Tag: oil on canvas

Mark Francis

Four Oil Paintings by Mark Francis

Mark Francis is a Northern Irish painter known for his alla prima technique of blurring tones and forms to make photographic effects of glowing light. Like Gerhard Richter’s paintings of aerial photographs or  Ross Bleckner’s depictions of infected cells, Francis’ work focuses on the abstract nature of microscopic images, including those of sperm, fungus, and astronomical formations.Through this imagery, Francis aims to explore ways in which science is impacted by mapping, order, and randomness.

Born in 1962 in Newtonards, Northern Ireland, Mark Francis studied at St. Martins School of Art in London before receiving his MA from the Chelsea School of Art in 1986. While studying in London, Francis associated with the Young British Artists, a movement which also includes Tracy Emin and Damien Hirst. He received critical attention from his retrospective “Elements” at the Milton Keynes Gallery in 2000. His work is held in the collections of the Tate Gallery in London, the Manchester City Gallery, the Dublin City Gallery, and the de Young Museum in San Francisco, among others. Francis lives and works in London, United Kingdom.

Images in Top Row: “Shutdown”; “White Light”

Images in Bottom Row: “Continuum”; “Growth”

Paul Woods

Paul Woods, “Gallipoli”, Oil on Canvas, 2015

Paul Woods is an Irish artist who graduated from Limerick School of Art and Design with a BA Honours Degree in fine art painting. He has exhibited in Ireland, America and Poland. His artwork up to date is a visual compendium and evaluation of the tragedy of life lost in warfare. Woods  paints about personal, collective and universal histories.

Paul Woods’s work is about the past and memory, and war –or, to use Wilfred Owen’s phrase, “the pity of war” –a theme to which he continually returns. Often on a large scale, his artworks combine painting and photographic techniques to produce multi-layered images. Through his work, Woods intends to stimulate a dialogue on the role of art in the process of familiarizing and contextualizing history and its cyclical nature.

Paul Woods has traveled and researched extensively on the subject matter of war and conflict, from battlefields in Europe, Asia and North America, Auschwitz in Poland to the Kwai River in Thailand

Ross Trebilcock

Ross Trebilcock, “The Paradise Ferry-Man’s Toll”, Oil on Canvas

Ross Trebilcock uses a wide range of mediums: his work ranges from Painting to Print-making, Sculpture and Mosaic. He is co-founder and builder of the Arts community, Wolfgang’s Palace, which has been active for over 33 years. Based on art as an expression of philosophy and mythology, Wolfgang’s Palace functions as a creative hub for many artists, musicians and thespians both locally and globally, serving as a unique venue to facilitate their imaginings. Wolfgang’s Palace is alive and well; they can be found online and at Facebook.

Julius Kronberg

Julius Kronberg, “David och Saul”, 1885, Oil on Canvas, 298 x 220 cm, National Museum of Fine Arts, Stockholm, Sweden

Julius Kronberg received education at the Royal Swedish Academy of Arts in Stockholm in the 1860s. A travel scholarship brought him to Paris via Düsseldorf and Copenhagen. He is associated with the Düsseldorf school of painting.

Kronberg stayed in München where he continued studying before settling in Rome in 1877. He was a professor at the Royal Swedish Academy of Arts between 1895-1898.

Bartolomeo Manfredi

Bartolomeo Manfredi, “Cupid Chastised”, 1607-1610, Oil on Canvas, 175 x 130 cm, The Arr Institute of  Chicago

Manfredi’s “Cupid Chastised” first appearred in art-literature in 1937, when it was published as a newly found work by Caravaggio. There is no date, signature, or inscription on the painted to indicate otherwise. The great Caravaggio expert had already recognized and published it as by Manfredi, when it was acquired in 1947 for the Chicago Art Institute as a Caravaggio.

“Cupid Chastised” was included in the epochal 1951 Caravaggio exhibition in Milan with an attribution to the “School of Caravaggio”. Soon after acquiring the painting, The Chicago Art Institute relabeled it with its current attribution to Manfredi. However, as recently as 1972, it was suggested that it is instead by an unknown Nordic follower of Carravaggio.

Following the example of Caravaggio, Bartolomeo Manfredi chose to depict ordinary individuals in his scenes from the Bible and Greek and Roman mythology. Caravaggio had demonstrated to Manfredi and an entire generation of European artists that such lofty themes could be transformed into events experienced by ordinary people. Employing dramatic lighting and locating the action directly before the viewer, these artists were able to endow their narratives with great immediacy and power.

The depiction of Cupid’s chastisement shows a moment of high drama: Mars, the god of war, beats Cupid for having caused his affair with Venus, the goddess of love, which exposed him to the derision and outrage of the other gods. Venus implores him in vain to desist. Surrounded by darkness, the three figures are boldly illuminated from the left, intensifying the dynamism and impact of the composition.

The sheer physicality of the figures — the crouching Venus, whose broadly realized face strays from the classical ideal; the powerful Mars, whose musculature and brilliant red drapery seem to pulsate with fury; and Cupid, whose naked flesh and recumbent position render him particularly vulnerable—conveys the violent discord of the scene. On one level a tale of domestic disturbance, the story also symbolizes the eternal conflict between love and war.

