8kPH6iaFrByHCe2EUGFSsE-h4vjsB4Axqo5AJIRj6qwndPyucF0ZRqpGlVpvzdd2zpvzcdaH67cpGk20qugTN0SpEevCTxZ32TBCxrLkUkpVzo/s400/BEL1346.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Retro Vache</i> 60″ x 72″<br />
Sherri Belassen</td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>Red</i> 24″ x 30″ <br />
Connie Townsend</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUol2-zQ7exbZDw6vu2qVCFdeskIYQ7X-4ZrmNuUt465FZXFv20yEsu-JBBD7EcEN1MwwJeZNH3Fb9-y3nf4WoniCWSmMmSKznd2-WUzrbNh9KbP04CJZwYnT0iDnMevblQPaAXL1t9hk/s1600/TRE0685.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUol2-zQ7exbZDw6vu2qVCFdeskIYQ7X-4ZrmNuUt465FZXFv20yEsu-JBBD7EcEN1MwwJeZNH3Fb9-y3nf4WoniCWSmMmSKznd2-WUzrbNh9KbP04CJZwYnT0iDnMevblQPaAXL1t9hk/s200/TRE0685.jpg" width="156" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Heads or Tails</i> 24″ x 24″ <br />
Trevor Mikula</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl16O_UBF5eazvVO0ysAqWyE7z9l0DOE7hjUKQByFrBYSje9-GlCJKwS9d4fLe5UpD6-T6gUuMv85JxNRcPsULWbWIFm9_xss6fwKQkSWTvFd6bPcXl_2kmaB0KVUOm3D8YaikJ4P8CEU/s1600/Barbara-Duzan-Yak+quality-300dpi.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl16O_UBF5eazvVO0ysAqWyE7z9l0DOE7hjUKQByFrBYSje9-GlCJKwS9d4fLe5UpD6-T6gUuMv85JxNRcPsULWbWIFm9_xss6fwKQkSWTvFd6bPcXl_2kmaB0KVUOm3D8YaikJ4P8CEU/s320/Barbara-Duzan-Yak+quality-300dpi.jpg" width="207" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Yak Yak Yak</i> 30″ x 17″ x 16″ <br />
Barbara Duzan</td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>Buffalo Past</i> <br />
Adriana Walker</td></tr>
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The show is not only about paintings. Adriana Walker has Necklace and earring sets (show Buffalo Past). Kathryn Blackmun has created a turquoise bison ornament and a bison plate, and there are sculptures by Carol Ruff Franza (Prairie Thunder”), Kari Rives (“Sky Cow”) and “Yak Yak Yak” by Barbara Duzan.<br />
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So, stop by during October and see this fun show. You never know, you might fall in love with a cow, a buffalo or even a yak!<br />
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You can see more art from <a href="http://wildemeyer.com/event/divine-bovine/" target="_blank">Divine Bovine at Wilde Meyer.</a><br />
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Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-78244563212572462742015-08-10T15:53:00.003-07:002015-08-10T15:53:59.770-07:00Planned vs Intuitive (Part Two) <h3>
When spontaneity drives the process..</h3>
By <a href="http://wildemeyer.com/artists/judy-feldman/">Judy Feldman</a> | <a href="http://www.wildemeyer.com/">www.wildemeyer.com</a><br />
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In my <a href="http://www.blog.wildemeyer.com/2015/07/planned-vs-intuitive-part-one.html" target="_blank">previous blog</a>, I examined the process of creating art by planning, using reference photos and, sometimes recurring images. Joseph Young and I like to plan, but once on the canvas, we work in a different manner.<br />
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But what about the intuitive painters? The ones who pick up a brush and get going? How does that work? Here are two Wilde Meyer artists who enjoy spontaneity when painting.<br />
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<a href="http://wildemeyer.com/artists/greg-dye/" target="_blank">Greg Dye</a> was a professional illustrator for many years, so he had to plan and produce specific images for his clients. When he took up oil painting several years ago, he did a complete reversal of his process, focusing on loose brush strokes and a more physical style. He told me that he wants to convey his emotion and his passion for the landscape, animals and people of the West.<br />
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<i>Indian Summer</i> 30" x 30" oil on canvas (left)<br />
<i>Raven and Roses</i> 24" x 30" oil on canvas (right)<br />
Greg Dye</span>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5-9sj3GMu1SWrZb_pGRt3z0dr3L4Z7xZEt_yNaZsitdmiWqvTDjzPmNzB9u6w4yyuMRIGaaDbB9CH7LMBKVWgKu0_Ooajviv1EjlxilTMy7rvBhLT5aiG1c23hc-_45EbcDHgwSadBmM/s1600/dye003.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="119" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5-9sj3GMu1SWrZb_pGRt3z0dr3L4Z7xZEt_yNaZsitdmiWqvTDjzPmNzB9u6w4yyuMRIGaaDbB9CH7LMBKVWgKu0_Ooajviv1EjlxilTMy7rvBhLT5aiG1c23hc-_45EbcDHgwSadBmM/s200/dye003.jpg" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 10px;"><i>Morning Mountain Range</i><br />
16" x 20" oil on canvas<br />
Greg Dye </span></td></tr>
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Greg does plan a bit before launching into his intuitive process. He explained, “I start with about 15 thumbnail sketches of ideas I have, and then I select two or three. Once I’ve chosen the image I like, I do a loose sketch on the canvas with my brush to get the composition right. Then, using a palette knife, I start to apply spontaneous strokes of thick color, one on top of the other. I don’t think about it; I just react to the paint and the emotional energy within myself. After applying many layers of paint, new shapes, colors and images appear and a buffalo or rugged mountain landscape starts to emerge through the paint. I sometimes add two or three colors onto the palette knife, just to see what will happen.”<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgE0gAmFUZ9o1784TRF-Z3HsCeLDZH1YBAhulu_tU4tra1hCuust1Cic_6Cqkqqm_Bh85_VWwJbt9wYD5bProrNkrlEgpcbk8teSoNTXAQTytz5f09YFxvh3qBA1lmIKJOfydnMljSZZg/s1600/DYE00151.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgE0gAmFUZ9o1784TRF-Z3HsCeLDZH1YBAhulu_tU4tra1hCuust1Cic_6Cqkqqm_Bh85_VWwJbt9wYD5bProrNkrlEgpcbk8teSoNTXAQTytz5f09YFxvh3qBA1lmIKJOfydnMljSZZg/s320/DYE00151.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 10px;"><i>Fearless </i> 48" x 48 " oil on canvas<br />
Greg Dye </span></td></tr>
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This artist is very generous with his paint. You can see his vigorous brush strokes and thick paint application in his painting entitled “Morning Mountain Range.” Here, the mountains have a three-dimensional effect. I think that Greg shows his light source very well, and he skillfully conveys the distance between the grass and tree in the foreground, the mountains behind, and the sky still farther away. That shows a good understanding of color and values.<br />
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Greg works on each painting for just two days, using a wet on wet technique. He says that he doesn't have set colors or details in mind, since to him, it's not a matter of looking right, it's a matter of "feeling" right. He says. “Each stroke of color is a journey and I embrace the mistakes to find the beauty and live in the moment of every painting created.”<br />
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In his large painting called “Fearless,” it seems like Greg has abandoned himself to his process, and let loose. I can picture him painting frenetically, working fast until the image of the fierce buffalo emerges on the canvas. It’s pretty intense!<br />
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See more paintings by <a href="http://wildemeyer.com/artists/greg-dye/" target="_blank">Greg at Wilde Meyer Gallery.</a><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 10px;"><i>XO</i> 6" x 6" acrylic on canvas<br />
Dana Hooper</span></td></tr>
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I spoke with another Wilde Meyer artist who said she’s “in the intuitive camp.” <a href="http://wildemeyer.com/artists/dana-hooper/" target="_blank">Dana Hooper</a> tries to “get away from the literal” by employing several different techniques. One way to loosen up, she suggests, is to turn your painting upside down. “That can tell you if the composition works, and see the basic shapes,” she explained.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBc28xbJ_sUUYkvMJ4gYl901f_rCA2iy8U_piEgE5rq3e3BhnSdZ0Mp_8JaeknP5hQEbDiBGZ_YAt5KmbssOn-lX9VPOOGlTrbRjkTGP1zNqcO96ryoGpx_EYrnRJvTjLh_0hgLki68es/s1600/HOO0097.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBc28xbJ_sUUYkvMJ4gYl901f_rCA2iy8U_piEgE5rq3e3BhnSdZ0Mp_8JaeknP5hQEbDiBGZ_YAt5KmbssOn-lX9VPOOGlTrbRjkTGP1zNqcO96ryoGpx_EYrnRJvTjLh_0hgLki68es/s200/HOO0097.jpg" width="170" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 10px;"><i>Hens & Coop</i> 7 " x 7" oil on canvas <br />
Dana Hooper </span>
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Dana, who lives in Colorado, has a background in biology and physiology. She has lived on a ranch, and is familiar with the animals she paints. Her intention is to paint her subjects simply, with an emphasis on color compatibility and strong brushstrokes. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMkYScNYCFPyckuc5Kgn39bvdgAfjgY2axGVL5sk-WB9tLjYTDAFComqTJW18UaOpYXXlajC7GHWs2jzsDCEevTGN9D12iMH9auQqiKKOTL4vda23vfgZ7BkwbIqlDpt-wAr4ZbfZRGcg/s1600/HOO0104.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMkYScNYCFPyckuc5Kgn39bvdgAfjgY2axGVL5sk-WB9tLjYTDAFComqTJW18UaOpYXXlajC7GHWs2jzsDCEevTGN9D12iMH9auQqiKKOTL4vda23vfgZ7BkwbIqlDpt-wAr4ZbfZRGcg/s200/HOO0104.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 10px; text-align: center;"><i>Golden</i> 12" x 15" oil on canvas<br />
Dana Hooper</span></td></tr>
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You can appreciate Dana’s loose painting style in her work entitled “Golden.” She’s chosen some beautiful, warm colors for the dog’s body, which really pop against the cooler green/blue background. And, it all looks so fresh because of her bold brushstrokes. She doesn’t blend her colors too much; they just live amicably, side by side. Her painting called “Gung Ho” shows the basic shapes of the cow’s heads with blocks of color, in such interesting hues! I really like the contrast of the gold ochre background with the French ultramarine blue and violet shapes, as well as the bursts of red in selected spots.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibAQBt6YIqi10kbumEfySfmIDU24rAcqdRLmj1N3Ar2KZTp5wIksw76yv9E4LvqA1JVc_h36LSjcWvFDlWvdEP6lk7wrJypuIHfNQxHUy34gkbET8yTqiZ0EdBTqIXkpUpqx_TNC4jKbU/s1600/HOO0107.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibAQBt6YIqi10kbumEfySfmIDU24rAcqdRLmj1N3Ar2KZTp5wIksw76yv9E4LvqA1JVc_h36LSjcWvFDlWvdEP6lk7wrJypuIHfNQxHUy34gkbET8yTqiZ0EdBTqIXkpUpqx_TNC4jKbU/s320/HOO0107.jpg" width="230" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 10px;"><i>Gung Ho </i>9.5" x 16.75" acrylic on canvas<br />
Dana Hooper</span></td></tr>
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You can <a href="http://wildemeyer.com/artists/dana-hooper/" target="_blank">see more art by Dana here</a>.<br />
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After speaking with Greg and Dana, I realize that applying paint generously is an important part of their technique. That process enables them to paint fluidly, and their brushstrokes are just as important to them as the composition and color choices. I really enjoying speaking with these wonderful artists. It’s so fascinating that we all have such different approaches and styles. It’s our visual language!<br />
<br />Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-80514084234478739442015-07-25T12:05:00.000-07:002015-07-27T09:21:01.744-07:00Planned vs Intuitive (Part One)<b>To plan, or not to plan… </b><br />
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By <a href="http://wildemeyer.com/artists/judy-feldman/" target="_blank">Judy Feldman</a> | <a href="http://www.wildemeyer.com/">www.wildemeyer.com</a><br />
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Are you a planner? Do you like to know what you’re going to do and how you’ll go about it? Or, are you someone who acts impulsively, going by the seat of your pants? <br />
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<i style="font-size: 12.8000001907349px; text-align: center;">House in Vinales </i><span style="font-size: 12.8000001907349px; text-align: center;">30" x 40" oil on canvas</span>
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<span style="font-size: 12.8000001907349px;"> </span><span style="font-size: 12.8000001907349px;">Judy Feldman</span></div>
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Artists, like other humans, usually fall into one of these two categories, and the way they work is what gives their art its distinct character. I think I fall more into the planner category. I like to think about what I want to paint; then I look through images that inspire me. After that, I sketch a painting to see if the composition works, then go to my canvas. I have a color scheme vaguely in my mind, but once I start painting, the colors seem to evolve as I decide what will work together. I try to create a place where I’ve been, or where I’d like to be, and that usually involves many details, so planning is necessary. <br />
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<a href="http://www.blog.wildemeyer.com/2013/04/a-fresh-outlook.html" target="_blank">“House in Vinales” is inspired by a trip I took to Cuba. </a>I wanted to convey the warmth and strong colors of the small houses there, but then got involved with the other things: the bicycle (the main means of transportation), the animals (there are many), the shutters, and so on. <br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Under the Red Umbrella</i> <span style="font-size: 12.8000001907349px;">36" x 48" oil on canvas</span><span style="font-size: 12.8000001907349px;"> </span><br />
Judy Feldman</td></tr>
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Likewise, while painting “Under the Red Umbrella,” I wanted to show the objects that make a patio setting cozy and inviting. So I had to plan to include things on the table, as well as patterned pillows on comfy chairs. Although I do get into the “zone” of the painting process, I can’t deny that I’m a planner!<br />
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What’s it like to be an intuitive painter, who just goes at it, without much of a plan? To find out, I called a few Wilde Meyer artists, and found out that some are planners like me; while others have different ideas. It’s always so interesting for me to hear about their process.
