Banksy reveals he meant to shred entire £1m painting

Street artist Banksy has posted a new video about the shredding of his famous Girl With Balloon painting, implying that it was supposed to have been completely destroyed in the stunt.
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Banksy Painting Self-Destructs After Fetching $1.4 Million at Sotheby’s

The British street artist Banksy appeared to pull off one of his most spectacular pranks on Friday night, with a frame that shredded his “Girl With Balloon” after it sold.
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Riddle of a Scandalous French Painting Is Solved, Researcher Says

Until now, the identity of the subject in Gustave Courbet’s “The Origin of the World,” a meticulous close-up of a woman’s genitals, was unknown.
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Modigliani nude painting sold at auction for $157.2m

When it was first shown in 1917, Modigliani’s Nu couche (sur le cote gauche) was considered so offensive that police shut the exhibition down.
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Is Jim Carrey’s latest painting anti-Christian?

Jim Carrey’s latest painting has caused a stir on social media, with the star accused of being both a “Christaphobe” and sexist.
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Victorian nymphs painting back on display after censorship row

Manchester Art Gallery is to reinstate the JW Waterhouse work after a backlash over its removal.
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Kehinde Wiley on Painting the Powerless. And a President.

The painter of Barack Obama’s National Gallery portrait talks about representing young black men — and the man who was once the most powerful in the world.
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Art Review: David Hockney’s Life in Painting: Spare, Exuberant, Full

An artistic journey through six decades of painting sums up his achievements — and leaves you wanting more.
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Get To Know The Artists Painting The Obamas’ Official Portraits

Kehinde Wiley and Amy Sherald are the first black artists hired by the Smithsonian to paint a president and first lady.
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Jennifer Lawrence Covers Vogue’s September Issue In A John Currin Painting

This is a stroke of genius.
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How A $165 Million Painting Is Funding Criminal Justice Reform

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A Virtually Unknown Jean-Michel Basquiat Painting Sold for a Record $110 Million

The sale came after a 10-minute bidding war.

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Sir Howard Hodgkin: Turner winner who ‘hated painting’ dies at 84

Sir Howard Hodgkin was “one of the great artists and colourists of his generation”, says the Tate.
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Digital Painting Techniques: Masters Collection

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CHARLES BOYER Looking at painting on wall, holding book in hand

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Dallas Is Where I Finally Get to See The Famous French “Déjeûner sur L’herbe” Painting By Monet

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Dallas-Fort Worth.

One could possibly think that the Dallas-Fort Worth appellation is just an indication of a big twin megapolis, when in fact, as I discovered Sunday, it’s two very distinct cities, not even remotely touching, with a Grand Prairie in-between – grande prairie means large field in French.

So it took me an hour to drive from Dallas to Fort Worth Arts District to reach the Kimbell Museum.

Needless to say, I was starving when I reached the museum. True fact is that I always eat first at art exhibits, firstly because I am always starving, and secondly because museums have the best cafés and shops.

The Kimbell has a unique flat rate fee for plates of three sizes – small, medium, and large. The menu is the same for all. But you pay by the size of your plate. Some people have mastered the art of piling up tons of food in a precarious balance on their plate. I saw some lunchers with a small plate who had more food than me on my medium one.

Was it “worth” it?

But I digress. Claude Monet is one of these great French painters that everyone knows. They may not know his name but will recognize his art. He is a familiar painter with a subdued and sweet domestic life that accompanied his paintings all his life. His paintings of Venice, London, and Paris are vital witnesses to the cities’ daily landscapes.

Organized in collaboration with the Fine Arts Museums of San Francisco, thanks to loans from 10 countries, and a handful of private collectors, the show offers a unique view of the early years of the master, starting when he was 17 years old and painted the “View at Rouelles” where he lived.

All the paintings presented at the Kimbell are from Monet’s early years and have seldom been seen in museums. The precious exhibit is a must-see for lovers of impressionists’ work.

Le Déjeûner sur l’Herbe.

My favorite Monet piece is the whimsical lunch on the grass, for its romantic setting, the fashion so beautifully described, and the funky story of its missing part. You will only see two pieces of this large painting at the Kimbell, as this is the only remaining parts of the massive representation of a lunch in the woods. Monet explained how the painting got cut up and subsequently gone shorter:

“I had to pay my rent, I gave it to the landlord as security and he rolled it up and put in the cellar. When I finally had enough money to get it back, as you can see, it had gone moldy.”