 

 

Solomon J Solomon

Solomon J Solomon, “Samson” 1887, Oil on Canvas, 3658 x 2438 cm

Solomon J Solomon was born in London and lived there initially. He studied at the Royal Academy Schools, at the Heatherley School of Art, and later in Munich and Paris in the early 1880s with other British art students. From their French training they acquired academic skills in representing the nude – even when contorted in difficult poses – and in organising complicated, multi-figure compositions.A very few of them, notably Solomon, also gained a taste for the sensational and violent scenes then popular in the major Parisian exhibitions.

“Samson” was painted when Solomon was only 27 years old, in his new studio in London’s Holland Park. At that time he was starting to gain a reputation, especially as a portrait painter. Millais visited the artist in his studio whilst Solomon was painting “Samson’” and was surprised that such a large picture could be painted in a small studio. This painting caused a stir when exhibited at the Royal Academy and became Solomon’s best known painting.

Franz Von Stuck

Franz Von Stuck, “Narcissus”, 1926, Oil on Canvas, 64.3 x 59.8 cm, Private Collection

Franz Von Stuck was am influential German Symbolist  and Art Nouveau painter, sculptor, engraver, and architect born at Tettenweis near Griesbach in Lower Bavaria, Germany. He was noted for his treatment of erotic and comic aspects of mythological themes.

As a child Von Stuck quickly became a gifted caricaturist. From 1878 to 1881 he attended the Kunstgewerbeschule in Munich, where he received particular encouragement from German Sculptor and painter Ferdinand Barth.

Von Stuck attended the Munich School for the Applied Arts after secondary school, transferring in 1881 to the “Königliche Akademie der bildenden Künste” (Royal Academy for the Fine Arts). The drawings he did for the portfolio ‘Allegorien und Embleme’ (‘Allegories and Emblems’), published by Gerlach and Schenk in Vienna, made his reputation as an outstanding draughtsman as early as 1882.

The many other prizes and honours awarded to Franz Von Stuck included the Ritterkreuz des Verdienstordens der Bayerischen Krone (Cross of Knighthood in the Order of Merit of the Bavarian Crown), a distinction coupled with elevation to knighthood. In the last phase of his work, Von Stuck concentrated primarily on sculpture.

The recipient of so many distinctions and an honorary member of numerous European academies, Franz Von Stuck died in Munich of 1928. He was buried at the Waldfriedhof in Munich and his wife Mary rests beside him. His villa at the Prinzregentenstrasse in Munich is now a art museum.

Christopher Sousa

Oil Paintings by Christopher Sousa

Christopher Sousa was born in Fall River, MA and has lived and worked in Provincetown, MA since 2003. His portraits and figures explore themes of isolation, alienation, longing and desire. He counts Lucien Freud, Jenny Saville, Paul Cadmus and Euan Uglow among his influences. Sousa has studied with Larry Collins and Donald Beal.

Sousa is represented by AMP in Provincetown and the Woodman/Shimko Gallery in Palm Springs, CA. He has exhibited in solo and group exhibitions at the Provincetown Art Association & Museum, A Gallery, and Larry Collins Fine Art in Provincetown, MA, The Leslie-Lohman Museum in New York, NY, The URI Feinstein Providence Campus Gallery in Providence, RI, and Reynolds Fine Art in New Haven, CT.

“My painting has always been about the face and/or figure, but most often depicting the male. My inspiration comes from people I see or meet, and a desire to investigate and document the complexities of their distinctiveness.

Recently I’ve become interested in exploring the male portrait beyond the conventional perceptions of masculinity. Eschewing elements of “manly” coarseness and clichéd machismo, I’m attempting instead to depict a softness and beauty traditionally associated with portraiture of the female.”

-Christopher Sousa

Claudio Bindella

Claudio Bindella:  Oil Paintings

Claudio Bindella, born in Sesto San Giovanni, lives and works in Milan. Although he received art instruction and studied art criticism and art history, he considers himself to be mostly self-taught. Initially influenced by the great Venetiian painters — Tiziano, Veronese, Tintoretto, Tiepolo — Bindelia’s style evolved and grew, always with a strong emphasis on glorious color and the male figure.

Anton Kolig

Figurative Paintings by Anton Kolig

Anton Kolig, an important artist in Austria during the 1900s, spent considerable time with Sebastian Isepp, Franz Wiegele and Anton Mahringer in Nötsch in Carinthia. They formed an Austrian artistic movement within the first half of the 20th century called the “Nötscher Kreis (Circle of Nötsch)”. This movement with its strong Expressionist style decisively shaped the artwork in Austria .

Anton Kolig did many male nudes as well as still lifes and portraits. He preferred monumental paintings and admired Michelangelo, Hans von Marées and Lovis Corinth. Some of his paintings are reflections of his personal religious sense.

During a bombardment in in 1944 two-thirds of his works were destroyed. Anton Kolig is represented in the Austrian Gallery Belvedere, in the Military History Museum and in the Leopold Collection as well as in the Collection Essl and in the Art Gallery of Carinthia.