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Henri de Toulouse Lautrec
PORTRAIT OF VINCENT VAN GOGH

 

If you browse other Online Fine Art Gallery's, you quickly get an idea of the vastness of this space. An endless array of Fine Art in Fine Art Gallery's across the globe. Some of it is terrific, while a lot of it is simply sub par. However, that's just an opinion, and a diversity of views is what makes this world an interesting and exciting place.

 

Our Online Fine Art Gallery has committed itself to displaying a diverse group of Fine Artists and their Art Work, in a variety of different formats. Fine Art Reproductions and Reproduction Paintings explores a technique of achieving extremely accurate reproduction paintings of many famous paintings that can only be found in museums and semi public Fine Art Gallery's.

However, we offer a variety of different types and styles of Reproduction Art to suit every taste and pocketbook. Look around and click on the various links, you will surely find the item that most suits your budget and requirements

In our Online Fine Art Gallery, we also have room for many interesting opinions. Having said that, for your consideration, we present a couple of articles by Tim Seaward, a fine Artist in his own right, with a Fine Art Gallery of his own.

The Future Of Art - Investment Ideas
By: Tim Seaward

In order to look into the future we need only to look into the recent past.

It is not only helpful to look at different trends as well, but I believe we will find that certain fashions have had varying degrees of mutual influence upon artistic endeavours.

Current art trends are mirroring the apparent confusion found in the fashion industry. 60's hippie gear (itself a mixture of classical medieval and pop) can be seen with 80's punk; experiments with pop and new wave continue; and cartoon wear taken directly off the pages of anime imagery is finding an affinity with hip-hop and black gangster rap. Alongside this I see a fantastic mixture of some or all of cartoon, naive, pop art, abstract expressionism, and surrealism, which I believe has been coldly labelled neo-expressionism.

This observation amazes me ... it is so similar to the abundant fashion and art at the end of the nineteenth century. What is more incredible is that out of that chaotic time came the first momentous in-roads into the drama of avante garde art, and the yet to be dominant power of the modern art movement.

And I think history is about to repeat itself.

Just look at the commercial world where "instant" recreation is fast becoming the most successful entity in that it pervades almost everything ... everywhere. Television has introduced a specific modern basic attitude towards art and living, but now it is fast being replaced (or I should say - consumed) by the very latest technological breakthrough ... the computer - hooked into the world wide web. Here is the new world ... and a fundamentally unexplored world too. Here art can be produced one end of the world ... and be seen at the other end in a matter of seconds. Everyone is invited to add their own personal art ... no matter where they have come from, or what lack of teaching they might have had. There is a kind of "free-for-all" attitude beginning to grow, and with it a beautiful artistic innocence is very slowly flowering from every culture, every community, every body.

We are blessed in being right in the middle of another chaotic period which is a kind of vast cauldron - every kind of entertainment or activity is being poured into it. And very soon the mixture will be just perfect for the next avante garde generation of artists to join together - not in a Paris cafe but in a cyber cafe, and it will be from there that true, strong, innovative art will begin to seep into the worlds conciousness. But what sort of art will it be?

For that answer I believe we have to look at what is happening now - on the internet. We need to look very carefully at those extremely fragile shoots ... such as the gaming environment, the online caricatures and their naive graffiti styles, plus those intimate personal blogs absolutely brimming with virgin creativity, and not forgetting the ever handy mobile phone with instant photographic and movie ability. It will be in these places that the next art movement will gently evolve.

So, if you are looking for investing in art for the future, I believe you should start your investigation now into the many visual interpretations found on the net, and you will find ... eventually, that the internet will heavily influence the new covenants of tomorrows fine art. Its power and strength will establish a completely innovative art that will portray a tantilizing contradiction - a movement, anonymous and yet extremely personal.

Tim Seaward is the author of "The Future of Art - Investment Ideas". He is also a practicing fine artist living and working in the UK. Visit his site to find out exactly what he paints. www.ablot.com or mailto:tim@ablot.com

Article Source: http://www.ArticleSphere.com

 

 

Fine Art Gallery News:

North East Watercolor Society 32nd Annual International Exhibition - Kent Connecticut
Approx $8500 in cash and merchandise. Deadline: July 27 2008

Pennsylvania Watercolor Society's 29th International Juried Exhibition - West Chester PA
Over $5000 in cash awards. Deadline: July 28 2008

Richeson 75: Landscape Seascape and Architectural Competition - Kimberly Wisconsin
$3000 cash Best in Show; Total prizes: $7500. Deadline: July 30 2008

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How To Produce An Abstract Image - Part 1
By: Tim Seaward

Perhaps the title would be better as the question I have so often heard: "How can I produce an abstract image?"