When his landlord finally gave it back, Monet cut it up and kept only three pieces – but the third part has now disappeared.

Pricey grain stacks.

The auction house Christie in New York just sold last week the piece “Grain stack” for a hefty $ 81.4 million, when the hope was to sell it for half of that. I won’t tell you who bought it, because it’s a secret – the 1891 canvas was won by an anonymous collector bidding over the telephone.

The wheat stack sold is not at the Kimbell, but a couple of the series of about 20 stacks canvases are on view – better hurry to see them before they sell for millions and vanish into some lucky private living room!

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Another Monet had already set a record for the painter; his “Water Lily Pond” was sold for $ 80.4 million in 2008. The 19-part elliptical painting of the “Nymphéas” is another familiar sight for many. A special studio was built for the size of his project, and he devoted the rest of his life to the large masterpiece.

We are treading far away from cutting up paintings to pay the rent! If only Monet could see the frenzy of collectors around his art today.

Claude Monet was a great impressionist master – good at drawing, and even better at rendition of material such as clouds, water, and snow. Friends with Renoir, his flowers show the influence the other master had on him.

” Qu’y a-t-il à dire de moi ? Que peut-il y avoir à dire, je vous le demande, d’un homme que rien au monde n’intéresse que sa peinture – et aussi son jardin et ses fleurs ?”

(What is there to say about me? What can possibly be said, I am asking you, about a man that nothing in the world interests except his painting – and also his garden, and his flowers?)

2016-11-24-1480011014-9197317-viewatrouelleslehavre.jpgLarge.jpg

More info:
Monet: the early years.
Kimbell Art Museum
3333 Camp Bowie Blvd. Fort Worth, Texas 76107.
817-332-8451.

Trough January 29, 2017. Tickets are $ 7 to $ 18. The museum is closed on Mondays, Thanksgiving Day, Christmas Day, and New Year’s Day.

Note: The Kimbell Museum’s pavilion hosting the Monet exhibit was designed by star architect Renzo Piano and opened in 2013 – but that’s another story.

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Questions / Comments: sidoniesawyer@gmail.com.
Visit my website to read more of my stories.

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Girls Dresses Baby Girl Clothes Character Painting 2015 Brand New Christmas Dress Princess Children Dress Kids Dresses for Girls

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This Chinese Billionaire Charged a $170 Million Painting to His Amex

Do it for the points.

Lifestyle – Esquire

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Drawing and Painting Fantasy Landscapes and Cityscapes

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Defying Disharmony (After Daguerre’s Painting, the Ruins of Holyrood Chapel)

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Defying Disharmony

As I wander along the boulevard,
The remains of opulence and grandeur
Precariously stand or merely lean
Against each other like injured soldiers
Courageously holding a jagged line.
I walk on hexagonal sidewalk blocks.
What once were laid graciously interlocked
Are hewn by chaos finding final rest
Upon the uprooted maples and oaks
Like dead seeds sewn in the pockmarked asphalt.

I enter a grand hallway and look up
To see the unintentional skylight
Letting sun and shadows that lead the way
To a broken brass banister barely
Fastened to its partner of crumbling stairs.

I ascend each step paradoxically
Climbing with diffidence and insistence.
In a stupor my confusion conquers
Any fear of falling through fractured floors
As I come to an open balcony.

I feel faint looking at the horizon
Merging what I see with my memories.
I am sad not for what lies before me
Rather for friendship and love I have lost.
Then a voice I recognize starts to speak:

“Allow your heart to be ever open.
Fill your life with limitless compassion.
Then you will never lose those whom you’ve loved.
They have already been interwoven
Within the rich tapestry of your soul.”

I learn despite surrounded by debris
There is a constantly blooming garden
That resides deep within each living cell
Defying destructive disharmony.
It is by love, by God, with love we grow.

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Artist Susan Sweet Talks About Painting And Living In Rural Nova Scotia

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Bright and Lion, (c) 2009 Susan N. Sweet. Acrylic, 30″ by 40″ diptych.

Perhaps it was inevitable that I would eventually end up interviewing family – as I am not the lone artist in our bloodline. So, as a photography and arts blogger, it made sense to corner my aunt, painter Susan Sweet, and try to squeeze a little more than an artist statement out of her. Here is my attempt.