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See more paintings at <a href="http://wildemeyer.com/artists/judy-feldman/" target="_blank">Wilde Meyer Gallery.</a><br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Flights of Fancy </i><span style="font-size: 12.8000001907349px;"> 30" x 24" </span><span style="font-size: 12.8000001907349px;"> </span><span style="font-size: 12.8000001907349px;">oil on canvas</span><br />
<span style="font-size: 12.8000001907349px;">Judy Feldman</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>At Home in Fez</i> 30" x 24" <span style="font-size: 12.8000001907349px;">oil on canvas</span><br />
<span style="font-size: 12.8000001907349px;">Judy Feldman</span></td></tr>
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<tr><td style="text-align: center;"><a href="http://wildemeyer.com/wp-content/uploads/2013/10/yon123.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://wildemeyer.com/wp-content/uploads/2013/10/yon123.jpg" height="320" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Two Horned Cows in a Verticle Landscape </i><br />
36" x 24" acrylic on canvas<br />
<span style="font-size: 12.8000001907349px;">Joseph E. Young</span></td></tr>
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<a href="http://wildemeyer.com/artists/joseph-young/" target="_blank">Joseph E. Young</a> is kind of a planner, but he approaches painting in a very different way. He wants to create a dream world, one that’s similar to ours, but with another set of rules about composition and imagery. Like me, Joseph has a plan, and he also likes to work from inspirational photos. He clips things from magazines and newspapers, to use as reference in his paintings. But once he gets started with his first image, he starts wandering around the canvas, adding elements such as flowers, butterflies, trees and animals. <br />
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For example, in his painting “Big Horned Cows,” Joseph said he started by painting the two cows, then he kept adding layers of different objects. “As I work, I try to make a home for the image,” he explained. His work is figurative, but very stylized. Joseph told me that he loves pattern, and is especially inspired by 18th century wallpaper. “I’m really a decorative painter,” he said. “I love to make things flat, rather than three dimensional. If I want to suggest depth, I use overlapping planes. <br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Cowboy and Two Dogs in a Landscape </i><br />
36" x 36" acrylic on canvas<br />
<span style="font-size: 12.8000001907349px;">Joseph E. Young</span></td></tr>
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You can see this skill in his painting entitled “Cowboy and Two Dogs in a Landscape.” Although the work is very flat, he still conveys to us that the young man is sitting on a bed of flowers, and that one of his dogs is trying to reach the fish in the water. There is so much to see in Joseph’s paintings! Looking at this one again, I see small bears climbing a tree, along with his lovely butterflies (he calls them jewelry), his favored orange flowers, tulips and fish. There’s something allegorical about his work. His dream worlds are so pleasant and inviting! <br />
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Joseph shared another thought with me. He favors a square canvas, since “you don’t have to think about the composition – it emerges like a genie out of a bottle!” He further explained that when you put your first image on a square, it breaks up the balance. Then, he works to restore that balance by adding his other elements<br />
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In my next blog, I'm going to feature two other artists who approach painting in a very intuitive way. I think you'll definitely see how their work reflects this process.<br />
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In the meantime, check other paintings by Joseph <a href="http://wildemeyer.com/artists/joseph-young/">on our website</a>.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK315WfZwF0RMOy5g2HO7d8-LFFMGyIRsU4scEhzsrtBExuAiPgg2qQT5kHXFA_JjtxzwPglj8tDdgJaPqwyC1pH4WweY8egS6IBo9LkGl0kqLa77JD40baQ2NnAM6-eK5RjMEhl1427k/s1600/yon0113.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK315WfZwF0RMOy5g2HO7d8-LFFMGyIRsU4scEhzsrtBExuAiPgg2qQT5kHXFA_JjtxzwPglj8tDdgJaPqwyC1pH4WweY8egS6IBo9LkGl0kqLa77JD40baQ2NnAM6-eK5RjMEhl1427k/s320/yon0113.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Birds and Pink Flowers</i> 36" x 36" acrylic on canvas<br />
<span style="font-size: 12.8000001907349px;">Joseph E. Young</span></td></tr>
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<br />Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-56702538065581604552015-05-17T09:25:00.000-07:002015-05-17T09:45:58.527-07:00It’s a Woman’s World (at least in art)By Judy Feldman | <a href="http://www.wildemeyer.com/">www.wildemeyer.com</a><br />
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<tr><td style="text-align: center;"><a href="http://upload.wikimedia.org/wikipedia/commons/8/84/Gustav_Klimt_046.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://upload.wikimedia.org/wikipedia/commons/8/84/Gustav_Klimt_046.jpg" height="290" width="288" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 10px;"><i>Portrait of Adele Bloch-Bauer I</i> , by Gustav Klimt</span><br />
<span style="font-size: 10px;"><a href="http://en.wikipedia.org/wiki/Portrait_of_Adele_Bloch-Bauer_I" target="_blank">photo source: </a><a href="http://en.wikipedia.org/wiki/Portrait_of_Adele_Bloch-Bauer_I" target="_blank">Wikipedia</a></span></td></tr>
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Recently, I saw the movie, “The Woman in Gold,” about the painting of Adele Bloch-Bauer by Gustav Klimt. I’m sure most of you know the story behind this amazing painting. If not, see the movie or read the book!<br />
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In brief, this glorious painting, was finally returned to Adele Bloch-Bauer’s niece after it had been stolen by the Nazis and kept in Austria. She then sold it to Ronald Lauder for $135 million. It now hangs in the Neue Gallery in New York, where everyone can enjoy it.<br />
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Although Klimt knew his subject well, he chose to portray her in his symbolist style. Her beautiful face is dreamy and arresting, but the rest of the painting is an amazing design, rendered exquisitely in oil paint and gold leaf, with many patterns in her dress and on the wall behind her.<br />
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I started thinking about how the female figure has always inspired artists, since the very beginning of visual art. While we can appreciate the classical depictions of women, it’s interesting to see how artists have interpreted this subject differently.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: 10px;">In Your Dreams</span></i><br />
<span style="font-size: 10px;">Jacqueline Rochester</span><br />
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Looking though the works of Wilde Meyer artists, I see that there are just a few who paint the female figure. (Many prefer dogs, horses or cows!) <a href="http://wildemeyer.com/artists/jacqueline-rochester/" target="_blank">Jacqueline Rochester,</a> one of the gallery’s older artists, is deceased, but several of her paintings are still handled by Wilde Meyer. I’m particularly drawn to them because I see the influence of Matisse, and, like me, she portrays inviting places where you’d like to be. The figure is important, but it’s not the only interesting part of her work.<br />
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In her biography, she said, “My paintings are a word of youth, a secret world of leisure and play, of lovely places…It’s a world apart from today’s realism and society’s struggles.” Her painting entitled “In Your Dreams” is a good example. The well-dressed figure is looking out pensively, and behind her are the elements of a cozy home: colorful rugs, part of a chair, dogs and a rocking horse. Although these elements are not arranged in a traditional way, we can understand the story. The open composition style and the way she shows only part of most objects makes the painting more interesting to me.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuprQO3NO1yzLICzwHTR8-2OEmofoxT2LnvfgdIeOjAuzgF3hqeJAIuLFA9luKOq9iVcK70nh_DX2WFtTn2V-vbr3zQtkSKDrv6GEHclTq3SSw54zmb_6-z0du8diVFNxH_bQuwvCNt1Q/s1600/ROC0559.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuprQO3NO1yzLICzwHTR8-2OEmofoxT2LnvfgdIeOjAuzgF3hqeJAIuLFA9luKOq9iVcK70nh_DX2WFtTn2V-vbr3zQtkSKDrv6GEHclTq3SSw54zmb_6-z0du8diVFNxH_bQuwvCNt1Q/s320/ROC0559.jpg" width="295" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: 10px;">White Orchids</span></i><br />
<span style="font-size: 10px;">Jacqueline Rochester</span><br />
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“White Orchids” is another painting that reminds me so much of Matisse because of its flat perspective and the simple rendering of the two women with just solid shapes and no worries about shading or small details. It’s another inviting scene, with many allusions to women: a domestic setting, and the feminine touch of flowers in the bowl, on a pillow, in a woman’s arms and on the wall (a painting which reminds me of Georgia O’Keefe -- a feminist!).<br />
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<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: 10px;">The Good in Everything</span></i><br />
<span style="font-size: 10px;">Andrea Peterson</span><br />
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<a href="http://wildemeyer.com/artists/andrea-peterson/" target="_blank">Andrea Peterson</a>, a young artist at the gallery, sees painting the female figure as a way of expressing herself. She says that the imagery she presents is an extension of her dreams. “The Good in Everything” is indeed a woman’s story. Andrea explained that the coy fish represent luck and prosperity; the white flowers are purity and goodness. Her loose painting style in this work help to convey the sense of floating through a dream.<br />
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Andrea’s women are portrayed in many different ways. The figure in “The Rider” is completely different; she looks determined and commanding as she leads her horse. Her dress is modern, even a little sexy for a horse rider (maybe her pants are in the barn). Then, in another style, Andrea invokes her inner Degas in the painting entitled “Corps de Ballet.” She said, “In this painting, I was working with composition, focusing on the body poses. I liked showing the back view of the dancers, making them anonymous, and thus asking the viewer to think about their expressions.” The beautiful pastel hues and Andrea’s painterly brushwork for the background give the work great energy. The dancers look as if they just finishing twirling!
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<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: 10px;">Corps de Ballet</span></i><br />
<span style="font-size: 10px;">Andrea Peterson</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: 10px;">The Rider</span></i><br />
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Andrea Peterson</span><br />
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The women in <a href="http://wildemeyer.com/artists/linda-carter-holman/" target="_blank">Linda Carter Holman’s </a>paintings are stylized, with curvy shapes and glowing, innocent faces. Like Jacqueline Rochester, they are part of a story, a quiet life in the Southwest. Her use of bold color and small details on the objects that complete each painting make her work very appealing. The artist takes a simple act or seemingly mundane task, and makes it interesting. Linda has design elements that are symbolic to her and make their way into many of her works. The Calla lilies in the woman’s arm and the goldfish on the pot in “Little Winds” are an example of recurring themes. The woman in the foreground is touching the soil, but seems to be ready to take off and join her two friends as they fly away.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXkcCivkeyItJZwlPwzUm-i69c2ZvpeS9M2AOqxhK3hmRI34ByFlJM0YJs_0quiplw-h5Urym-ub0hdW3dm4h3fOyfxwu5gduoscj27fXYWa6NmvdCmrIeeKxiEL0nGJ2dh6FdeZtgQko/s1600/lch1341.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXkcCivkeyItJZwlPwzUm-i69c2ZvpeS9M2AOqxhK3hmRI34ByFlJM0YJs_0quiplw-h5Urym-ub0hdW3dm4h3fOyfxwu5gduoscj27fXYWa6NmvdCmrIeeKxiEL0nGJ2dh6FdeZtgQko/s320/lch1341.jpg" width="234" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: 10px;">Little Winds</span></i><br />
<span style="font-size: 10px;">Linda Carter Holman</span><br /> </td></tr>
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In “Loving Cup,” a bride offers a cup that has attracted two colorful birds. Her white gown and headdress seem to be carrying her aloft. She almost looks swan-like to me. You can see the goldfish again on the drink sticks in the foreground and on the vase in the background holding the calla lilies. There are other things going on in this painting: one woman shoots an arrow into the sky, while another looks on. There are shooting stars in the sky. These women are telling us a story about an event, something that triggered Linda’s creative mind.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i><span style="font-size: 10px;">Loving Cup</span></i><br />
<span style="font-size: 10px;">Linda Carter Holman</span><br /> </td></tr>
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The female figure is often a thought-provoking focal point in a painting. Not too many are as dramatic as Klimt’s portrait of Adele Bloch-Bauer. I plan to have a good look at this famous work, when I visit the Neue Gallery in New York next week!<br />
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You can see more art by <a href="http://wildemeyer.com/artists/jacqueline-rochester/" target="_blank">Jacqueline Rochester</a>, <a href="http://wildemeyer.com/artists/linda-carter-holman/" target="_blank">Linda Carter Holman</a> and <a href="http://wildemeyer.com/artists/andrea-peterson/" target="_blank">Andrea Peterson</a> at <a href="http://wildemeyer.com/" target="_blank">Wilde Meyer Gallery</a>.
