Deither Kressel, (Düsseldorf 1925-), self portrait,
c. 1973, color etching, 9" x 12" on laid paper.
Ground Roof, White Water, California. 1974. Canon FTb with a 28mm lens. High-contrast photography utilizing lithographic film. The subject is a gas station island roof that had been blown over by high desert winds.
Triple Cross. This hanging cross was a found arrangement in an abandoned shack located in what was a rural area in the north hills of Yorba Linda, Ca. Harsh summer light illuminated the interior from a broken window on the left. The lighting of the corners are the same at a diagonal and adds a sense of balance to the composition. This structure was torn down to make room for an apartment complex which is already 35 years old. Canon FTb with a 28mm lens. f11@1/60. Kodak Panatomic-X film at ISO 32.
Oil Tanks, This night time shot utilizes Kodak 2475 Recording Film and Solarization. Creating an image with a fast film speed and briefly exposing the print to room light during development created an image with a charcoal drawing-like character. The tonality of the film grain and solarization extracted fine details that were initially invisible to the eye. Illumination was from mercury-vapor security lighting on the right. The reflections and shadows on the tanks create a delicate conte drawing appearance. Taken at the Union Oil Refinery in Brea, California in 1974. Canon FTb and a 200mm lens.
Warehouse, Fullerton, Ca. Kodak 2475 recording film and solarization in the darkroom. The water stains running from the window ledge were completely invisible to the eye. Solarization gave this photograph a pleasant charcoal drawing character. Canon FTb with a 200mm lens. 1975.
Melrose Abby Cemetery Entrance, Anaheim, Ca. Kodak 2475 Recording Film. Canon FTb with a 200mm lens. 1975.
Melrose Abby Cemetery Exterior, Anaheim, Ca. Kodak 2475 Recording Film. Canon FTb with a 200mm lens. 1975.
Melrose Abby Cemetery Chapel Window. Anaheim, Ca. Interior shot of a stained-glass window positioned over the alter of the chapel. Kodak lithographic film. Canon FTb with a 200mm lens. 1975.
Wood and Sand. Texture study taken with lithographic film at White Water, California in 1974. White Water is located a few minutes from Palm Springs and served as a secure telephone relay station during WWII. Once an active little town, it now homes a sizable rock quarry and a trout farm. Canon FTb and a 50mm lens.
Overhead Crane. Taken while standing underneath a crane in a rock quarry at White Water, California, with lithographic film. When solarized in the darkroom, the developer created random wisps of moody clouds over the tops of the San Jacinto Mountains and a 3-dimensional effect on the crane. Canon FTb with a 28mm lens. 1974.
David Padworny, Untitled hh23, 7-1/4" x 6-1/2", pen and ink drawing on paper.
David Padworny was born in Norristown, Pennsylvania. He studied at the Maryland Institute College of Art in Baltimore. He received a BFA from the Maryland Institute College of Art. David currently lives and works as an Artist in Baltimore, Maryland.He also notes the following under his early studies:
Mike Adams. From kindergarten through second grade, I would watch him paint children's book illustrations of characters from some of my favorite TV shows, like Fraggle Rock. He would give me large sketchbooks so I could draw on the floor while he worked. I remember how much I liked his lifestyle of working at home on illustrations and cartoons all day, especially in contrast to my father, who worked very hard at a more typical 9-5 job.
Around the time I was in fourth grade, my family moved, and I began modeling for and studying under another neighbor, Sidney Quinn. He purchased supplies for me, introduced me to classes, and (harshly) critiqued my work for years on a regular basis. When I was about ten, I showed him my first large watercolor and counted as he pointed out 27 things wrong! (illustration that I modeled for in Highlights magazine)
Freshman and sophomore years of high school. I began meeting with and receiving critiques from Edson Campos and Chas Rowe.
During my junior year, I was introduced to Barbara Bassett, who was a tremendous influence from that point forth. Her teaching method was derived from Kimon Nicolaides of the Art Students' League of New York and supplemented with the study of art history.
Although I went to her Winter Park studio for lessons a few times a week for years, she would never show me a single one of her paintings, despite my abundant requests. She was a great teacher, I miss her.Also included on his site are links to his online gallery, a mailing list and contact information. How much more information about an artist could you ask for?
While in college at MICA, I studied under Timothy App and Raul Middlemen, who both proved to be major influences.
Salvator Rosa, (Naples and Rome 1615-1673), Two Warriors (1656-1657), etching with drypoint, 5 1/2″ x 3 3/4″, on medium laid paper, margins as shown, third state of three (with Rosa’s rework of the left foot of the seated soldier), a relatively early 17th century impression, the drypoint still strong and bold [Wallace 44].