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Hearts and Flowers, (c) 2008 Susan N. Sweet. Acrylic, 24″ by 24″.

Michael Ernest Sweet: Why paint? I always ask this of painters and they usually don’t like the question, but too bad, I want to know?

Susan N. Sweet: I paint because I can’t stop. I will often do almost anything to avoid getting started, but then once the paint hits my brush, it is what I want to do and where I want to be. It is the form of art making I am most interested in. I look at everything and imagine how I might paint what I see. The more immersed I am in a painting, the more the world around me breaks down into colours and planes of light, and how I might describe them.

Michael: My grandmother (your mother) was a creative person in many ways, having operated a business, Lady Martock Fashions in Sleepwear, for a couple of decades after retiring from teaching. She both designed and made these often elaborate, almost Victorian, nightgowns. It wasn’t painting or photography, but she certainly was designing. Do you think she had any influence on your life as an artist?

Susan: My mother, Muriel, was the only art teacher I ever had in my first thirteen years of school. She taught art in the basement of Windsor Elementary, and was my teacher in Grade five. I think she was a bit hard on me as I was her child and she never wanted to appear biased. She was supportive of everything her children pursued and not that concerned with how much financial success we achieved, as long as we were happy and doing okay. I think that was her influence on my career in art making – just do what you want and try to be happy. Her true impact on my life, all our lives, as you know, is very hard to articulate.

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Young Mabel, (c) 2014 Susan N. Sweet. Acrylic, 20″ by 16″.

Michael: Your maternal grandfather was also an artist. In fact, he was a wood carver of some note that depicted domesticated animals. Could some of your animal art be genetic, or is it simply a product of growing up in the Nova Scotia countryside?

Susan: Probably a bit of both. I did not know either of my grandfathers, both died long before any of us were born, but I was very familiar with his wood carvings, a very primitive style of Nova Scotia folk art. I like the idea of continuing the subject matter that was such a part of all of our lives.

Michael: Familiar indeed! One advantage to interviewing a relative is that I know some of the stories. For example, many of those wood carvings of your grandfather’s encountered some damage. Could you tell us about that and the ensuing irony?

Susan: That story featured prominently in my 2008 solo show “Broken Horses, Spotted Cattle”. When I was five and my brother, your dad, was four, our mother had gone back to teaching and left us with the housekeeper. I was not happy about that. So, I enlisted the help of my brother and we quietly went upstairs to the flat my grandmother lived in and got into her cabinet full of the wooden carvings and broke the legs and tails off of as many as we could. My mother was furious and, of course, wanted to punish us, but my grandmother, also a teacher, said no, they are just little children and they don’t know what they’ve done. Of course, I did know what I intended to do, and that was hurt my mother for leaving us to return to work, but what I didn’t know was the hurt I had caused my grandmother and how she understood my feelings. I still have many of the broken carvings. A few years after the incident we did attempt to repair them, but of course it was too late.

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Cow Horse, (c) 2012 Susan N. Sweet.
Acrylic, 30″ by 20″.

Michael: All of your animal paintings are exquisite. Many people tell me that you are able to capture the personality of their pets. When you paint horses I, personally, find something really magical about them. Do you think your relationship with real horses growing up helps you in your artistic work? Are you able to talk, or whisper, to horses?

Susan: No, I am not a horse “whisperer”. I do talk to horses, all of us horse people do that. For many years I breathed and lived horses. I do think my personal relationships with horses have helped me when drawing and painting them. Having grown up with horses and been around them daily for a very long time, one understands how they are built and how they move. There is a long history of equine art throughout the centuries, humankind has had an important relationship with horses that enabled our ancestors to travel, hunt, work the land, etc.

Michael: Indeed, we see beautiful examples of equine art from prehistoric times in the caves at Chauvet, for example. So, yes, we do seem to have been drawing them from the very beginning. You were recently commissioned to paint the official 250th anniversary commemorative painting for the Hants County Exhibition. My grandfather (your father, Ernest Sweet) was President of the exhibition for many years, including the 200th anniversary, how do you think he would feel about this if he were alive?

Susan: Oh, I think he would be delighted and quite pleased that I was approached to paint such a special commission. He loved Exhibition week. This fair is the oldest fair in North America and moved to its present location in 1951. My dad would have participated in livestock competitions beginning in the late 1930s, when the fair was held at the Fort Edward Hill in Windsor, Nova Scotia.