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<br />Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-88713429700786882542015-04-25T12:47:00.000-07:002015-05-05T17:32:20.263-07:00Artists as Storytellers By <a href="http://wildemeyer.com/judy-feldman/" target="_blank">Judy Feldman</a> | <a href="http://www.wildemeyer.com/">www.wildemeyer.com</a><br />
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What stimulates the artistic mind to pick up a brush and create a painting, or to produce a beautiful object, or, for that matter, to write a compelling novel? Sometimes we see something that triggers our imagination – whether it’s a beautiful landscape, a bowl of perfect fruit, colors that turn us on, or a story that we’ve overheard.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Airing Out</i><br />
Ka Fisher</td></tr>
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Some artists use many of these stimuli to create their work. Painters can tell the story of what they’ve been thinking about through narrative art. These storytellers don’t use words; they use images and color to inform the viewer.<br />
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<a href="http://wildemeyer.com/karen-fisher/" target="_blank">Ka Fisher’s</a> paintings, which have a lovely, Impressionist style, tell stories about Native Americans – their land and the things they do during their daily lives. She told me that she often visits places like Chinle, Kayenta and Canyon de Chelly for her inspiration. At the Hubbell Trading post, she has taken a “listening tour,” where she overhears conversations among customers.<br />
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“I get many ideas from the people I meet as well as places I visit,” Ka said. “In the Town of Tubac, they have open wood structures that are used for events to give shade. They also have the same type of structures on the Navajo reservation.” Ka took this vision and developed a story in her large painting entitled “Airing Out,” where rugs are hung to air, and horses walk between them. “I wanted the narrative to be happy and fun, so I added many animals in the foreground,” she said.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG2CqruTaalCgu2kLaDkzDLczj_CQ-0_0biRvJFfh6rXpxgC8ig3z4X0mjcvINKERTUc9Py8YsZtO_cMkrKN8CKxTTh8ZWVb5_apT3dfT5VNbZmia_7AWtvR85QBx32_xQo2xXOiTw5Ic/s1600/FIS0328.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG2CqruTaalCgu2kLaDkzDLczj_CQ-0_0biRvJFfh6rXpxgC8ig3z4X0mjcvINKERTUc9Py8YsZtO_cMkrKN8CKxTTh8ZWVb5_apT3dfT5VNbZmia_7AWtvR85QBx32_xQo2xXOiTw5Ic/s1600/FIS0328.jpg" height="226" width="288" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Dreamboat Annie Cruisin'</i><br />
Ka Fisher</td></tr>
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Another painting, “Dreamboat Annie Cruisin’,” combines stories that relate to the Navajo way of life and Ka’s own history. “Here, I’m mixing memory and imagery,” she said. “The vintage cars are embedded in my mind from childhood.” Ka sets the scene in the mountain foothills, where Navajo display their rugs in and among a vintage car show. That may not actually have happened, but it’s Ka’s story to tell! The bright colors of the rugs and the cars create a lively, appealing scene.<br />
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Sometimes memories can play a role in narrative painting. In Ka Fisher’s case, she spent her childhood summers in Canada by a river near two Indian villages. The scenes she paints incorporate some of that landscape, along with the Southwest she has adopted as her current home.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>My Market</i><br />
Linda Carter Holman</td></tr>
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Over in California, artist<a href="http://wildemeyer.com/linda-carter-holman" target="_blank"> Linda Carter Holman </a>tells painted stories about her vision of life. Many of the elements in her paintings have special meanings for her. In her painting entitled “My Market,” she created a scene that’s “how it would be if I had a market.” She said that the sunflower over one woman’s head is symbolic of the sun, which she couldn’t show because of the awning overhead. The lovebird in the cage is another favorite image, as is the goldfish in the bowl under the table on the right side. “Goldfish represent the miracle of discovering the world to me,” she said. Above the goldfish bowl, there is a jug with a small ladder leaning against it. Linda said that image also tells a story of self-discovery.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Lotus</i><br />
Linda Carter Holman</td></tr>
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Even though Linda uses a strong color palette, her painting is serene. The four women in the painting seem to be enjoying themselves as they walk through the market. They are soft-bodied figures, since Linda thinks that curves are more relaxing. You see curved shapes throughout the painting, which is filled in every spot with an image, because, as she says “every inch of our lives is filled with something.”<br />
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Her painting entitled “Lotus” tells a different story. It seems more mysterious to me. The solitary figure has her back to the viewer, so we don’t really know what she’s thinking. When I commented to Linda that things didn’t seem to be in scale, she replied that she was just creating a composition – a visual story – which unfolded in that way. “I just painted a moment in this woman’s life.” I asked about the umbrellas, and she said that they symbolize being prepared (that’s more necessary in Northern California than here in Arizona). She chose the image of the lotus because “it comes from the mud and becomes something, just as a person evolves.” <br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Treats</i><br />
Judy Feldman</td></tr>
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After speaking with these two artists, I started thinking about my own paintings. Do I tell a story, too? I actually think I do, since many of my paintings are about places I’d like to be – cozy settings, with colorful furniture, and, usually, a contented dog. “Treats” is a good example of a typical story I tell. The open book, the slippers and the tea and cupcakes all indicate that a person will soon be coming back into the room. The dog shares its owner’s good life, with treats for him on the table.<br />
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<tr><td class="tr-caption" style="text-align: center;">Cote D'Azur<br />
Judy Feldman</td></tr>
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Another painting, “Afternoon at the Cote D’Azur,” is inspired by a visit to the South of France. Here, again, my story is of an inviting place, with a table set for a possible romantic dinner, observed by the family’s dog and cat.<br />
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We all have stories. Some of us are fortunate to be able to tell them visually. But, even if you can’t paint or write, it’s important to share your stories with others. And, don’t forget to embellish them a little!<br />
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You can see more art by <a href="http://wildemeyer.com/judy-feldman/" target="_blank">Judy Feldman</a>, <a href="http://wildemeyer.com/linda-carter-holman" target="_blank">Linda Carter Holman</a> and <a href="http://wildemeyer.com/karen-fisher/" target="_blank">Ka Fisher</a> at <a href="http://www.wildemeyer.com/" target="_blank">Wilde Meyer Gallery.</a><br />
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Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-39633605294430942302015-02-27T10:00:00.000-07:002015-02-27T10:00:03.003-07:00The Painter’s Emotional LensBy Judy Feldman | <a href="http://www.wildemeyer.com/">www.wildemeyer.com</a><br />
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We often think of landscape paintings as representational art. But, in fact, many artists are so inspired by the landscape they are experiencing, they prefer to convey these scenes through the lens of their emotions.<br />
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I recently attended a lecture by a docent from the Phoenix Art Museum about the Hudson River School. These American painters of the 19th century hiked in uncharted territory of upstate New York, in awe of the wilderness around them. They sketched and wrote their memories on site; then created paintings in their studios that we would call realistic, but which conveyed their fascination with and love of nature.<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Dawn Mountain Glow</i><br />
Fran Larsen</td></tr>
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Today, some contemporary painters express their reactions to a landscape in a different way. They choose to ignore local color and instead, use hues that convey their emotions rather than describe what they see. Others prefer to express themselves with more stylized, abstract versions of physical realities. To explore these different concepts of landscape painting, I called two artists from Wilde Meyer whose work I admire.<br />
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When she moved to Santa Fe, <a href="http://wildemeyer.com/fran-larsen/" target="_blank">Fran Larsen</a> was thrilled by the wonderful light there, the amazing landscape and the interesting cultures of its residents. Fran says that her paintings are metaphors of her reaction to these unique New Mexican characteristics. <br />
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“I’m inspired by the way the environment here makes me feel,” she says. “Because of the intense light, I see color in entirely different ways. Once color becomes arbitrary – rather than local – shapes can be arbitrary as well.”<br />
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<tr><td class="tr-caption" style="text-align: center;">Hidden in the Mountains<br />
Fran Larsen</td></tr>
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Inspiration for her painting entitled “Dawn Mountain Glow” came as Fran was looking out her window at the canyon below her house. She painted the arroyo that runs through the canyon – a technique she often employs. “Roads and rivers are entry points that take us into things, and I believe that each painting is an exploration for me and the viewer,” she says. As you can see, Fran’s choice of colors is personal, and doesn’t reference the local scene. I sense that her emotional lens was a joyful one – the vivid colors in the canyon and the sky make the painting energetic and pleasing.<br />
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Fran departs from realism in other ways. In her painting entitled “Hidden in the Mountains,” she makes no attempt to portray a three-dimensional depth of field. “This painting is about a landscape, but my interest here is design and the use of flat space – a more cubist approach,” she says. Fran explains that she contrasts light and dark areas, using hues that vary in intensity, to give the painting a “feeling of push and pull.” She uses small dots to enliven the shapes and add texture.<br />
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There is another unique element in Fran’s paintings – the frames themselves. She designs, constructs and paints each frame to complement the painting. “The frame reasserts that the painting is an object, as opposed to a representation,” she says.<br />
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<tr><td class="tr-caption" style="text-align: center;">Sunlit Canyon<br />
Sushe Felix</td></tr>
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<a href="http://wildemeyer.com/sushe-felix/" target="_blank">Sushe Felix</a> lives in Colorado. Her southwest landscapes have a distinctive style, which she claims is derived from her interest in American abstract painters from the 1930’s and 40s, as well as the modernist movement. “In particular, I’ve been influenced by Raymond Jonson, who led the Transcendental Painting Group in Santa Fe,” Sushe explained. <br />
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<tr><td class="tr-caption" style="text-align: center;">Late Night Reflection<br />
Sushe Felix</td></tr>
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I looked up the group on Google, and found that the aim of the Transcendental Painting Group was "to defend, validate and promote abstract art. They sought to carry painting beyond the appearance of the physical world, through new expressions of space, color, light and design."<br />
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Thomas Hart Benton, who was at the forefront of the Regionalist movement, also influenced Sushe, as did the southwest regionalist painters, who took the local landscape and abstracted it. Sushe does that in her own way, with a strong focus on forms, shapes and color. You can see her unique style in two of her paintings, entitled “Sunlit Canyon” and “Late Night Reflection.” She likes to define the shapes of the mountains and sky with sharp edges, but contrasts that with soft shapes inside the borders. When I asked her how she created the delicate areas of clouds, mountains and trees, she said that she uses old brushes to scrub acrylic paint on her canvas to create a pastel-like effect. “I studied pastel in college, so I know how to blend very well,” she says.<br />
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Sushe often includes depictions of wildlife in her paintings. Here, her love of animals lead her to create endearing “critters” with round eyes – as you can see in two beautiful paintings entitled “Nest of Blooms.” and “Full Brood.”<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>Full Brood</i><br />
Sushe Felix</td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><i>Nest of Blooms</i><br />
Sushe Felix</td></tr>
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Many people want a point of reference when they look at a painting. But more importantly, a painting should reflect the artist’s vision – seen through his or her emotional lens.<br />
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View more art by <a href="http://wildemeyer.com/fran-larsen/" target="_blank">Fran Larsen</a> and <a href="http://wildemeyer.com/sushe-felix/" target="_blank">Sushe Felix</a> at <a href="http://wildemeyer.com/" target="_blank">Wilde Meyer Gallery</a>.<br />
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Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-28651805770669851752015-02-09T12:14:00.000-07:002015-02-09T12:14:46.624-07:00The Power of Simplification<div class="separator" style="clear: both; text-align: center;">