Within the next few articles I intend to lead you into those dark secret places filled with wonderful tantilizing enigmas, where we will find all the passionate inspiration and the great variety of techniques required for you to be able to produce an astounding work of art worthy of Howard Hodgkin or Mark Rothko (do not worry if you do not know who they are ... you will meet them sometime soon).

So ... how do you do it?

I need to ask you a slightly different question in order for us to move forward upon this slippery creative path.

Why?

Why do you want to produce an abstract?

... here is a list of answers which I would like you to read and then decide which, if any, loosely fit your reason for wanting to do it:

1. No reason ... I just want to.
2. It looks so easy ... and it would be nice for something to go with the decor.
3. In order to make money ... lots of it!
4. I feel compelled to ... like I really need to.
5. I have visions; dreams; day dreams; thoughts; I hear voices; I am being told to by an inner something ... and these need to be brought into the material world.
6. Therapy ... this is an opportunity for venting my aggression; bolstering my lack of self confidence; visualising my inner turmoil.
7. I want to express myself ... in a strictly personal way.

This is by no means a complete list ... you may well have completely different reasons, but this is a start.

So ... which one did you tick?

Lets have a look at them in a bit more detail:

1. This is the answer of the anarchist. A very valid reason for wanting to work abstractly ... you already have within you an angry boiling cauldron, and the potential to produce truly opposing and dramatically random works. However, this requires brut strength of will, and the blinding power of obstinancy for it to work for you.

2. One of the most common misconceptions. It is NOT easy to produce an abstract work ... it IS easy to produce a mess! This will only lead to frustration, depression, and bitterness ...then you will be an a far better position to produce something like a true abstract work.

3. There are literally millions of people producing the most amazing pieces ... and none of them are rich, famous ... even earning any money at all. I stand by my belief that what I paint is not about money - it can never be. Try again.

4. An interesting answer ... the driven series worker attitude. Dangerous yet compelling. You are destined to succeed ... but success will have no meaning or interest for you and will not help you. Yet the compulsion will take you deep into darkness (not scarey darkness but mysterious darkness) where you will find more questions.

5. The surrealist. Abstraction will not be too difficult for you ... as long as you relax a little. Do not allow the explicitness of sights blind you to the potential, and more appropriate imagery, of the arbitrary joining of coincidences.

6. Here is the answer for the purist abstract producer. Inner tensions, inexplicable fears, and blinding mental flashes all contribute to a truly innovative palette.

7. The fearless explorer ... well, that is what you will expect of yourself, but you had better tread carefully. Are you prepared to hear people telling you how much they hate your work ... so much so that they want to destroy it? ... even then are you still willing to carry on?

How do you feel? Still want to carry on and produce that masterpiece? Yes? Then here is some practical work until the next article.

Get a sketchbook, ensure you make at least one mark of some kind on one page every day. Go to galleries (online ones aswell), take your sketchbook to make any observationss or scribbles. If you are a little hesitant about mark making then here is a very useful exercise:

Get an A4 sheet of paper and a pencil; find a watch, clock or timer that measures seconds, Set the timer for 15 seconds, place the paper and pencil on a table, making sure the table is clear of any objects other than the paper, pencil, and timer ... have a chair ready to sit on at the table.

Reach out for a nearby object that you can place upon the table ... it can be anything from a mobile phone to a magazine ... and, without thinking simply place it onto the table - sit down, start the timer ... and look at the object for five seconds (DO NOT ATTEMPT TO DRAW IT). Consider shape, texture, space, highlights, lowlights, tone, tints - pay special attention to the outline of the object. Once five seconds is up start drawing ... you have ten seconds to to try to capture what you have just been looking at.

Lets face it ... you are not going to produce a masterpiece! So do not even try. I want you to simply capture the dynamics of what you see ... no more.

Repeat that six times. Each time try to slow down and draw a purposeful line - no hesitant scratches. Why draw twenty little marks when you can draw one big one.

Tim Seaward is the author of "How to produce an abstract image - Part 1". He is also a practicing fine artist living and working in the UK. Visit his site to find out exactly what he paints. www.ablot.com or mailto:tim@ablot.com

Article Source: http://www.ArticleSphere.com

 

Quote of the day:

Margaret Thatcher
"In politics if you want anything said ask a man; if you want anything done ask a woman."

 

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