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Exhibition Painting, (c) 2015 Susan N. Sweet. Acrylic, 36″ by 32″.

Michael: Grandad was an avid supporter of rural life and agriculture – having held other positions at The Atlantic Winter Fair and the NS Agriculture Association, for example. He also farmed (in some way) most every day for likely close to 70 years. What impact does this heritage have on your work?

Susan: I do find most of my subject matter comes from rural life. Horses, cattle, and the land, all figure prominently in what I paint. I am always interested in how we treat our domesticated animals, both the ones we eat and our companion animals. I feel very fortunate to live in a rural area where I am close to where our food is grown and where we are concerned with what happens on the land. Urban areas are so exotic to me! My father was an avid horseman. He worked the woods and the fields as a young man with horses, and his love of these things influenced me greatly. I also saw what happened to so many people as the family farms slowly disappeared. As my father slowly sold his own farming assets over the years, I became involved with horses and competing at the same fairs where he had shown his own cattle years before.

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Phyllis, Millicent and Jody, (c) 2012 Susan N. Sweet. Acrylic, 32″ by 37″.

Michael: During your BFA, at the Nova Scotia College of Art and Design, you worked in painting and photography as well as printmaking. The photography stuck with you for some time afterward, and of course you still paint, but what about the printmaking?

Susan: Printmaking became just too hard after I left the open studio environment of university. I found both intaglio and lithography a fascinating form of art making, but technically overwhelming, and I don’t feel my work was all that memorable from my university years. I do still find myself drawn to prints, especially intaglio. Nova Scotia has some fabulous print makers thanks to the department run by Ed Porter and Bob Rogers at NSCAD University for many years.

Michael: I often marvel about the lifespans of so many artists (and photographers too) it seems (from my casual survey) that so many live such long lives. I think about Alex Colville, whom I knew, and how he worked into his nineties. Do you think there is something therapeutic or particularly healthy about a life as an artist?

Susan: Oh my goodness no! I do know of many older artists, in fact the gallery where I work summers represents a 92 year old who is still painting, but I am sure many other professions can offer up such individuals too. I often think there are so many toxic materials artists use in their work and that we are putting ourselves in danger! I don’t have a sense of calm when I paint. Painting for me is always a struggle and a challenge when it is being pulled from my heart. I find no relaxation in painting. I am focused though, and I can paint in public with no problem. It doesn’t bring me contentment though, not really. I am happy when I am painting, but it is the hardest thing in the world.

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Vivian, (c) 2015 Susan N. Sweet. Acrylic, 24″ by 24″.

Michael: For a while you went in a direction that was a bit more commercial with your Animal Art business (earrings, brooches, ornaments, even small drawings of pets) but more recently you seem to have returned to fine art. What inspired this shift away from business woman, if you will, back to les beaux-arts?

Susan: I needed to say something in my work that could not be achieved through a commercial practice and taking a risk to paint what matters to me seems to be working. I also worked very small for many years and my body was rebelling against the ten hours of sitting every day. I still produce commercial portraits of animals for clients, but I follow my heart and luckily people do respond to my current body of work.

Michael: Often many artists reach a point in their career where teaching becomes an option – that is, schools seek you out. This can also be an important income supplement to support personal projects. Have you ever thought about teaching part-time, perhaps a class at your old alma mater?

Susan: I would be the worst teacher ever. I have conducted an occasional workshop, and those are fun. Many people in our family are teachers, and really good ones – I am not one of them.

Michael: Not only living in a more remote rural area, but also working in a home studio can become quite isolating, I would imagine. How have you dealt with this, perhaps more negative, aspect of the creative life?

Susan: It does mean that one must work very hard to be noticed. We’ve become reliant on the internet to communicate so much. I like living and working in a rural area, and even my rare excursions into civilization only involve small towns and cities. I think we sometimes miss the positive aspects of peer criticism working so isolated, but the area where I live has many other artists working in various media. I can also have my studio right in my home.

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The Percheron King, (c) 2012 Susan N. Sweet.
Acrylic, 36″ by 24″.

Michael: In the years when you and I both lived at the family home in Martock, we often fought like brother and sister, or cats and dogs. I think this has a lot to do with my obsessive compulsive tendencies and your “artistic” messiness, If I can express it this way. Oddly enough, we both ended up as artists, and would likely live under the same roof more easily now. Or would we?