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by Judy Feldman | <a href="http://www.wildemeyer.com/">www.wildemeyer.com</a><br />
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Last month, I had the pleasure of visiting the Museum of Modern Art in New York to see an exhibit of Matisse’s cut-outs, a collection of the work he created in the final decade of his life. When he was forced to give up painting in his later years, Matisse began to work with painted paper and scissors, arranging the shapes into lively compositions, creating what he called gouache cut-outs.<br />
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<tr><td class="tr-caption" style="text-align: center;">Henri Matisse, "The Snail," 1953 <a href="http://www.tate.org.uk/art/artworks/matisse-the-snail-t00540" rel="nofollow" target="_blank">source</a></td></tr>
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Matisse called his new method drawing in color. He stated, “For me it is a question of simplification. Instead of drawing the outline and establishing color within it, I draw directly in the color…this simplification guarantees precision as I reconcile two means now become one.”<br />
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Matisse’s cut-outs actually introduced a new medium in art: his compositions of colored paper were not like other artists’ collages of various materials. They were an intentional method of creating art. He also used his cut-outs as a way to create a composition, moving them around until he achieved what he wanted. Matisse was always thinking about relationships, harmonies and contrasts. Jodi Hauptman, senior curator for MOMA, called his cut-outs “a carefully orchestrated riot of colors.”<br />
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For me, the outstanding impression of this amazing exhibit was how Matisse simplified his shapes and used them to celebrate his love of form and color. For this blog, I started thinking about some artists at Wilde Meyer who use simplified shapes and strong hues in their visual language.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB4Qu1Hd8924jbqGJR0V1xbcPSNTikTl5mQ1QmTeLTR9fMdtvlGoaMvRXfjNwNRRO0NlFKikEhmI1mnwucmkZjpt271qbpJ1Mgx7QKGpaHq5LTddWGqzj5xdWscfzlzFDxSQR3Ex6CXdo/s1600/ELL0060.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB4Qu1Hd8924jbqGJR0V1xbcPSNTikTl5mQ1QmTeLTR9fMdtvlGoaMvRXfjNwNRRO0NlFKikEhmI1mnwucmkZjpt271qbpJ1Mgx7QKGpaHq5LTddWGqzj5xdWscfzlzFDxSQR3Ex6CXdo/s1600/ELL0060.jpg" height="200" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Shadowland, </i>48 x 48 inches<br />
Jaime Ellsworth</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaRsf47kg74u3mDeLj6lAWqLlklbXbIJrVmTXrx5q3fnTmfpRgOk6BDBcm15Do83qFd-czzRVGmdctZjiyYRCwxRu5jqS3Renk-v4uduzE8i45l0f0ePuEDtdymTEq8otOIFhs10W18Co/s1600/ELL0031.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaRsf47kg74u3mDeLj6lAWqLlklbXbIJrVmTXrx5q3fnTmfpRgOk6BDBcm15Do83qFd-czzRVGmdctZjiyYRCwxRu5jqS3Renk-v4uduzE8i45l0f0ePuEDtdymTEq8otOIFhs10W18Co/s1600/ELL0031.JPG" height="200" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Blaze, </i><span style="font-size: 12.8000001907349px;">48 x 48 inches</span><br />
Jaime Ellsworth</td></tr>
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<a href="http://wildemeyer.com/jaime-ellsworth/" target="_blank">Jaime Ellsworth</a> uses a limited palette and images distilled down to their basic shapes to create contemporary depictions of animals she loves. I really like the power of “Shadowland,” where the partial image of the horses and their shadows connect in interesting geometric patterns. Here, simplicity is conveyed in such an elegant way. Jaime continues this theme in “Blaze,” again using partial shapes and limited colors. In this painting, both the positive and the negative space are of interest.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrWAldoMJY-S349a7mjk5NFZkhQSHnAvkqOirfLj_4ibzpf1yvH8hAjMQ0cBBtwv92nK8dUWQNX8VFMLMtXEeG5I4K7sAAv7Sk_pjP7ujrle9QB5D2SImxIIpkhL7ihTtKOUVhwaQMyMU/s1600/ELL0062.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrWAldoMJY-S349a7mjk5NFZkhQSHnAvkqOirfLj_4ibzpf1yvH8hAjMQ0cBBtwv92nK8dUWQNX8VFMLMtXEeG5I4K7sAAv7Sk_pjP7ujrle9QB5D2SImxIIpkhL7ihTtKOUVhwaQMyMU/s1600/ELL0062.JPG" height="98" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Dog Days II, </i>24 x 48 inches<br />
Jaime Ellsworth</td></tr>
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Things get more colorful in “Dog Days II.” But shapes are still very simple, and Jaime has painted the scene at the dogs’ eye level, which makes it so much more fun and appealing.<br />
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<a href="http://wildemeyer.com/trevor-mikula/" target="_blank">Trevor Mikula</a> uses a palette knife to create his amusing paintings. He keeps things simple, too, with large blocks of color and a focus on one particular image. In “Like Your Hair,” he’s distilled the plant down to its basics: some curvy leaves and a red pot. That’s probably because Trevor sees things in his own humorous way! He also likes to transform mundane objects into a work of art – such as the old phone in “Ringer.” Here, the powerful hues and beautiful shapes of the background provide the art platform for the old black telephone.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbi7Rg5OipCLCPnuJrTBNbqXtyXA6tRJWj1ou-eGHEQUIsAIdQNvUCouzk8e7IZ9mzUo1wrIM11vFjgXy7GVliOyaDMIxYLJ1eqt8SQ3XqbAkgbbS4ehp7gvH1sF_lCYJOAsvLmvvCzzA/s1600/TRE0480.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbi7Rg5OipCLCPnuJrTBNbqXtyXA6tRJWj1ou-eGHEQUIsAIdQNvUCouzk8e7IZ9mzUo1wrIM11vFjgXy7GVliOyaDMIxYLJ1eqt8SQ3XqbAkgbbS4ehp7gvH1sF_lCYJOAsvLmvvCzzA/s1600/TRE0480.jpg" height="150" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Like Your Hair, </i>24 x 24 inches<br />
Trevor Mikula</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMGOUYBem2oLUsgQ_MvxWdD_z0XCo31hOBBoIZdb-z0jnsC2cLuzyXa7wiZVn2O_9devNqZPha9SeHYd6AnCwUj4qUEI5B7PCvKCFgbK8kmFEMywwXy22-CyTMjuPOteyjkX28nslao6g/s1600/TRE0574.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMGOUYBem2oLUsgQ_MvxWdD_z0XCo31hOBBoIZdb-z0jnsC2cLuzyXa7wiZVn2O_9devNqZPha9SeHYd6AnCwUj4qUEI5B7PCvKCFgbK8kmFEMywwXy22-CyTMjuPOteyjkX28nslao6g/s1600/TRE0574.jpg" height="150" width="150" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Ringer,</i><i style="font-size: 12.8000001907349px;"> </i><span style="font-size: 12.8000001907349px;">24 x 24 inches</span><br />
Trevor Mikula</td></tr>
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In <a href="http://wildemeyer.com/robert-burt/" target="_blank">Robert Burt’s</a> paintings, strong color compositions portray the landscapes and architecture around him. Like Matisse, Robert distills his scenes down to their most elemental and powerful components, giving his paintings a very contemporary, stylized look. In “Colorful Morning,” he uses basic shapes to convey the mountains, trees, a house and a winding road with 3 cars – a seemingly simple endeavor that took considerable skill – especially his choice of colors that burst with energy to convey bright sunrise.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit64Kr8xoTYeSYLxPm4rA7YGKXyi7nSQyvEK-GglvonsSXjhEXcMdVNwlNNLwfvdOhFxgPgadINwhB9BO2o_c3Jkx9PFtTYyVI3ib9pvJVTHsGqRxgfHNTNrWIhnKTWfeUl7wRpRPTUkM/s1600/BRT0041.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit64Kr8xoTYeSYLxPm4rA7YGKXyi7nSQyvEK-GglvonsSXjhEXcMdVNwlNNLwfvdOhFxgPgadINwhB9BO2o_c3Jkx9PFtTYyVI3ib9pvJVTHsGqRxgfHNTNrWIhnKTWfeUl7wRpRPTUkM/s1600/BRT0041.JPG" height="165" width="165" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Colorful Morning, </i>30 x 30 inches<br />
Robert Burt</td></tr>
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We see this technique again in “Autumn.” Here, the fire red of the tree and its oversize shape get our immediate attention, but the muted trees in the background and the negative shapes of the sky, and the foreground with its shadow are still worth inspection.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgcPBBvgmYleaO0irNK7nRzVqTYrQ00us0gjFSGC5Eoy8skzQ_ctS84zjH6M3kXOkHuckl5QVs_bNO2UfwnB-Fs04fafakpfVBIxj3JQJGeh0B8xYn66X-v2VnkdgoqB43omDmMCYQM14/s1600/BRT0037.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgcPBBvgmYleaO0irNK7nRzVqTYrQ00us0gjFSGC5Eoy8skzQ_ctS84zjH6M3kXOkHuckl5QVs_bNO2UfwnB-Fs04fafakpfVBIxj3JQJGeh0B8xYn66X-v2VnkdgoqB43omDmMCYQM14/s1600/BRT0037.JPG" height="210" width="210" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Autumn,</i> 44" x 44" inches<br />
Robert Burt</td></tr>
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Maybe this is kind of obvious, but I think that in this world of over-stimulation, it’s nice to look at art that celebrates simplicity! It’s such a powerful form of expression.<br />
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PS. Here’s a quote by the musician Frederic Chopin that recently appeared in a blog I read: "Simplicity is the final achievement. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art."<br />
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View more art by Jaime Ellsworth, Robert Burt and Trevor Mikula at <a href="http://wildemeyer.com/" target="_blank">Wilde Meyer Gallery</a>.Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-25524541160134898392014-12-16T14:59:00.000-07:002015-02-07T22:15:49.875-07:00The Gift of ArtBy Judy Feldman | <a href="http://www.wildemeyer.com/">www.wildemeyer.com</a><br />
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Holiday time inevitably becomes very stressful, especially when we have to select the perfect gift for a friend or family member. The stores are loaded with merchandise. It’s overwhelming! Here’s a better solution: give the gift of art. A small painting, a ceramic or glass object – any original work of art is certain to please. And, it’s the gift that keeps on giving, as they say, because the recipient can enjoy it for a long time.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5y4SVsHXjqM-QUJywhnboIdRk64RMGBYqn2mWOL_xNQ7xg3BnrC5TMYc8WGWl6k4pPoBqLQ2c1B5Io0UD__4fGXVdWFrQoZ7Ik47L2h6Yn8SLHq5sybcUgoQ0CPEaY094ufNO1-qK-ow/s1600/FEM0133.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img align="left" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5y4SVsHXjqM-QUJywhnboIdRk64RMGBYqn2mWOL_xNQ7xg3BnrC5TMYc8WGWl6k4pPoBqLQ2c1B5Io0UD__4fGXVdWFrQoZ7Ik47L2h6Yn8SLHq5sybcUgoQ0CPEaY094ufNO1-qK-ow/s1600/FEM0133.jpg" height="200" width="157" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sadie in the Red Room<br />
16 x 12 inches<br />
by Judy Feldman</td></tr>
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At this time of year, <a href="http://wildemeyer.com/" target="_blank">Wilde Meyer Gallery</a> asks its artists to produce <a href="http://wildemeyer.com/event/small-works-big-impressions/" target="_blank">small works</a> that would be appropriate for gifts. At first, that was pretty intimidating to me, since I didn’t have experience painting in a small format. But once I started, it was so much fun! By keeping the subject simple, you can work quickly, so the piece is very fresh and energetic. Small works are more intimate, too, so they have a certain charm that larger formats can’t provide.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvJ_5tksOI33XiEbyd1FCwGyefYXnD1Gjlr7gQCDKAa-iMpLaPBbZoTMZG3tLsteK4C2ZzW7py8__SjfzBMTAdDTYLt2Z1TAwTRlm6BIZz_BlKovdht2I5icEZSz2Sm2VKmRZigO2KcSM/s1600/FEM0132.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvJ_5tksOI33XiEbyd1FCwGyefYXnD1Gjlr7gQCDKAa-iMpLaPBbZoTMZG3tLsteK4C2ZzW7py8__SjfzBMTAdDTYLt2Z1TAwTRlm6BIZz_BlKovdht2I5icEZSz2Sm2VKmRZigO2KcSM/s1600/FEM0132.jpg" height="200" width="155" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Blue Vase<br />
16 x 12 inches<br />
by Judy Feldman</td></tr>
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The painting I just finished, entitled “Sadie in the Red Room,” was a great way to explore all the different shades of red, and since I worked quickly, I used the wet-on-wet technique, which gives a painting a nice, soft look. Red also played a role in another painting called “The Blue Vase,” since I used a layer of this color before I started painting the image. That technique gives the painting a nice, warm glow.<br />
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One of the great things about purchasing a small work of art is the chance to give (or acquire for yourself!) a piece from a favorite artist that you may not have been able to afford in a larger size. The Wilde Meyer artists that I’ve spoken to enjoy creating these small works – sometimes they work as studies for larger pieces later on. And, if your budget is larger, you can purchase several small paintings and offer them as a group arrangement.<br />
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You might be a bit overwhelmed when you see the wall of small paintings in the holiday show at the gallery. But, it’s worth taking the time to look carefully, and ask Laura, Andrea, Ryan or Jonathan to show the ones you like by themselves. The gift of art is a unique and memorable one!<br />
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<br />Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-39988768794951341852014-10-04T15:33:00.000-07:002014-10-04T15:33:50.037-07:00The Tricks of the TradeBy Judy Feldman | <a href="http://www.wildemeyer.com/">www.wildemeyer.com</a><br />
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Whenever I admire a piece of art, I can’t help but wonder how it was done. How did the artist get that amazing texture? What colors did she or he mix? What type of brush or implement was used? In other words, how did they do that??<br />
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I looked at the works of some of the Wilde Meyer artists, and decided to ask them about their artistic process. I wasn’t sure if they would appreciate my questions, or want to divulge their “secrets,” but they did! (I think artists really love to talk about their work.)<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiThO9oM0KAm1aM0KmK8QKQHAPjcsxNOUrqX5jihwwEpeetoy574okCVwsxnyapxiVUpofqTn9hPueZd40JK5lRg8hbnc1UeTPRZssL2xdHTePM_ew1nEHB_5lBK_Krn_gYWM5u0wasPi4/s1600/RenaVan_YellowSun.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiThO9oM0KAm1aM0KmK8QKQHAPjcsxNOUrqX5jihwwEpeetoy574okCVwsxnyapxiVUpofqTn9hPueZd40JK5lRg8hbnc1UeTPRZssL2xdHTePM_ew1nEHB_5lBK_Krn_gYWM5u0wasPi4/s1600/RenaVan_YellowSun.jpg" height="299" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Yellow Sun Vinyard, </i>28 x 30 inches, oil on canvas<br />
Rena Vadewater</td></tr>
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<a href="http://wildemeyer.com/rena-vandewater/" target="_blank">Rena Vandewater’s</a> charming paintings are full of color and energy. She combines several techniques: pointillism, patterning and what she calls “scruffling,” which is her way of moving her brush very quickly on the canvas while mixing color. All three combine to create vibrant scenes.<br />
