Peggy Cyphers has a persistent vision of nature that she translates into richly colored and textured quasi-abstract paintings. She pours and lightly brushes countless layers of paint and sand onto the canvas until she achieves luminous and sumptuous surface. Approaching each canvas as a kind of garden where organic and geometric elements intermingle with intense light, she nurtures elaborate hybrid forms. David Ebony, ArtNet Magazine
Peggy Cyphers (born 1954) is an American painter, printmaker, professor and art writer, who has shown her work in the U.S. and internationally since 1984. Since Cyphers’ move to New York City over 30 years ago, her inventive and combinatory approaches to the materials of paint, silkscreen and sand have developed into canvases that explore the “Politics of Progress” as it impacts culture and the natural world.
In the summer of 1891, Claude Monet began to paint a row of poplar trees that lined the river Epte near his house at Giverny. The trees were auctioned off for timber shortly thereafter, but Monet made a deal with the purchaser to delay cutting them so he could continue to paint the trees through the autumn. Using a shallow rowboat that had slots in the bottom capable of holding several canvases at once, Monet painted twenty-four pictures of the poplars from his floating studio. 
is united in a very natural way in a creative concept. My artistic research is a constant blend between the worlds of architecture, painting, photography, graphic design, and fashion. At the base of my work, then, there is an artistic background very much linked to the Gestalt principles of visual perception. I try to avoid looking for inspiration only within the confines of my sector: I find that this often leads to a flattening of the creative result.
Sage is renowned for her empty, enigmatic, eerily lit landscapes. Human figures are markedly absent — their presence felt only by the monolithic, architectural structures and unidentifiable, draped objects they seem to have left behind. In this respect, 1945’s Other Answers is a quintessential Sage painting.
In the summer of 1940, Sage had her first solo show, at the influential Pierre Matisse Gallery in Manhattan. Then, in early 1943, she was part of the landmark Exhibition by 31 Women, curated and staged by Peggy Guggenheim in her Art of This Century Gallery.
To work out the details of all the figures in pen and ink would have been extremely labor-intensive, and sharpening quills and mixing inks would’ve added an additional distraction. Drawing in chalk necessitated great skill, but it also allowed Michelangelo a flexibility. He could create subtle tonal variations by applying more or less pressure onto the chalk or by wetting it. The red chalk also provided an immediate mid-tone on the paper and could be easily blended when modeling and shading forms. Being a naturally occurring material that was available to artists in sticks that could be sharpened as desired, it was also convenient and portable.
During his lifetime, Michelangelo likely produced tens of thousands of drawings. But being protective of his ideas, and to give an impression of effortless genius, he destroyed many of them. Today only about 600 drawings by the Renaissance artist survive. 
Minton had gone on to produce a series of spectacularly colourful oil paintings of Corsica on his return to London, exhibiting them at the Lefevre Gallery in 1949. Many of them depicted fruit and fish and other ingredients for Mediterranean cuisine, and so confirmed Minton as the obvious choice for the David commission. 
Boomers Daily 