Susan: Oh, we are much more mature now. Or at least I am! We would easily get along. I am still extremely messy though, be warned, that hasn’t changed. Come here anytime, there is lots of room to work!

Michael: I’d love to, believe me. New York City is wonderful, but it’s a very BIG kind of wonderful and sometimes I long for the quiet of the countryside. To finish up, tell me, who has influenced your work as an artist?

Susan: I admire the work of Rosa Bonheur. She could really paint a horse! Joe Fafard of Saskatchewan is fabulous. Mary Pratt of Newfoundland. Edward Hopper, David Hockney, Tom Thompson (and any of the group of seven) and Emily Carr. There are so many I admire, but in the end, I find I can only paint the way I do.

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Simone, (c) 2015 Susan N. Sweet. Acrylic, 24″ by 24″.

Susan Sweet is a painter who has spent most of her life in rural Hants County, Nova Scotia. She graduated in 1990 from the Nova Scotia College of Art and Design University with a Bachelor of Fine Arts in Fine Art, with a minor in Art History. Her work is held in many public and private collections, including the Nova Scotia Art Bank. Follow or contact via Facebook or her website.

Michael Ernest Sweet is a Canadian writer and photographer. He is also Susan’s nephew. Michael lives in New York City. Follow him on Twitter, Facebook, or through his website.

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Its A Girl! Baby Shoes With Pink Hearts: Original Oil Painting Greeting Card

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Sweet Painting Lady: Ciara McAvoy Resurrects the Art of the Movie Poster

“Art is not just a part of my life. It IS my life. It gives me breath. We are eternally entwined.” This is the mantra of Scottish artist Ciara McAvoy, a painter renowned for her stunning oil work, which the Glasgow-born artist has used to create some of the most iconic movie posters in modern times. Inspired by her French grandfather, a pre-WW II portraitist who gained fame at Montmartre, McAvoy’s interest in drawing and painting film-related subjects began after her first viewing of Star Wars as a child.

“I started drawing at eight and painted and sold my first oil, entitled Cops, when I was only twelve years old, so I guess I can say that I was born to be an artist,” McAvoy recalled in a 2014 interview with David Bateman of STV Glasgow. In an age when the artist’s brush has been replaced by the computer keyboard, McAvoy celebrates the analog artistry of old by creating all of her commissions by hand. “I’m part of a growing group of artists and collectors who believe in the future and importance of hand-drawn art as part of movie promotion,” McAvoy said.

Influenced by legendary names in the movie poster trade such as Amsel, Drew Struzan, John Alvin, the brothers Hildebrandt and Tom Jung, McAvoy works almost exclusively in oils for her movie posters. However, she has built a broad repertoire of skills in other media (acrylic, watercolor, graphite, charcoal and pastels) as well as storyboarding, animation, character design and matte painting. She studied at L’École Nationale Supérieure des Beaux-Arts de Paris, where she obtained her Diplôme Supérieur d’Art Plastique (D.S.A.P). Later, she expanded her artistic skill set to include costume design and historical fashion, which now play an integral supporting role in her posters and illustrations. She describes her modus operandi as “photorealism applied to movie posters.”

“I think a great movie poster is like the setting on a beautiful diamond ring or the package on an elaborate gift, which for potential fans is the movie itself,” McAvoy said. “A beautifully wrapped present gets people excited to open it up and see what’s inside. That’s what really great film art, in terms of movie posters, aspires to do, and should do if the artist is at their best.”

Coming off wins at the prestigious Davey Awards and the 44th Annual Creativity International Print & Packaging Design Awards, McAvoy was lauded with five awards at the 2015 Communicator Awards, held in Beverly Hills, California in April. McAvoy received recognition for her work on posters for  Star Wars: Revenge of the Sith, X-Men and Filth. She is elated to have her illustrations recognized again.

Some of the most notable films for which she has created promotional images include box office classics such as Indiana Jones and the Last Crusade, Legend, Robin Hood Prince of Thieves, Interview With The Vampire, Star Wars: The Empire Strikes Back, Sherlock Holmes, Mission Impossible, Star Wars: Revenge of the Sith, X-Men: First Class. Indie titles include Filth, starring James McAvoy (no relation), Imogen Poots and Joanne Froggatt (Downton Abbey). Recently, Ciara McAvoy was commissioned to design an alternative poster for director Paul McGuigan’s upcoming Victor Frankenstein, also starring James McAvoy and Daniel Radcliffe.