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Rena says that she sketches out a plan on paper and then on her canvas. To emphasize an area, she uses a warm color to draw an outline; then she paints inside that shape. “My patterns come from my head,” she says. “They go together like a puzzle. When I don’t know where to go next, I stop for a few days, and wait until I feel inspired to go back to the painting.”<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXgnxR7jIUqfN6sZjQqbeSY1K554Jt7dYsLWFIBfd2V17SR_uBCf-m-5_HEKPT_nnrGOsA99d68Phph74XpmJO3FJHyam5VZY1Raqj2wjkBwrvBwQeJSBVxO8OgY-3Qx1o02GwZN2qF6I/s1600/RenaVan_DingoDogs.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXgnxR7jIUqfN6sZjQqbeSY1K554Jt7dYsLWFIBfd2V17SR_uBCf-m-5_HEKPT_nnrGOsA99d68Phph74XpmJO3FJHyam5VZY1Raqj2wjkBwrvBwQeJSBVxO8OgY-3Qx1o02GwZN2qF6I/s1600/RenaVan_DingoDogs.jpg" height="150" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dingo Dogs, 19 x 23 inches, oil on canvas<br />
Rena Vandewater</td></tr>
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Travels often inspire her paintings. “Yellow Sun” is a scene from vineyards Rena saw while visiting France. “I want the viewer to see a real reference, yet enjoy the wonder of the painting,” she says. The red ground behind the vineyard patterns, as well as the red outline of the small buildings and the sun give this painting so much energy! The shapes remind me of quilting.<br />
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Rena has worked hard to create and maintain her unique style. Initially, she was self-taught; then she went on and obtained an MFA degree. “Although I’ve studied and learned classical painting, I prefer the naïve, primitive style,” she says. “Dingo Dogs” is a good example of Rena’s unique take on a landscape. Here, she employs all of her special techniques: the red outlines, the scruffling for the trees, the patterns in the houses, the flat paint for the dogs, and the wonderful pointillist dots for the land. Her use of the complementary green and red in the dots really makes the painting pop. To top things off, Rena encloses the painting in a patterned frame. It’s busy, but it works!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDws0_f7H1XhdH8MDWpODkR1lIjgZ5W5T5fbOH40YjyyZfYHB7nhiBvBmzK8Fdw31ByuBkrfubi3e74_iH54I6aDiYcm2wNYqb6BxoiiEXcPiBt1vgSLq0QCZAcoH-UzieBjZWDnqUC-s/s1600/AcaciaAlder_DesertGarden.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDws0_f7H1XhdH8MDWpODkR1lIjgZ5W5T5fbOH40YjyyZfYHB7nhiBvBmzK8Fdw31ByuBkrfubi3e74_iH54I6aDiYcm2wNYqb6BxoiiEXcPiBt1vgSLq0QCZAcoH-UzieBjZWDnqUC-s/s1600/AcaciaAlder_DesertGarden.jpg" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Desert Garden</i> by Acacia Alder<br />
40 x 30 inches, acrylic on canvas</td></tr>
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<a href="http://wildemeyer.com/acacia-alder/" target="_blank">Acacia Alder </a>loves to hike in the trails around her Tuscon home. She’s inspired by the landscapes she sees, and wants to depict the dynamic energy that exists there. Acacia conveys all this through a technique she employs to give her paintings a sculptural, three dimensional look. I asked her to explain.<br />
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“First, I use acrylic gel to sculpt the surface in very particular areas,” she says. “That creates a form for the subject matter, which is somewhat abstracted. Then, I paint over the gel. Each painting has many layers of both gel and paint. It can take quite a while to complete.”<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp2h61VQMn94JIEL7qAvq4vbMNScS5tWMQBxFWbhpF-TE0nNFTiNNMfSq_Bxf35fEfyQw3rHSQwavwQTm5PphkG61Yvcz3H_oUD5kRATwUTHtGeDleSs4156AoWg8_fsr0XvVUzIvQXLs/s1600/AcaciaAlder_ElanPaloVerde.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp2h61VQMn94JIEL7qAvq4vbMNScS5tWMQBxFWbhpF-TE0nNFTiNNMfSq_Bxf35fEfyQw3rHSQwavwQTm5PphkG61Yvcz3H_oUD5kRATwUTHtGeDleSs4156AoWg8_fsr0XvVUzIvQXLs/s1600/AcaciaAlder_ElanPaloVerde.jpg" height="200" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Elan: Palo Verde Musings </i>by Acacia Alder<br />
36 x 36 inches, acrylic on canvas</td></tr>
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Acacia uses many different implements, including palette knives, brushes, small spatulas and even hair combs for texture. She says that her technique enables her to impart tonal changes, because the gel textures can more easily highlight the light and the shadows. You can see the sculptural quality of the beautiful tree in her painting entitled “Elan: Palo Verde Musings.” Her excellent use of light and shadow, along with a dark outline, makes the tree emerge from the abstract shapes of the landscape behind it.<br />
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“Desert Garden” is one of my favorite paintings by Acacia. The many textural shapes and wonderful color palette create energy, and the smooth, burnt orange path is a great, restful contrast. I really like the foliage shadows she’s created on the path.<br />
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<a href="http://wildemeyer.com/tracy-miller/" target="_blank">Tracy Miller</a> has a very interesting creative process. “I have a specific set of rules for myself when I paint,” she says. “I tone every canvas with a wash of either yellow, orange, red or hot pink to give a warm glow that informs the painting.”<br />
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Tracy explains her next step: “I make a visual haiku with black paint to create a balanced design of lines, circles or disjointed forms.”<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPHPWvRoTxiidTUL47INjEJXeFGn9yADPeJQqe0SE2WvceqNO9_bYUGgt7PlteZfcRDlmT5yHVvFdYJps6BndZ-74HzORbQpUzk_Yqh7o0Ig5ZwugujddG6dsB8YWUrOsmg9B7RYMzKu4/s1600/TracyMiller_Roughneck.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPHPWvRoTxiidTUL47INjEJXeFGn9yADPeJQqe0SE2WvceqNO9_bYUGgt7PlteZfcRDlmT5yHVvFdYJps6BndZ-74HzORbQpUzk_Yqh7o0Ig5ZwugujddG6dsB8YWUrOsmg9B7RYMzKu4/s1600/TracyMiller_Roughneck.jpg" height="153" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Roughneck</i> by Tracy Miller<br />
11x 14 inches, acrylic on canvas</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC5cN0XOSfYs3WapWAHBCzLttMpzZ2pqMsiUq76jmm6X5L_bgs3J1-W3O9gL_nktbOYGwfpE7oizbwYYoXG4tFF4jsp7XyPWgVoM3bq5nJHQ0M1SKtdykxFN_OSNujEyy7ClnDf-nE9VM/s1600/TracyMiller_Bear.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC5cN0XOSfYs3WapWAHBCzLttMpzZ2pqMsiUq76jmm6X5L_bgs3J1-W3O9gL_nktbOYGwfpE7oizbwYYoXG4tFF4jsp7XyPWgVoM3bq5nJHQ0M1SKtdykxFN_OSNujEyy7ClnDf-nE9VM/s1600/TracyMiller_Bear.jpg" height="142" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Bear</i> by Tracy Miller<br />
5 x 7 inches, acrylic on paper</td></tr>
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Then, Tracy paints an abstract design within the black lines, while she finds a shape to help guide her to her final image. “It’s like looking at clouds and seeing distinct shapes,” she says. Certain shapes evoke certain animals to her. She sees bears in circular shapes; cows in more boxy shapes and buffalo in sharp angles. Tracy’s fine art background and familiarity with animals enables her to depict their structure and muscles even in her unconventional style. She purposely doesn’t show the entire animal, since she wants the viewers to finish the picture in their heads. When you look at two of her paintings, entitled “Roughneck” and “Bear,” you can get an idea of how she works.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj721czPn2EgT3jrwBbw66AIYHndGXuGJASeGqpWsuocINzNFjuODIzMzICEDZmUME1V_7d6dD7zRwBmP7BHRQbgS_CV9l1RazbXBVzvnf0BrA_c4BLXAD9Oe_iJaek-l1prOYH_mDH7Yk/s1600/TracyMiller-BlueMood.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj721czPn2EgT3jrwBbw66AIYHndGXuGJASeGqpWsuocINzNFjuODIzMzICEDZmUME1V_7d6dD7zRwBmP7BHRQbgS_CV9l1RazbXBVzvnf0BrA_c4BLXAD9Oe_iJaek-l1prOYH_mDH7Yk/s1600/TracyMiller-BlueMood.jpg" height="200" width="98" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Blue Mood</i> by Tracy Miller<br />
20 x 10 inches, acrylic on canvas </td></tr>
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After the abstract painting is complete, Tracy draws a simple outline in pencil of the final image she wants. Then she paints the negative space around that shape, which becomes the background. Amazing! When you look at “Blue Mood,” keep in mind how the image of the giraffe emerged. As a final touch, Tracy creates her unique signature of paint splatters across the canvas. “I do this to give additional energy to the painting,” she says. “I’m very mindful of the color I use, and after I’ve splattered, I know the work is done!”<br />
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Each of these artists has refined her process over time, and is now completely comfortable with it. What’s interesting to me is how personal these approaches are, and that’s why their work is so unique. Even if we understand the process, we can never paint the same way. Who wants to, anyway?<br />
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View more art by <a href="http://wildemeyer.com/rena-vandewater/" target="_blank">Rena Vandewater</a>, <a href="http://wildemeyer.com/acacia-alder/" target="_blank">Acacia Alder </a> and <a href="http://wildemeyer.com/tracy-miller/" target="_blank">Tracy Miller</a> at <a href="http://wildemeyer.com/" target="_blank">Wilde Meyer Gallery. </a><br />
<br />Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-79489262829914644982014-09-08T13:26:00.000-07:002014-09-08T13:36:41.447-07:00What’s Your Visual Language?By Judy Feldman | <a href="http://www.wildemeyer.com/">www.wildemeyer.com</a><br />
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Every artist has his or her visual language – sometimes it’s figurative, sometimes it’s not. I must confess, I’ve been avoiding this blog topic for quite a while. You see, I enjoy looking at most abstract art, but as a figurative painter, I find it hard to comprehend how it’s done.<br />
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One way to find out is to talk to some abstract artists! I made some calls, and our conversations were quite interesting. My take-away from talking to these three people is that abstract art is fun to make…but it still intimidates me!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi16tbwyvmobAfOHsTw8zeoRJVrad72xEx8rP0hTODq4GYCjlHDMTxJU-g9G06BM8ZFim93XdTVX0kRcbL0bvlY4B5evF_cv9xqhRdGsBQWVobkF3ljc7jttDNDnVYi7wj43HXP-zNjNPU/s1600/jro087.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi16tbwyvmobAfOHsTw8zeoRJVrad72xEx8rP0hTODq4GYCjlHDMTxJU-g9G06BM8ZFim93XdTVX0kRcbL0bvlY4B5evF_cv9xqhRdGsBQWVobkF3ljc7jttDNDnVYi7wj43HXP-zNjNPU/s1600/jro087.jpg" height="228" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Zuni Pueblo by <a href="http://wildemeyer.com/jack-roberts/" target="_blank">Jack Roberts,</a> acrylic on canvas 50 x 70 inches</span></td></tr>
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<a href="http://wildemeyer.com/jack-roberts/" target="_blank">Jack Roberts</a> is an accomplished, mature artist who has been creating abstract paintings for quite some time. He strives to create a visual sensation, rather than a pictorial reference. “Abstract art is not derivative of representational painting,” he said. “It’s something all itself.<br />
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“When I paint, it’s more about the paint and the composition. I like pushing color and shape buttons to stir the viewer’s visual emotions,” he explained.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFtc4Iqy-azOT7025Q3SSb3bQZZ1Ec3KneCBZVszkCqO1OKrNPWRgfFVSLH9koJ85Wkg2-QvRs3VkB8ne-xV1WuTuc7Kq7N5jKI3uSCpqwZMAk7_DHuRTvAJZZIUhlcSiXG1D37ZRvtZw/s1600/JRO0088.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFtc4Iqy-azOT7025Q3SSb3bQZZ1Ec3KneCBZVszkCqO1OKrNPWRgfFVSLH9koJ85Wkg2-QvRs3VkB8ne-xV1WuTuc7Kq7N5jKI3uSCpqwZMAk7_DHuRTvAJZZIUhlcSiXG1D37ZRvtZw/s1600/JRO0088.jpg" height="142" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Honaki by </span><a href="http://wildemeyer.com/jack-roberts/" style="font-size: x-small;" target="_blank">Jack Roberts,</a><span style="font-size: xx-small;"><br />acrylic on canvas 50 x 70 inches</span></td></tr>
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I’m a person who thrives on color, so I’m very drawn to Jack’s paintings. As you can see in his painting entitled “Zuni Pueblo,” his colors are very clear; he mixes beautiful opaques with jewel-toned transparent hues.<br />
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Jack works on a large canvas, on a flat surface. He says he likes to paint wet-on-wet, so the paint is always moving. He uses many different implements, from plastic spatulas to push brooms and house paint brushes. A garden hose is used to remove paint in some areas, and reveal other dry paint underneath, to create the layers he wants.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqeUHI6OTzK6Vv8FK_OTGL5WkVuWmxKN1ELuD5V9pB0WMOeEIvo00T19AwONJo0-BBAIPkIt86fQPtlQE8RTzQCfZ2U0UVqas6mLQBSS5O74r-Aw0Qmm8RPGXVNDaxBQR8j7TX95cTHGU/s1600/JRO0090.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqeUHI6OTzK6Vv8FK_OTGL5WkVuWmxKN1ELuD5V9pB0WMOeEIvo00T19AwONJo0-BBAIPkIt86fQPtlQE8RTzQCfZ2U0UVqas6mLQBSS5O74r-Aw0Qmm8RPGXVNDaxBQR8j7TX95cTHGU/s1600/JRO0090.jpg" height="200" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><i>Sandia Peak I</i> by <a href="http://wildemeyer.com/jack-roberts/" target="_blank">Jack Roberts</a><br />acrylic on canvas, 50 x 50 inches</span></td></tr>
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“I like to work freely and go where the paint takes me,” he said. “But, although I want my work to look spontaneous, each painting requires considerable thought, to make sure I achieve the proper composition and color relationships.”<br />
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Although Jack’s paintings are not referential, he does admit to being inspired by the many places he visits, from tropical islands to the landscapes of New Mexico and his hometown of Sedona. He also thinks back to personal experiences, and his perceptions of them, rather than the actual events. “Honanki” and “Sandia Peak 1” both speak to me of the Southwest.<br />
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<a href="http://wildemeyer.com/ryan-hale/" target="_blank">Ryan Hale </a>said his influences are the large color-field abstracts of Barnett Newman and Mark Rothko. But his unique body of work reflects his interest in how man-made materials and natural forms interact with each other. Some of his abstract paintings refer to aerial views of cities where these two elements co-exist. Sometimes, they work well together; and, as we know, at other times they clash. His painting entitled “Through the City” presents us with this conundrum.<br />
