Author: ultrawolvesunderthefullmoon

https://www.instagram.com/wolvesofgray This blog is a refugee and a survivor of the Great Tumblr Inquisition of December 17th, 2018. I am gay artist, who received training at the Rhode Island School of Design, and now, a retired high-end fine art framer living in Maryland, USA. My interests and studies in life run a wide gamut from art to history and from the scientific to the esoteric. I have been building this blog of images and texts for the last eight years. My wish is that my posts pique the interest of viewers and encourage them to experience more.

Herman Melville: “A Mystical Treatise on the Art of Attaining Truth”

Collection:  Guys with Tattoos

“And this tattooing, had been the work of a departed prophet and seer of his island, who, by those hieroglyphic marks, had written out on his body a complete theory of the heavens and the earth, and a mystical treatise on the art of attaining truth; so that Queequeg in his own proper person was a riddle to unfold; a wondrous work in one volume; but whose mysteries not even himself could read, though his own live heart beat against them; and these mysteries were therefore destined in the end to moulder away with the living parchment whereon they were inscribed, and so be unsolved to the last.” 

—Herman Melville, Moby Dick or, The Whale

 

Charles Seliger

Charles Seliger, “Earthscape”, 2000, Ink and Acrylic Gel and Oil on Pressed Board

Charles Seliger was an American abstract expressionist painter. He was born in Manhattan June 3, 1926, and he died on 1 October 2009, in Westchester County, New York. Seliger was one of the original generation of Abstract expressionist painters connected with the New York School

Seliger began his career in 1945 as one of the youngest artists to exhibit at The Art of This Century Gallery, and as the youngest artist associated with the Abstract expressionist movement. The Art of This Century gallery was opened in New York City during World War II in 1942 by Peggy Guggenheim who was then married to the surrealist painter Max Ernst. In 1943, Seliger met and befriended Jimmy Ernst the son of Max Ernst, and who at the age of 23 years was just a few years older than Seliger.

Seliger was drawn into the circle of the avant-garde through his friendship with Ernst. His paintings attracted the attention of Howard Putzel who worked with Peggy Guggenheim. At 19, Seliger was included in Putzel’s groundbreaking exhibition ‘A Problem for Critics’ at the 67 Gallery. .Also in 1945 he had his first solo show at the Art of This Century Gallery. Seliger showed his paintings there until 1947 when Guggenheim closed the gallery and returned to Europe. At 20 the Museum of Modern Art acquired his painting “Natural History: Form within Rock” for their permanent collection.

Carl Warner

Carl Warner, “Sweaterland”

Carl Warner blends photography and art to make highly conceptual visual images. Based in London, Warner’s 25-year career spans still life and advertising photography. He is best known for his intricate food landscapes.

“It’s hard to know if something is really good until it still excites you as an image several months after it has been created. I usually get very excited about an image once I have shot and put it together on the computer screen. Several days, weeks, or months later, it then becomes apparent if the image is really any good or not, because not only do I feel the same way about it, but other people appear to share the same feeling.” – Carl Warner

Kilian Schonberger

Four Photographs by Kilian Schonberger

Kilian Schönberger’s work boasts captivating clarity and depth, serving to distinguish it from the masses of landscape photography. The range of color and tone found in his images is made all the more impressive by the fact that Schönberger is colorblind. Focusing on texture and pattern instead of color, Schönberger creates brightly contrasted, beautiful images.

Schönberger labels himself as both a photographer and a geographer, and describes himself as aspiring always “to cut my path as a photographer with my own creative perspective-despite being colorblind.” Schönberger adds, “I recognized that I could turn this so-called disadvantage into a strength…while getting a picture of a chaotic forest scene, I can’t clearly distinguish the different green and brown tones. Brushing aside this ‘handicap’ I don’t care about those tones and just concentrate on the patterns of wood to achieve an impressive image structure.”