The discarded 1931 Frankenstein poster that sold for $ 358,000.

Victor Frankenstein is a masterwork I simply had to pay tribute to; Mary Shelley’s Frankenstein is one of those time-honored subjects that has not only stood the test of time but has spawned fifty-plus films — many of them great classics — since 1910. Of course, along with those classic films come the gorgeous, memorable — not to mention highly prized — movie posters. For example, an original poster from 1935’s The Bride of Frankenstein went for a record-breaking $ 262,000 at auction last year and just last month a discarded 1931 Frankenstein movie poster was sold for $ 358,500 at Heritage Auctions.

McAvoy admits that one of the major highlights of her career, was the day she was contacted by LucasFilm, who wanted to commission her work. It was all born out of a sense of frustration with where movie poster art was headed. “After movie posters had become a simple digital photo, I starting trying to improve the design and give a second life to advertising campaigns stuck in the new, uninventive, often uninspiring rut of photos,” McAvoy remembers. “Since my movie art was good, the movie theater directors started to stick my posters on their walls and I began to seriously consider a career in the movie poster industry. I sent my work to movie magazines and almost immediately got published. A few years later, Lucasfilm contacted me and ask for my portfolio. Obviously that day was rather a good one!” Some of McAvoy’s original work adorns the walls of Rick McCallum, producer of the second Star Wars Trilogy.

McAvoy also remembers how the Victor Frankenstein project came to light. “Now, there’s a great story behind this poster, too. An incredible thing happened at the start of the project; I was invited to have a look around during filming in Longross Studios, a film and television production facility near Chobham to get a feel for the movie. This never happens! I was shown sets, costumes, make-up, etc. and had some wonderful chats with the director and actors while they were shooting one night. James McAvoy even ended up showing me some picture albums of various scenes so that I would have something to work with. Honestly though, I think he felt I needed a little help since my initial composites mixed up McAvoy’s and Daniel Radcliffe’s outfits,” she says with a smile.

Ciara with actor James McAvoy, still in make-up as the titular character in the upcoming Victor Frankenstein.

To prevent security leaks, no one was granted access authorization to the movie set photos, so home I went with nothing but my cherished memories and vivid images imprinted in my mind’s eye. I’m known for my realistic detail work — usually conjured up by my imagination — but this time I had the opportunity to apply my unique style by accessing my memories of the set details. It was the critical ingredient to my Victor Frankenstein poster, the key to ‘unleashing my final creation’ and immortalizing Victor, the complex man and crazed mastermind behind the ‘monstrous figure that holds unimaginable terror for anyone in its path,’ the one we all know and love as Frankenstein.

Ciara McAvoy is currently concentrating on her next film poster project, Enemy of Man, starring Sean Bean, Rupert Grint and directed by Vincent Regan.

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Painting of Red Apples in Enamel Dish, Blank Inside Greeting Card

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Picasso Painting Sells For $179 Million, Breaking Art Auction Record

NEW YORK (AP) — A vibrant, multi-hued painting from Pablo Picasso set a world record for artwork at auction, selling for nearly $ 179.4 million on Monday night.

“Women of Algiers (Version O)” was part of a sale at Christie’s auction house that also featured Alberto Giacometti’s life-size sculpture “Pointing Man,” which was poised to set a record as the most expensive sculpture sold at auction. They were among two dozen masterpieces from the 20th century Christie’s offered in a curated sale titled “Looking Forward to the Past.”

The Picasso price, $ 179,365,000, included the auction house’s premium. The identity of the buyer wasn’t immediately disclosed.

Experts say high art prices are driven by artworks’ investment value and by wealthy new and established collectors seeking out the very best works.

“I don’t really see an end to it, unless interest rates drop sharply, which I don’t see happening in the near future,” Manhattan dealer Richard Feigen said.

Impressionist and modern artworks continue to corner the market because “they are beautiful, accessible and a proven value,” added Sarah Lichtman, professor of design history and curatorial studies at The New School.

“I think we will continue to see the financiers seeking these works out as they would a blue chip company that pays reliable dividends for years to come,” she said.

“Women of Algiers,” once owned by the American collectors Victor and Sally Ganz, was inspired by Picasso’s fascination with the 19th-century French artist Eugene Delacroix. It is part of a 15-work series Picasso created in 1954-55 designated with the letters A through O. It has appeared in several major museum retrospectives of the artist.