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<td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4kfOgXO-UomFukAKBkkJG_VmseTE7_lOPH9GriNj6s4nJguX_YVkvvqPrTPAbBrbd01rvcicLu54ok9zi_TKK5HgeACQxSXpZ5uKq-WPkBjZ1j3L02UUVJaTI5-J_zRGDik2KWMt1nNU/s1600/hae314.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4kfOgXO-UomFukAKBkkJG_VmseTE7_lOPH9GriNj6s4nJguX_YVkvvqPrTPAbBrbd01rvcicLu54ok9zi_TKK5HgeACQxSXpZ5uKq-WPkBjZ1j3L02UUVJaTI5-J_zRGDik2KWMt1nNU/s1600/hae314.jpg" height="200" width="160" /></a></td>
<td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1oCmgFBRgd2uK24p2COkljoSaanONbTmU0gtbE1FHYk9mLn-Na0IZhGwEBVySGYiZ5myeZQ9B_kNT87JQ38tIBlp7lYU-Q2gCoyBZuyJ4HI2SUnJnYqOX_YpWX77xCLc3lthKneAyPcg/s1600/HAE0396.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1oCmgFBRgd2uK24p2COkljoSaanONbTmU0gtbE1FHYk9mLn-Na0IZhGwEBVySGYiZ5myeZQ9B_kNT87JQ38tIBlp7lYU-Q2gCoyBZuyJ4HI2SUnJnYqOX_YpWX77xCLc3lthKneAyPcg/s1600/HAE0396.jpg" height="200" width="160" /></a></td>
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<td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><i>Through the City</i> by <a href="http://wildemeyer.com/ryan-hale/" target="_blank">Ryan Hale</a>,<br />acrylic on canvas 60 x 48 inches </span>
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<td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><i>Forces of Nature</i> by<a href="http://wildemeyer.com/ryan-hale/" target="_blank"> Ryan Hale</a><br />acrylic on canvas 60 x 48 inches </span></td>
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After speaking with Ryan, I believe his artistic process is an introspective one. He can see a space where layers of old posters have been torn off and just remnants remain, take that mental reference and use it for a painting. He explains that “the textures and surfaces of a city wall after years of weather, repainting and painting over graffiti or various forms of damage, all stacked and layered through the filter of time, can be quite beautiful.”<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbLsMjfHdDCDMMS8Qcsx9lUxNC58rFDT09vAhh7RPSDwElRgsQjYX9xLJkIs75GxDHa979riW90hr5PLRzjLo8Jg29EkCmZerNG2QGNrbjW4f5GdF8sWcv3rN6jPsPjkt0FH-05_7krjc/s1600/hae339.jpg" imageanchor="1" style="margin-left: auto; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbLsMjfHdDCDMMS8Qcsx9lUxNC58rFDT09vAhh7RPSDwElRgsQjYX9xLJkIs75GxDHa979riW90hr5PLRzjLo8Jg29EkCmZerNG2QGNrbjW4f5GdF8sWcv3rN6jPsPjkt0FH-05_7krjc/s1600/hae339.jpg" height="200" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><i>The Forming Earth</i> by<a href="http://wildemeyer.com/ryan-hale/" target="_blank"> Ryan Hale </a><br />acrylic on canvas, 36 x 36 inches</span></td></tr>
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As for his techniques, Ryan uses acrylics and select glazes to produce translucent and opaque color layering. One of the reasons I like his work so much is his signature color: red! “The Forming Earth” is a good example of his skill with hues and his beautiful red.<br />
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Ryan said he works on several pieces at once. He’ll have general ideas for a painting, but they often change, especially since he works very fast, to convey movement and energy. I think you can feel this energy in “The Forces of Nature.” Then, he’ll stop and think about the piece for a while before he changes or adds things. He said that he generally starts with darker hues, and then builds up to lighter ones, looking to see how the colors are flowing and working with each other.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRiJe4luFxQ6b4NEdP0F1zRvFt8xowvbntrEefjplLY2Jn9TO9Oa3JADTZvBkFwnziUHYdWrQv3KZ0wNrk1NAugbMlojnfFRet87UqMIKxWVlfarjf7qjNgdkQZlx0oFaZnN4dTee-NGk/s1600/YUN0016.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Here and There by Ava Young, " border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRiJe4luFxQ6b4NEdP0F1zRvFt8xowvbntrEefjplLY2Jn9TO9Oa3JADTZvBkFwnziUHYdWrQv3KZ0wNrk1NAugbMlojnfFRet87UqMIKxWVlfarjf7qjNgdkQZlx0oFaZnN4dTee-NGk/s1600/YUN0016.jpg" height="320" title="Here and There by Ava Young, " width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><i>Here and There</i> by <a href="http://wildemeyer.com/ava-young/" target="_blank">Ava Young</a>, <br />mixed media on canvas, 40 x 30 inches</span></td></tr>
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<a href="http://wildemeyer.com/ava-young/" target="_blank">Ava Young</a> is a mixed media artist who enjoys selecting different materials to layer and create paintings with interesting textures. “You have to be willing to be a mad scientist,” she said. And, referring to her passion for non-figurative art, she added, “Abstract painting allows me to invite viewers to venture away from their intellect and respond with the heart.”<br />
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Ava brings her interest in collage to her paintings. She works intuitively; starting with a base of molding paste mixed with such materials as dry wall powder or sand to create a ground of texture. Then, she adds other materials. “Here and There” was made with paper, sand, glass beads and metal wire. She paints first with acrylics, and adds a layer of oil paint to give a translucent finish.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4IyhPBhXSkaGT4A6VKtFIAuJz2ROa6qdoBCCpFa8kstG_Otagn0Mw0VyKqbpjtMidykDa8Jhyphenhyphen2Ehg8YNzq2REKkIpYUhRDSrzKcP-OAwBGQdlR1m1PcotfH65fkaYQn3UBNctgl70HQY/s1600/YUN018.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="Dancing Away by Ava Young" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4IyhPBhXSkaGT4A6VKtFIAuJz2ROa6qdoBCCpFa8kstG_Otagn0Mw0VyKqbpjtMidykDa8Jhyphenhyphen2Ehg8YNzq2REKkIpYUhRDSrzKcP-OAwBGQdlR1m1PcotfH65fkaYQn3UBNctgl70HQY/s1600/YUN018.jpg" height="150" title="Dancing Away by Ava Young" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Dancing Away by Ava Young <br />mixed media on canvas, 30 x 40 inches</span></td></tr>
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The open-ended process of abstract painting appeals to Ava. She adds and removes layers of paint (with alcohol or a magic eraser) to create a new set of textures and colors. “I just keep going until it seems right,” she says. “And, sometimes, I go back to a painting later and make more adjustments.” Her painting entitled “Dancing Away” required many hours of applications and removals.<br />
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Spontaneity, energy, emotions and a lack of boundaries seem to be at the heart of abstract painting. I think that’s why so many artists are drawn to this style of visual language.<br />
Could I? Stay tuned!<br />
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View more art by <a href="http://wildemeyer.com/jack-roberts/" target="_blank">Jack Roberts</a>, <a href="http://wildemeyer.com/ryan-hale/" target="_blank">Ryan Hale</a> and <a href="http://wildemeyer.com/ava-young/" target="_blank">Ava Young</a> at <a href="http://wildemeyer.com/" target="_blank">Wilde Meyer Gallery</a>.<br />
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Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-79220348945333512262014-08-08T16:45:00.000-07:002014-08-08T16:45:16.805-07:00Just Say “No” to Canvas!<p>By Judy Feldman | <a href="http://www.wildemeyer.com">www.wildemeyer.com</a></p>
<p>Since I’m a fairly traditional artist, I paint on canvas or, sometimes, wood panel. But, I’ve discovered, after talking to other artists at the gallery, that it can be fun to paint on other surfaces.</p>
<p>That’s not such a new idea. Aside from really early paintings such as petroglyphs, traditional art was made on wood panels, before canvas came into use in the early 1400s. According to Wikipedia, panel painting remained more common until the 16th century in Italy and the 17th century in Northern Europe.</p>
<div class="separator" style="clear: both; text-align: center; text-size:11px;"><a href="http://www.wildemeyer.com/melinda-curtin" imageanchor="1" style="clear: left; float: left; margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" width="200px" src="http://www.wildemeyer.com/wp-content/uploads/2013/09/cur062.jpg" /><br>Casa Blanca<br>by Melinda Curtin</a></div>
<p>But, walls and wood panels are pretty ordinary surfaces. How about vintage windows; mixed media with glass and paint; sheet metal and ceramics? That’s what I saw looking at the Wilde Meyer website, so I decided to give those artists a call.</p>
<p><strong><a href="http://www.wildemeyer.com/melinda-curtin" target="_blank">Melinda Curtin</a></strong> is done with canvas. She’s entranced with glass art. “Ever since I started painting on glass, I didn’t want to paint on anything else,” she said. Her favorite surface is old glass windows, which she finds at salvage yards. But, she says, “People hear about my work and bring me their old windows!”</p>
<div class="separator" style="clear: both; text-align: center; text-size:11px;"><a href="http://www.wildemeyer.com/melinda-curtin" imageanchor="1" style="clear: right; float: right; margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" width="200px" src="http://www.wildemeyer.com/wp-content/uploads/2013/09/cur059.jpg" /><br>El Parajo<br>by Melinda Curtin</a></div>
<p>Melinda enjoys the process of painting on smooth glass. She uses acrylic paints, often layering to get the desired effect. However, painting on glass can be challenging. Melinda says that it’s a reverse process, so she has to paint all the details first, and then the large spaces afterwards. If you look at “Casa Blanca,” you can see that the house, cacti, mountains and clouds are all outlined in black, and the big shapes are mostly flat paint. Sometimes Melinda leaves a little space between the outline and bigger shape to let a little of the transparent glass show through. She’s also designed a frame of gold leaf on the glass, which fits inside the window pane.</p>
<div class="separator" style="clear: both; text-align: center; text-size:11px;"><a href="http://www.wildemeyer.com/melinda-curtin" imageanchor="1" style="clear: left; float: left; margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" width="210px" src="http://www.wildemeyer.com/wp-content/uploads/2013/09/cur071.jpg" /><br>The Farm<br>by Melinda Curtin</a></div>
<p>“El Parajo” also has its own painted border. This painting, too, has a folk art aspect to it. Melinda told me that in Europe, painting on glass was generally folk art, so she also chooses themes in this tradition.</p>
<p>Aside from loving the process of painting on glass, Melinda says that this support medium gives her images a very luminous effect. And, the vintage windows are a great conversation piece: just look at “The Farm.” A great way to recycle!</p>
<p><strong><a href="http://www.wildemeyer.com/josiane-childers" target="_blank">Josiane Childers</a></strong> enjoys painting on smooth surfaces, too. She’s chosen thin sheets of steel, as well as plexiglass to support her beautiful abstract paintings. She works with her husband Justin, who prepares the surfaces, grinding parts of the steel and plexiglass to create texture. He also creates the frames on which the steel pieces are attached.</p>
<div class="separator" style="clear: both; text-align: center; "><a href="http://www.wildemeyer.com/josiane-childers" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" width="300px" src="http://www.wildemeyer.com/wp-content/uploads/2013/09/chl016.jpg" /><br>Captivate<br>by Josiane Childers</a></div>
<p>When she paints on plexiglass, Josiane works on the frosted side, but presents the painting on the smooth side. She encounters the same challenges as Melinda, since she, too, is painting in reverse.</p>
<div class="separator" style="clear: both; text-align: center; text-size:11px;"><a href="http://www.wildemeyer.com/josiane-childers" imageanchor="1" style="clear: right; float: right; margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" width="160px" src="http://www.wildemeyer.com/wp-content/uploads/2014/08/CHL0017.jpg" /><br>Invoke<br>by Josiane Childers</a></div>
<p>You can see the ground textures in Josiane’s dreamy landscape entitled “Captivate.” They take the paint pigment differently, and since they are darker, they appear to be behind the other images. She’s also created a beautiful reflection of the vertical tree shapes with softer strokes and tones. “I find it exciting to paint on other surfaces,” she said. “It makes my work look more diverse.”
<p>Thin steel gives Josiane another option to present her art. The two pieces of her vertical diptych entitled “Invoke” are uniquely shaped and curved, welded to a flat frame. Again, the textures on the steel show through, offering spontaneous shapes, grabbing color in a different way than the smoother areas. Josiane paints intuitively, using bright colors, and these surfaces seem to work so well for her.</p>
<p>She hasn’t abandoned canvas, but when she does paint on that surface, she textures it as well, using molding paste and then, thick paint. “Materialize” is an example of her mixed media technique.</p>
<div class="separator" style="clear: both; text-align: center; "><a href="http://www.wildemeyer.com/josiane-childers" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" width="300px" src="http://www.wildemeyer.com/wp-content/uploads/2014/06/CHL0022.jpg" /><br>Materialize<br>by Josiane Childers</a></div>
<p><strong><a href="http://www.wildemeyer.com/nancy-pendleton" target="_blank">Nancy Pendleton</a></strong> and her sister, <strong><a href="http://www.wildemeyer.com/sandy-pendleton" target="_blank">Sandy</a></strong> are both artists. Nancy is a painter and Sandy works in glass. Often, they combine their talents to create mixed media pieces on wood panel. Although that surface is traditional, their collaborative work is not. Nancy paints an abstract ground for Sandy’s glass centerpiece. “We’ve worked out a technique,” said Nancy. “I often use a centerpiece in my art, and Sandy came up with glass pieces that work well in my paintings. You can see examples of this sibling partnership in “What You See Is What It Is #2 and “Oasis.”</p>
<div class="separator" style="display:inline; text-align: center; padding-left:100px;"><a href="http://www.wildemeyer.com/nancy-pendleton" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" src="http://wildemeyer.com/wp-content/uploads/2013/09/nan616.jpg" width="200px;" /></a></div>
<div class="separator" style="display:inline; text-align: center;"><a href="http://www.wildemeyer.com/nancy-pendleton" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" src="http://wildemeyer.com/wp-content/uploads/2013/09/nan619.jpg" width="200px;" /></a></div>