“Salvator Rosa was an Italian Baroque painter and etcher of the Neapolitan school remembered for his wildly romantic or “sublime” landscapes, marine paintings, and battle pictures. He was also an accomplished poet, satirist, actor, and musician. Rosa studied painting in Naples, coming under the influence of the Spanish painter and engraver José de Ribera. Rosa went to Rome in 1635 to study, but he soon contracted malaria. He returned to Naples, where he painted numerous battle and marine pictures and developed his peculiar style of landscape – picturesquely wild scenes of nature with shepherds, seamen, soldiers, or bandits – the whole infused with a romantic poetic quality.This work, the aforementioned Rembrandt restrikes, and just a few others make-up the antique print category in my collection. The Rembrandt etchings again portray humanity as sensitive and as real as he must have felt and lived then, and they are a superb reference, but the lifetime Rosa etching has the additional aesthetic of having come directly from the artist’s hand which adds that much more to enjoy. And that’s saying a lot.
His reputation as a painter preceded his return to Rome in 1639. Already famous as an artist, he also became a popular comic actor. During the Carnival of 1639 he rashly satirized the famous architect and sculptor Gian Lorenzo Bernini, thereby making a powerful enemy. For some years thereafter the environment of Florence was more comfortable for him than that of Rome. In Florence he enjoyed the patronage of Cardinal Giovanni Carlo de’ Medici. Rosa’s own house became the center of a literary, musical, and artistic circle called the Accademia dei Percossi; here also Rosa’s flamboyant personality found expression in acting. In 1649 he returned and finally settled in Rome. Rosa, who had regarded his landscapes more as recreation than as serious art, now turned largely to religious and historical painting. In 1660 he began etching and completed a number of successful prints. His satires were posthumously published in 1710.”
Raymond Sipos, (Michigan and California 1939 – ), Sheltered Cove (1989), Acrylic on Plexiglas, 20″ x 30″
Raymond Sipos, (Michigan and California 1939 – ), California Desert (1989), Acrylic on Plexiglas, 20″ x 30″.
“Ray Sipos, who is descended from a family of Hungarian musicians and artists, began his formal art career in a most unusual way, working as a mechanic and engineer at Cal Tech’s world-renowned Jet Propulsion laboratory in Pasadena, California. Participating in an employee art show, he exhibited his paintings and sold out! With such encouragement, although he had just begun his career in engineering, he opted to develop his artistic talents instead. Such a mix of science and art was nothing new in Sipos’ life. He was born in Detroit, Michigan in 1939 and as a teenager, moved to Southern California where he attended California Polytechnic State College. While earning an engineering degree, he couldn’t resist also enrolling in painting classes. Studying with New England artist Benjamin McGrath, Sipos became a keen observer of nature. He learned to recreate the special light and atmosphere unique to California. But Sipos also began to follow his own path of exploration, thinking as a trained scientist as well as an inspired artist.”
Rembrandt Harmenszoon van Rijn, (the Netherlands 1606-1669), Return of the Prodigal Son (1636) (6-1/4″ x 5-7/16″) and Two Men, One Standing (1646) (7-21/32″ x 5-1/8″), etching on heavy laid paper. Amand-Durand, after Rembrandt.
Hi! My Name is Chicken, by Rosie Lopez Schlereth, September 2nd, 2008, 232 pages, 8-1/2″ x 11″ spiral bound copy.
George Gibson, (Scotland and California 1904-2001), Tomasini Ranch (c. 1950′s), charcoal, 12-1/2″ x 9-1/2″, on smooth, ivory paper.
George Gibson ANA AWS
Artistic designer in US film industry
Director of Art, Metro-Goldwyn-Mayer, Hollywood
President of California National Watercolor Society 1951
George Gibson was born in Edinburgh but brought up in Fochabers where his father worked as a tailor. George’s teacher, Dhuie Tully, recognized his skill as an artist from an early age and helped George develop his talents further.
In 1930, George decided to seek his fortune in America and found part-time work in Hollywood at the famous MGM studios as a scenic artist. As early as 1934, George became Artistic Director at MGM. He changed the way that motion pictures were made in Hollywood. George created the backdrops of many of the famous films -’The Wizard of Oz’ ‘American in Paris’ and ‘Random Harvest’ to name but a few.
On retirement from the studios in 1969, George became a practicing artist in fine arts, particularly landscape painting of California scenery. He continued to paint, exhibit and give classes to eager young students right up to his death at the age of 96.
|Rick Wedel, (Michigan 1968 – Present), Domestic Composition No. 1 |
(1998), 28″ x 22″, Oil on Masonite.
“Choosing a predominantly cool palette, Wedel has produced a view of silent everyday life, beneath which tension and anxiety lie...”That brief artist’s description accurately and elegantly describes this thought provoking abstract-figurative work by Michigan artist Rick Wedel. Executed in oil on the rough side of a Masonite canvas, Wedel depicts the underlying tension and daily monotony that can erode and eventually destroy a relationship if we so carelessly allow it to happen.
“Hard wired in each of us are the mechanisms giving unique importance to the figurative form. It’s visual gravity is so strong that even in very generalized and abstracted versions, it has a strong influence. I’m relying on the figure in these compositions to offer solidity and calm to otherwise chaotic and unrealistic surfaces.”When I read this part of his bio I knew we had some common ground to explore:
You can read his full bio here.
|Henri de Toulouse-Lautrec, (France 1864 – 1901), |
Aristide Bruant dans son cabaret (1893), 8-7/8″
x 12″, 4-color lithograph.