The most expensive artwork sold at auction had been Francis Bacon’s “Three Studies of Lucian Freud,” which Christie’s sold for $ 142.4 million in 2013.

“Pointing Man,” depicting a skinny 5-foot-high bronze figure with extended arms, has been in the same private collection for 45 years. Giacometti, who died in 1966, made six casts of the work; four are in museums, and the others are in private hands and a foundation collection.

His “Walking Man I” holds the auction record for a sculpture. It sold for $ 104.3 million in 2010.

Among other highlights at Christie’s was Peter Doig’s “Swamped,” a 1990 painting of a canoe in a moonlit lagoon, which could set a record for the British artist. It was estimated to fetch around $ 20 million. The current record is $ 18 million.

Monet’s “The Houses of Parliament, At Sunset,” a lush painting of rich blues and magenta created in 1900-01, was estimated to bring $ 35 million to $ 45 million. The Monet auction record is his 1919 “Water Lily Pond,” which sold for $ 80.5 million in 2008.

Christie’s also had a Mark Rothko for sale. “No. 36 (Black Stripe),” which had never appeared at auction, was estimated to sell for $ 30 million to $ 50 million. The 1958 work was being sold by the German collector Frieder Burda, who exhibited it in his museum in Baden-Baden for several years.

Last year, Christie’s said its global sales of impressionist and modern art were $ 1.2 billion, an increase of 19 percent over the previous year.

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Kids Cheap Cute Intelligence Learning Painting Toys

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Painting in the Light of Chania, Crete

For the past four years I have been working on watercolor/gouaches on paper during summer/fall visits to Chania, on the island of Crete where I was born. The light there is vivid, warm and intense, which influences my work. I paint in one location during different times of day. The light is magical, gentle, soft yet also unrelenting and persistent.

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Margaret Tsirantonakis, Mid-day Still-Life II, Chania 2014, watercolor and gouache on paper, 5 x 5″

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Margaret Tsirantonakis, Morning Sea View I, Chania, 2014, watercolor and gouache on paper, 8 x 8″

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Margaret Tsirantonakis, Orange with Shadows I, 2013, watercolor and gouache on paper, 6 x 6″

MtSiran.com
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Must See Painting Shows: March 2014

So I got a little carried away this month. There are so many strong shows around the country that this month’s must see list contains twenty-eight exhibtitons, and I could have easily added more.

It is a big week in the New York art world as multiple art fairs come to town, including The Armory Show, VOLTA and The ADAA Art Show, and the 2014 installment of the Whitney Biennial opens. Art dealers know an opportunity when they see one, so don’t be surprised to see a number of Biennial artists well represented in the various art fairs. I want to congratulate two New American Paintings’ alumni, past cover artist Keith Mayerson and Chicago-based Molly Zuckerman-Hartung, on their inclusion in this very painter friendly Biennial. Both are also currently featured in commercial gallery shows at Derek Eller Gallery in New York City and Corbett vs. Dempsey In Chicago, respectively.

There are close to three-dozen NAP alumni on view around the country. In Los Angeles, Ben Weiner continues to impress with his painterly chops. His just opened show at Mark Moore Gallery includes stunning examples of his large-scale photorealist/abstract images, as well as a new series of small-scale works made with some interesting materials. Right nearby in Culver City are Brian Porray’s show at Western Project, and a soon-to-open solo of work by 2013 MFA Annual artist and Yale grad, Evan Nesbit. Four extremely talented LA-based NAP alumni are currently having solo shows in New York City, including Lisa Sanditz at CRG Gallery, Iva Gueorguieva at Ameringer|McEnery|Yohe, Sarah Cain at Galerie Lelong, and the young and already in demand Brenna Youngblood at Tilton Gallery (Youngblood will be the focus of an exhibition at the Contemporary Art Museum St. Louis later this year).

Some months seem to favor mid-career and established artists, but emerging talent is on view everywhere in March. In Chicago, William J. O’Brien, who works in a range of media – from ceramics to painting – opens a show of new work at Shane Campbell Gallery (the artist is currently having his first comprehensive museum survey at the Museum of Contemporary Art, Chicago). In San Francisco, Altman Sigel is presenting the delicate paintings of the Japanese artist, Shinpei Kusanagi. In Minneapolis, the young and on-the-move David Petersen Gallery is exhibiting new paintings by hometown emerging artist, Scott Nedrelow.