<p><strong><a href="http://www.wildemeyer.com/kathryn-blackmun" target="_blank">Kathryn Blackmun</a></strong> was a graphic designer and illustrator living in Los Angeles. When she moved to Santa Fe, she decided to study ceramics. Now, her whimsical images of dogs, cats, cowboys and cacti are painted on greenware plates.</p>
<div class="separator" style="clear: both; text-align: center; text-size:11px;"><a href="http://www.wildemeyer.com/kathryn-blackmun" imageanchor="1" style="clear: left; float: left; margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" width="210px" src="http://www.wildemeyer.com/wp-content/uploads/2013/09/dog-trek.jpg" /><br>Dog Trek<br>by Kathryn Blackmun</a></div>
<p>Kathryn’s challenges are different from those of Melinda’s. She doesn’t paint in reverse, but since she works on gray-colored clay, she can’t see colors accurately when she creates her images with underglaze paint. “The greenware has to be fired for seven hours, and cooled for several hours before I can tell if the colors are what I wanted,” she said. “It’s definitely unpredictable!”</p>
<div class="separator" style="clear: both; text-align: center; text-size:11px; padding-top:10px;"><a href="http://www.wildemeyer.com/kathryn-blackmun" imageanchor="1" style="clear: left; float: left; margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" width="210px" src="http://www.wildemeyer.com/wp-content/uploads/2014/04/cowboypalomino-500x330.jpg" /><br>Cowboy Palomino<br>by Kathryn Blackmun</a></div>
<p>This labor-intensive process ends with a coat of clear glaze, and another firing and cooling. To look at a happy piece such as “Dog Trek,” you’ve never know it was so time-consuming! “Cowboy Palomino” is a good example of Kathryn’s folk art style, which is well-suited to this type of ceramics.</p>
<p>After I finished interviewing these artists, I went to a local thrift shop. Poking around, I found three wood frames with glass inserts. Guess what I’m going to try? But, I’m not abandoning canvas. I have too much inventory!</p>
Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-75414597463135597402014-07-18T17:30:00.001-07:002014-07-18T17:30:42.307-07:00Let’s take a trip!<p>By Judy Feldman | <a href="http://www.wildemeyer.com">www.wildemeyer.com</a></p>
<p>Summertime is a favorite season to get out of town (especially if you’re in Phoenix) and enjoy the scenery elsewhere. But, sometimes that’s not possible. So, what better way to take a vicarious trip than enjoying a beautiful landscape painting!</p>
<p>There are several wonderful landscape painters at Wilde Meyer. Most are avid outdoors people who love to explore their surroundings in Colorado and New Mexico. Although they all do some studies en plein air, they prefer to take photos and communicate their experiences with larger studio paintings.</p>
<div class="separator" style="clear: both; text-align: center; text-size:11px;"><a href="http://www.wildemeyer.com/michael-baum" imageanchor="1" style="clear: right; float: right; margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" width="200px" src="http://www.wildemeyer.com/wp-content/uploads/2014/05/BAU173.jpg" /><br>Clouds Building<br>by Michael Baum</a></div>
<p><strong><a href="http://www.wildemeyer.com/michael-baum" target="_blank">Michael Baum</a></strong> said that he and his wife often take road trips in the late afternoon during the summer, “putting on a couple hundred miles, when the light is just right.” She drives, and he takes photos. His painting entitled “Clouds Building” is from one of these trips.</p>
<p>They also take several trips to Utah a year, backpacking and camping in the canyon country. Michael says, “The reality of these places goes beyond what you are seeing. The landscape truly experienced involves all the senses, the subtleties of light reflecting from a canyon wall, the sharp tang of sage in the air, and the coolness of a hidden canyon.”</p>
<div class="separator" style="clear: both; text-align: center; text-size:11px;"><a href="http://www.wildemeyer.com/michael-baum" imageanchor="1" style="clear: left; float: left; margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" width="180px" src="http://www.wildemeyer.com/wp-content/uploads/2013/09/bau144.jpg" /><br>Summer Oasis<br>by Michael Baum</a></div>
<p>When he returns to his studio, Michael strives to re-experience his feelings, using his plein air studies and photos. His goal: “to have the viewer experience some of the magic I feel when I’m there.”</p>
<p>I think we can feel the special moment of early morning when we look at “Sunrise on the Bluffs.” And, looking at the cool blues and greens in the beautiful water reflections of “Summer Oasis” makes me forget the summer heat outside! I admire the way Michael has made his mountains recede with muted cool tones, allowing the trees and water to catch the light and sparkle.</p>
<div class="separator" style="clear: both; text-align: center; "><a href="http://www.wildemeyer.com/michael-baum" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" width="250px" src="http://www.wildemeyer.com/wp-content/uploads/2013/09/bau143.jpg" /><br>Sunrise on the Bluffs<br>by Michael Baum</a></div>
<p><strong><a href="http://www.wildemeyer.com/gregory-stocks" target="_blank">Gregory Stocks</a></strong> lives in Salt Lake City, and often paints scenes from the surrounding area. He, too, does small sketches on location and takes reference photos to bring back to his studio. Gregory told me that memory is very important in his work, “as I am able to recall the important aspects of a scene without being bogged down by all of the information that’s not necessary to communicate what I felt in the location at the time.”</p>
<div class="separator" style="clear: both; text-align: center; text-size:11px;"><a href="http://www.wildemeyer.com/gregory-stocks" imageanchor="1" style="clear: right; float: right; margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" width="250px" src="http://www.wildemeyer.com/wp-content/uploads/2013/09/stc026.jpg" /><br>In Harmony<br>by Gregory Stocks</a></div>
<p>His painting entitled “In Harmony” reflects Gregory’s process, and his feelings towards that place along a creek. His beautiful brush strokes and fiery hues tell us that this is a lovely autumn day. The reflection of the sky and trees in the water brings the viewer into the painting, and invites us to stay a while.</p>
<p>Gregory also uses memory to call upon scenes from his youth in the Snake River Valley of Idaho, where he spent his teenage years. “I don’t remember caring so much about the landscape when I was there, but now I’m mining it all up,” he says.</p>
<div class="separator" style="clear: both; text-align: center; text-size:11px;"><a href="http://www.wildemeyer.com/gregory-stocks" imageanchor="1" style="clear: left; float: left; margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" width="260px" src="http://www.wildemeyer.com/wp-content/uploads/2013/09/stc025.jpg" /><br>In a Big Sky<br>by Gregory Stocks</a></div>
<p>“In a Big Sky” is one of Gregory’s Idaho memory paintings. He says that the winding river and rural scene juxtaposed against the big, colorful sky communicate his emotional response to the area. “I like to refer to a painting like this one as having a sense of ‘breathing room,’ of depth and space and an atmosphere that I can almost feel.”</p>
<p>I think we can agree with that, as well as his wonderful comment that painting is “an emotional vacation that I can take any time.”</p>
<div class="separator" style="clear: both; text-align: center; text-size:11px;"><a href="http://www.wildemeyer.com/stephen-morath" imageanchor="1" style="clear: right; float: right; margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" width="220px" src="http://www.wildemeyer.com/wp-content/uploads/2013/09/mor103.jpg" /><br>Another Baja Moonrise<br>by Stephen Morath</a></div>
<p><strong><a href="http://www.wildemeyer.com/stephen-morath" target="_blank">Stephen Morath</a></strong> takes a different approach to his paintings. He uses references to places he’s been, but it’s more of a distillation of various landscapes. And, there’s usually a story to tell. For example, “Another Baja Moonrise” shows an unusual image of a desert landscape looking across the Sea of Cortez. But the tall palm trees and the VW bus imply there’s a bigger tale here. According to Stephen, the couple represents Adam and Eve, “totally alone in an exotic landscape.” I guess the snake is another clue. The “hippie vehicle” is something Stephen always wanted!</p>
<div class="separator" style="clear: both; text-align: center; text-size:11px;"><a href="http://www.wildemeyer.com/stephen-morath" imageanchor="1" style="clear: left; float: left; margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" width="220px" src="http://www.wildemeyer.com/wp-content/uploads/2013/09/mor101.jpg" /><br>Morning Moon<br>by Stephen Morath</a></div>
<p>Since he enjoys painting with cool colors, Stephen likes to portray a scene at the end of the day, or, as with “Morning Moon,” at first sunrise. He commented that his work has an air of “magical realism,” meaning that his attention to details is somewhat unnatural, and his landscapes definitely have a romanticized perspective. The red truck is a wonderful accent against the cool morning desert.</p>
<p>Sometimes, Stephen lets his imagination take over the painting. In his work entitled “Mescalito,” we see what looks like a New Mexican landscape, but there are many characters in this story. I was first drawn to the horseman in the foreground with the cactus face, but then my eyes went everywhere, looking at the images and trying to decipher their meanings. I’ll leave you with that comment. To see more, and come to your own conclusions, it would be best to see the painting at Wilde Meyer!</p>
<div class="separator" style="clear: both; text-align: center; "><a href="http://www.wildemeyer.com/stephen-morath" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" width="250px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkL_Qev9zIo2WhCJyWYhkz64TakeZheFP9hx_PU5ZzdgrYLdqka4YjnikZsBnPmAPgfIg7jNeN8JG9VfYjgRTWGWNP-GA_jhlKdOBHTEqyTWmBeMVr3pe6j90HHjOcj1WVvXRTB6NtsKE/s320/Mescalito.jpg" /><br>Mescalito<br>by Stephen Morath</a></div>
Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-28245718679531187012014-07-09T13:28:00.000-07:002014-07-09T13:28:46.040-07:00<p style=" font-size:18px; text-align:center;"><strong>Please join us for the <span style="color:#9A2413;"><a href="http://wildemeyer.com/event/summer-spectacular-art-fest/" target="_blank">Summer Spectacular Artwalk</a></span></strong><br>Thursday, July 10th from 7PM-9PM<br>On Display at both Scottsdale locations<br>For more information <a href="http://wildemeyer.com/event/summer-spectacular-art-fest/" target="_blank">click here</a></p>
<h1>Artist News</h1>
<p><a href="http://www.wildemeyer.com/">www.wildemeyer.com</a></p>
<p>Wilde Meyer Gallery represents so many fine artists; we thought we should give you a sampling of some of their recent achievements and honors.</p>
<div style="display:inline; float:left; padding-right:5px; "><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwEAHZAD4lWUK2biqUvREP4S5oZSc6bVrScJ1p-wJQicJNLyRXI9F9BuQEfZ_XZH2cgEBJk8Z0p3xNjuTcRuV8DIOzLhwpLhKxffirErm5pO5Shm9iDu3j93AbmBFUJ-iMuGClcW-Jgq4/s320/sw.bmp" width="150px"></div>
<div style="float:right; padding-top:0px; font-size:10px; text-align:center;"><a href="http://www.wildemeyer.com/jeff-cochran" target="_blank"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJZD7WgdLIaxn89yJLONDYjOok2rGwVD0Y9ckzFHZlMmbBSiIEsT2bnCH_8CCdhlfFfqnkcM5HdNJSK20yx8sFfV5y8Kk7dkzyfAD0dB66C80KGvUAIeOrWqcL_8npDY6PTXsH5RiWL3k/s200/COC288.jpg" width="120px"><br>Jeff Cochran</a></div>
<div style="float:right; clear:left; margin-top:-50px; font-size:10px; text-align:center;"><a href="http://www.wildemeyer.com/michelle-chrisman" target="_blank"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4HDQwp0M7qqpdefUDPn4UHEIgde4bhhdQZZqpnM-EXv9Ft6QDloG-Hk8JDTVyJ8-zWoMCQ7IYRqNOnslpEVkW7y5u6zJ36lTeWoz8fMfC6BPxk2URqw7kAYNbskVzBZwy0-ESAqifEmA/s200/CHS0030.jpg" width="125px"><br>Michelle Chrisman</a></div>
<div style="float:right; padding-right:25px; margin-top:-150px; font-size:10px; text-align:center;"><a href="http://www.wildemeyer.com/timothy-chapman" target="_blank"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirZUJwkIuQo7PVzQcUeQAvipMtOXJyY-tjMiXyYwM9eGaNOnPpU-V3wGjG-rAayrwPMeq75wse-2ibAVLs_4aiNSLsWGDzi3Pq1Be7Bj8hOHTmtd5OlhN7E3eXg3hzrqPUMoM7QkzHbvY/s1600/CHA304.jpg" width="100px"><br>Timothy Chapman</a></div>
<p style="width:380px;"><strong><a href="http://www.wildemeyer.com/timothy-chapman" target="_blank">Timothy Chapman</a>, <a href="http://www.wildemeyer.com/michelle-chrisman" target="_blank">Michelle Chrisman</a> and <a href="http://www.wildemeyer.com/jeff-cochran" target="_blank">Jeff Cochran</a></strong> are all included in a new hardcover book <u><a href="http://www.barnesandnoble.com/w/contemporary-art-of-the-southwest-e-ashley-rooney/1115100246?ean=9780764345432" target="_blank">Contemporary Art of the Southwest</a></u>. This is a beautiful high gloss book representing the best artists of the American Southwest. Author is E. Ashley Rooney with forward by Chief curator of Contemporary Art for the Tucson Museum of Art – Julie Sasse.</p>
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<div style="float:left; padding-left:165px; padding-right:6px; font-size:10px; text-align:center; margin-top:-25px; "><a href="http://www.wildemeyer.com/timothy-chapman" target="_blank"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgFyfDup_P7EAgwzI_PYfr9IrD7n8-Uey-_KZmWbm9UUd4dV8vMGkoy_bRH5RV_5Dcci4CuSd77DrV2gO4Q7RGqBkSXC8yJVQGZfhzAsVqe8e7b0tsWXBDSV_ResYJCBvNoqCb87WVWv8/s200/CHA0250.JPG" width="100px"><br>Timothy Chapman</a></div>
<p style="width:480px; margin-top:-15px;">Timothy Chapman is also exhibiting his work in the US Embassy in Nairobi Kenya.</p>
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<div style="float:left; clear:both; padding-right:7px; font-size:10px; text-align:center; margin-top:-25px;"><a href="http://www.wildemeyer.com/karen-bezuidenhout" target="_blank"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXkLrF6T-7rsnzHR4E3ysHzGvIJm29u1GLUI6d5m4YI3OuvMOyNzPlwoddzw-xrXFXfg1qw1WId5dwj0pne3dD6_nzTb8MCCrVGAa8Wm-6qHsXS1qhRcStpMMkftlT9CpOlLf59icuxtA/s200/BEZ0106.jpg" width="100px"><br>Karen Bezuidenhout</a></div>
<p style="width:550px; margin-top:-20px; ">Trendy Santa Barbara Magazine chose to feature <strong><a href="http://www.wildemeyer.com/karen-bezuidenhout" target="_blank">Karen Bezuidenhout's</a></strong> paintings in a home located at fabulous Rincon Beach. Karen has also completed commissions going to Johannesburg, South Africa, and Noosa Australia.</p>