I don’t even know where to begin with New York City. Shows by emerging artists that I am excited about include: Ethan Cook at American Contemporary, Jordan Kantor at Churner and Churner, Mika Tajima at Eleven Rivington, Gabriel Hartley at Foxy Production, Liam Everett at On Stellar Rays, Donelle Woolford at Wallspace, and Ned Vena at Real Fine Arts in Brooklyn. One of our favorites at NAP, Summer Wheat, opens a show at the Lower East Side space, Pocket Utopia, on March 16th, and will also be the focus of a solo booth presentation with Samson at the Nada New York art fair in May.

Please visit the New American Paintings/BLOG for a more comprehensive list of must-see painting shows in March.

New American Paintings magazine is a juried exhibition-in-print, and the largest series of artist competitions in the United States. Working with experienced curators, New American Paintings reviews the work of thousands of emerging artists each year. Forty artists are selected to appear in each bi-monthly edition, many of whom go on to receive substantial critical and commercial success. Additional content focuses on the medium of painting, those who influence its direction, and the role contemporary painting plays within the art world. Visit New American Paintings for more information or to subscribe.
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Francis Bacon Painting Sets Auction Record

NEW YORK (AP) — A 1969 painting by Francis Bacon has sold for over $ 142 million in New York, a record for most expensive artwork ever sold at auction.

“Three Studies of Lucian Freud” was sold at Christie’s postwar and contemporary art sale on Tuesday night. The work depicts Bacon’s artist friend. The price tops the nearly $ 120 million paid for Edvard Munch’s “The Scream,” which set a world record when it was sold at a Sotheby’s 2012.
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Watch Artist Michael David Set His Painting on Fire (VIDEO)

New York artist Michael David pioneered his edgy encaustic painting technique in the 1970s when he was an enfant terrible of the downtown art scene and bass player with seminal punk rockers including members of the Dead Boys, Ramones, New York Dolls and Plasmatics. Three decades later, he’s still using hot wax (and found objects) to create powerfully physical paintings that explore spiritual metaphors.

“I discovered encaustic (the ancient Egyptian method incorporating pigment mixed with hot wax) in 1975 when I was at Parsons,” David says. “I loved the immediacy of the process, the physicality, and how I was able to embed objects and create narrative in abstraction. I felt it was a perfect actualization of myself through painting.”

Although gases released in the process with which David has experimented over the years have caused neuropathy in his legs, he continues to push his technique to the limits, as evidenced in his latest painting, “Cluster of Blessings.” The 300-pound work includes barbed wire, foliage, and even shreds of his work clothes. To create its rough-hewn, apocalyptic layers, David took the painting to a remote field and set it on fire.


“The painting was created over a period of six years. I wanted to do something as dramatic and violent as nature itself,” he says.

The title, ‘Cluster of Blessings’ is a Buddhist term for the Gohonzon, a mandala people chant to in order to attain enlightenment. It contains all states of life, from complete happiness to abject suffering. I am moved by that, and wanted to represent that in the painting. I felt that burning was a natural process to unify the painting’s multiple layers and immense size and echo the narrative of this work.

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“Cluster of Blessings” by Michael David. Photo by Mike Jensen. Courtesy of Bill Lowe Gallery.

In 1983, David was the youngest recipient of a Guggenheim Fellowship. He first exhibited at New York’s historic Sidney Janis Gallery in 1981 and M. Knoedler represented him for 20 years. His work is included in the permanent public collections of the Metropolitan Museum of Art, the Guggenheim Museum and the Jewish Museum in New York, among others. David currently runs Life on Mars Gallery in the Bushwick arts district of Brooklyn, New York. He also lives part-time in Atlanta, Georgia, where he teaches and mentors artists in his Fine Arts Workshop and Fine Arts Atelier.

One of the Atelier’s breakout painters, Karen Schwartz, says of David: “Michael is all about having NO FEAR. Go for it! The other principles he preaches — integrity and freedom, come from the ‘no fear, kill the cat’ approach to making art. Also remarkable about Michael is that he tells you to go with who you are. If you are messy and imprecise, then, go with that and don’t try to control what’s natural for you. ‘Own it’, and make it a strength of your work.”

Michael David’s upcoming one-man show at Atlanta’s Bill Lowe Gallery opens on November 15th.

For more information about Michael David, click here.
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