<div style="float:right; clear:both; padding-left:5px; font-size:10px; text-align:center; margin-top:-40px;"><a href="http://www.wildemeyer.com/andrea-peterson" target="_blank"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGuBX9c10P71B6PTzkSao0VJPxNZLITqZgzuJOOENZfXX01qKJQok2hKu-BFJwG1SgseTtf191iUVHI2ve54erf9uXz-R48d-hKEqjPtJx-1cfVMbra2KD3hyphenhyphenSgebTGfTW9uGiiOuSBcw/s200/Peterson_TheSpiritWorld_48x42.jpg" width="90px"><br>Andrea Peterson</a></div>
<div style="float:right; padding-left:15px; font-size:10px; text-align:center; margin-top:-40px;"><a href="http://www.wildemeyer.com/bill-colt" target="_blank"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnwqoB6TuHiQ0zSu-DLlzkmWB3ClV7qUIFTRV5iO5rr1FjAlQ51syy2E4mm7XAuJVoSWjMVFbQYxYyJbdSR6yND6URpUGIktwGWq6lsUhDVsa83CXWA414wPCJMdZt1rPN9gLCXY7ZAiI/s200/wildemeyer-colt-emmy.jpg" width="90px"><br>Bill Colt</a></div>
<p style="text-align:right; margin-right:150px; width:450px; padding-top:5px; padding-bottom:8px;"><strong><a href="http://www.wildemeyer.com/bill-colt" target="_blank">Bill Colt</a></strong> and <strong><a href="http://www.wildemeyer.com/andrea-peterson" target="_blank">Andrea Peterson’s</a></strong> paintings were real hits in their Scottsdale restaurant, so Del Frisco’s is now including them all over the United States.</p>
<div style="clear:both; font-size:10px; text-align:center; float:left; padding-right:7px; "><a href="http://www.wildemeyer.com/debora-stewart" target="_blank"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVcQUmC0kwmftakn7inx3ZgJR3lx9qz0rigG-sisydX9u97h7KV9lqkaGWkDu9aRJrcN1ITSAksr9mQV-VTXOIQ4A2-QU-2K3fJmcB9PhgrHJ0eBpBv8HkYIWnMOsilplfzx4wndPo2dw/s200/STW010.JPG" width="120px"><br>Debora Stewart</a></div>
<div class="separator" style=" text-align: center; font-size:10px; float:right; padding-top:17px;"><a href="http://www.wildemeyer.com/debora-stewart" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnVFxeaTXdInn_fk1moTGrNkO5dOJQQkCytjcz0RFPkqBgJOMzzuAt7Ndka-dHsGDDUIbFhylJoDpWnAnaaBbt3zbjv0YRkAc0nudrbYpwUyOB8gvZFce2rRdC6w3gqPP7WO-YkAzuSD0/s200/STW0004.jpg" width="150px" style="" /><br>Debora Stewart</a></div>
<p style="width:550px;"><strong><a href="http://www.wildemeyer.com/debora-stewart" target="_blank">Debora Stewart</a></strong> is finishing her book <u>Abstract Painting: Expressions in Mixed Media</u>. North Light Books will release it April 2015. In the “how to” book Debra shares her secrets for creating pastels and acrylic paintings. One of her recent pastels is on exhibit in Boston at the acclaimed Vose Gallery as part of the International Association of Pastel Societies.</p>
<div style="clear:both; font-size:10px; text-align:center; float:right; padding-left:7px; margin-top:-25px;"><a href="http://www.wildemeyer.com/gregg-rochester" target="_blank"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0slUi609XGNMn6EbQ4Z4pl9xBNEIk4YFMmcx_m6FwB6iEVP27o1FBfCdNR2P2YMhvD3QzliFtJ60qo6KHB3Wx06gwKTdAo0gjeWkVShW6iVff12wY0H2YKTFDs-i2UFUIRd8b2wK6Oe4/s320/Beyond+Beyond+48x60+1.jpg" width="90px"><br>Gregg Rochester</a></div>
<p style="width:550px;">Celebrating 25 years as an artist, <strong><a href="http://www.wildemeyer.com/gregg-rochester" target="_blank">Gregg Rochester’s</a></strong> “Tour d’ Art” (bicycle art show), will tour Europe this summer and be featured in New York and Miami later this year. Greg is a well know landscape painter featured on the National Endowments for the Arts website, and named Wisconsin Artist of the year.</p>
<div style="float:left; clear:both; padding-right:5px; font-size:10px; text-align:center; padding-top:8px;"><a href="http://www.wildemeyer.com/kari-rives" target="_blank"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ0OqJF70svqqFK7YQYpOJdlk1pwBnYXFEetxVLO3tmlDHhE-2aPm9jVAYxI8XLMQwN1FJb0T2IaI9YK5BMCHReJERBFClDBMJK6k6oRvw8x9aGvonbaSBN3RMZDIHzUNyDep4idLF75Y/s200/Ophelia+speaks.jpg" width="130px"><br>Kari Rives</a></div>
<div style="float:left; padding-right:15px; font-size:10px; text-align:center;"><a href="http://www.wildemeyer.com/kari-rives" target="_blank"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLRr8iCl0ZYT9vni6SP55I4HHCgNPuiV47OCnBp5E-YL5ok7D8fyUeE7R1yEQ9_hLvtE6txWOb5LnZ8Z7o9OucPT5TuUKXfgUF8HEUsCKF5ZmjlY_dGjrc1bFxHVbMd8O3lT1iLs1LLj8/s200/RIV0101.JPG" width="90px"><br>Kari Rives</a></div>
<p style="padding-top:16px;">Ceramics artist <strong><a href="http://www.wildemeyer.com/kari-rives" target="_blank">Kari Rives</a></strong> was awarded a merit award by juror and international celebrity artist Leopold Foulem. Juror Jim Romberg chose Kari’s work to be included in the Western Colorado Center for the Arts - Ceramics Biennial.</p>
<p style="padding-top:10px;"><strong><a href="http://www.wildemeyer.com/sarah-webber" target="_blank">Sarah Webber’s</a></strong> “Seated Bunny” was chosen to be part of Art of the Animal Kingdom XIX at the Bennington Center for the Arts.. “Are You My Momma” was juried into the American Women Artists 17th Annual National Competition in Orleans, MA.</p>
<div style="clear: both; font-size:10px; text-align:center; float:right; padding-right:200px; margin-top:-5px;"><a href="http://www.wildemeyer.com/sarah-webber" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeHpoVNyasut2KsgZoQx5X_xj_Sn2fQNpQh69QPgJ0u60xyr3zz3B3q7EdXO5bZWgXbPDLepWbd02WkA-zByEx4ygbkIU5hSqlRxm3kroORCKHIqHjHDGpOGfXuahe28XxNPY5NURd0vc/s200/WEB0084.jpg" width="110px" /><br>Sarah Webber</a></div>
<div style=" font-size:10px; text-align:center; display:inline; float:right; margin-top:-5px;"><a href="http://www.wildemeyer.com/sarah-webber" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjyQkJljnfNo4X014_LfhTJr6s2KbmXM2u7XJYdq9y485KK_LQrD_wWUlQEJYb4yQWgJFnIkCgFq6FzvGx7V6F-EDxpeViePwd_3lpdcT21CA9hwP3XGisAFQq-LzLRG2LDdSbSfrBXlE/s200/WEB116.jpg" width="110px"/><br>Sarah Webber</a></div>
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<div style="clear:both; font-size:10px; text-align:center; float:left; padding-right:17px; margin-top:-45px; padding-bottom:10px;"><a href="http://www.wildemeyer.com/judy-feldman" target="_blank"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE2o2XIm1GyP-BHQ_B0HWmDv9-sKqbU3DPAro-NbIBjVIfwLjcnlEsmG9jL_5bPHi1uvszC3nWphjVYGCBoehBz74HoxW_0P05tt5gnOxBZt0S6hph4zF4T0JHu0vrlCzJ_qUJz0gjIZA/s200/Friends+copy.jpg" width="90px"><br>Judy Feldman</a></div>
<p style=" padding-bottom:10px;">Wilde Meyer’s talented artist and blogger <strong><a href="http://www.wildemeyer.com/sarah-webber" target="_blank">Judy Feldman</a></strong> had a painting “Friends” included in the Shemer Art Center show, “Animal Other”. </p>
<p><strong><a href="http://www.wildemeyer.com/jaime-ellsworth" target="_blank">Jamie Ellsworth</a></strong> is included in two new books. <u>100 Artists of the Northwest</u> written by Ashley Rooney, and <u>1000 Dog Portraits</u> written by Robynne Ray; both include beautiful work by Ellsworth.</p>
<div style="clear:both; font-size:10px; text-align:center; margin:auto; padding-right:70px; margin-top:-3px;"><a href="http://www.wildemeyer.com/jaime-ellsworth" target="_blank"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD5uTDDl-KWU6cSG-ESa3g3UUuSXGsVd_TEGeqmQRmdPpqnSMvlWtkqXTvzbDECfoDWEWGhDCdtcKNQB8sVkIGzWGLNX8ykQei106TJ5XaAskuItholtZEvpcO8d2l8b1E8oFu9Fxl8QA/s200/ELL062.JPG" width="180px"><br>Jaime Ellsworth</a></div>
<div style="font-size:10px; text-align:center; float:right; padding-left:7px; margin-top:-10px;"><a href="http://www.thecloudfoundation.org/news-events-and-media/featured-events" target="_blank"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib6s7QB-cb5fILDycQlZErYHUuw-IcJk7KXbM82-wtSQaayQxKQV-iakRHJ9CqJv30CkxjUGjhqTzCV2Y_bQ_zxE6_1OhVLBqkBCsZA0JbxD8m0S51S6mxG75rqFcwMnnA3Q12D61iGfU/s200/TCF_ArtShow2014_DigitalSavetheDate-2.jpg" width="170px"></a></div>
<div style="clear:both; font-size:10px; text-align:center; float:right; padding-left:7px; padding-top:15px;"><a href="http://www.wildemeyer.com/suzanne-betz" target="_blank"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyFAN3nI8MlCdpnc4pWeWiWIX650-vya4P7THleAojV_hnrMliGoBboprXsc-QWvDWLoGmP66TCDOePyDqAPDqjYZxClTO7Y74RYeNgwcR_6VTC8GIbFTPITYCP2RRWszt_QoYo1K4kVQ/s200/bet0154.jpg" width="110px"><br>Suzanne Betz</a></div>
<div style="font-size:10px; text-align:center; float:right; padding-left:7px; padding-top:5px;"><a href="http://www.wildemeyer.com/tracy-miller" target="_blank"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOEBwWhKccrhpAtBFysc6OIMArXxNydCMmYdlGVGIh4qwA0mUgiYWNOaCG35kovyTy7z6RerS7SnSb1JXzioGRyS7HUzXlyl6jXb5ULCEq6hvNdGEV6areuQlURSQYpJbV_mCpslK7owo/s200/wildemeyer-tracymiller-pardners.jpg" width="80px"><br>Tracy Miller</a></div>
<p style="padding-top:0px;"><strong><a href="http://www.wildemeyer.com/tracy-miller" target="_blank">Tracy Miller</a> and <a href="http://www.wildemeyer.com/suzanne-betz" target="_blank">Suzanne Betz</a></strong> are both participating in “<a href="http://www.thecloudfoundation.org/news-events-and-media/featured-events" target="_blank">The Cloud Foundation Annual Art Exhibit</a>”. This is a celebration and fundraiser for Wild Horses through Art and Music. This is a really worthwhile cause helping to save our wild horses.</p>
<div style="float:left; padding-right:5px; font-size:10px; text-align:center; "><a href="http://www.wildemeyer.com/tracy-miller" target="_blank"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNyPgq75xViZfaG2jVvAuHZlwf8xTHcqcgai-ghvCUowM1zXSfxrnVatPwwtb6gyezCwgE2Od9Wq6_2RpgWZ_MEwy6J-zcg4UVr-OzTXMFzXyDVesG2TWcw_sdLAlZrCNbHwVfyPfryQ4/s200/MIR133.JPG" width="80px"><br>Tracy Miller</a></div>
<p>Selected as a finalist for this year’s Athena Award, Tracy Miller said it “was a real honor to be nominated. The award is given to outstanding businesswomen in the community, and I believe I was the first artist ever to be in the group”. Tracy was also selected out of 1100 artist submissions to be included in the new book <u><a href="http://www.amazon.com/AcrylicWorks-Acrylic-Painting-Techniques-Artists/dp/1440328862" target="_blank">Acrylic Works, The Best of Acrylic Painting</a></u> by Nancy Reyner, published by North Light.</p>
<div style="float:left; padding-right:15px; font-size:10px; text-align:center;"><a href="http://www.wildemeyer.com/sushe-felix" target="_blank"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_YEspA1nN6Sg2vwZhfQ9YJySWJDZaCaygEgpG0trQ8WkCb4R7STlbDyMhL8y0Jnnh5CmL5e56uw0wrHLbVQt8OFhEaqndBIHEfQJcKgOb5ruacLWIL000rhSBcYPFCfrOEyxu0PlMR0w/s200/FEI089.jpg" width="90px"><br>Sushe Felix</a></div>
<p><strong><a href="http://www.wildemeyer.com/sushe-felix" target="_blank">Sushe Felix</a></strong> exemplifies the beauty of the Sonoran desert through her paintings. Over one dozen of Sushe’s paintings were used to illustrate the beautiful program for the 2nd annual Tucson Desert Song Festival. I do not know who originally said this: “Visuals can be Music for the Eye”, but it is appropriate here, for these paintings are truly “Music for the Eye”.</p>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5836070560470414665.post-87796183711301500542014-05-30T17:18:00.000-07:002014-05-30T17:18:18.317-07:00Collecting 101 <h2>(actually, Collecting more than 100)</h2>
<p>By Judy Feldman | <a href="http://www.wildemeyer.com">www.wildemeyer.com</a></p>
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.wildemeyer.com/monika-rossa" imageanchor="1" style="clear: right; float: right; margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" width="160px" src="http://wildemeyer.com/wp-content/uploads/2014/05/ONE060.jpg" /><br>by Monika Rossa</a></div>
<p>Collecting original art can be a bit stressful for first-time buyers. You can walk into a gallery and be overwhelmed by choices of styles, subjects, colors and sizes. The prices, too, can be out of reach for some would-be collectors.</p>
<p>Betty Wilde, one of Wilde Meyer Gallery’s owners, said that gallery visitors are often afraid to make their first purchase. But, she tells them, “Buy your first piece, and you’ll be hooked on original art. Posters won’t do it for you anymore!”</p>
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.wildemeyer.com/chaille-trevor" imageanchor="1" style="clear: left; float: left; margin-left: 1em; margin-right: 1em; " target="_blank"><img border="0" width="150px" src="http://wildemeyer.com/wp-content/uploads/2014/05/ONE008.jpg" /><br>by Chaille Trevor</a></div>
<p>Some people are initially convinced that they have to purchase art that matches their décor. Betty tells them that their tastes will come through in their selection. “Chances are, you’ll gravitate to colors that you like anyway. Choose what you like, and what you’ll enjoy living with in your home.”</p>
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.wildemeyer.com/connie-townsend" imageanchor="1" style="clear: right; float: right; margin-left: 1em; margin-right: 1em; margin-top:1em;" target="_blank"><img border="0" width="130px" src="http://wildemeyer.com/wp-content/uploads/2014/05/ONE016.jpg" /><br>by Connie Townsend</a></div>
<p>Betty has found a way for art lovers to dip their toes into the wonderful world of art collecting, and helping animal charities at the same time. During the month of June, the gallery at Marshall Way will host a <strong>“100 for $100”</strong> show. <strong>More than 40 artists are participating, and each painting will sell for $100, with much of the proceeds going to several animal charities.</strong></p>
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.wildemeyer.com/judy-feldman" imageanchor="1" style="clear: right; float: right; margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" width="110px" src="http://wildemeyer.com/wp-content/uploads/2014/05/ONE076.jpg" /><br>by Judy Feldman</a></div>
<p>“It’s a great way to get to know many different artists,” Betty said. “It’s always easy to find a place for a small painting, and at this price, you can even make a grouping of several paintings without spending too much.”</p>
<p>Many of the paintings have been created by the artists expressly for this show; others, including Jamie Ellsworth and Chaille Trevor, have included larger paintings as well, because they want to help the charities.</p>
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.wildemeyer.com/kari-rives" imageanchor="1" style="clear: left; float: left; margin-left: 1em; margin-right: 1em; " target="_blank"><img border="0" width="130px" src="http://wildemeyer.com/wp-content/uploads/2014/05/ONE067.jpg" /><br>by Kari Rives</a></div>
<p>Last year, the show was so successful, that the gallery will be selling more than 100 paintings through a lottery system. The images will be emailed to all of you next week; you can put your name on a list for a particular painting, and a name will be drawn for each painting on Friday, June 5. This is your chance to start (or continue) collecting!</p>
Judy Feldmanhttp://www.blogger.com/profile/10964790011882672073noreply@blogger.com