“The grasses up north are as blue as jade, Our mulberries here curve green-threaded branches; And at last, you think of returning home” Li Bai
“Inside” – Thomas W. Shaller (March, 2020)
“A feat, this heart’s control Moment to moment To scale all love down To a cupped hand’s size”
Edith Tiempo, Bonsai
“Bonzai” – Thomas W. Shaller (March 2020)
Thomas W. Schaller is an award-winning artist, architect, and author based in Los Angeles. As a renowned architectural artist, he received a Graham Foundation Grant and was a two-time recipient of the Hugh Ferris Memorial Prize. He has authored three books; the best-selling, and AIA award winner, Architecture in Watercolor (VNR – McGraw Hill) The Art of Architectural Drawing (J.Wiley and Sons), and Thomas W. Schaller, Architect of Light : Watercolor Paintings by a Master – a retrospective of his recent artwork released by North Light Books / F+W Media and now Penguin / Random House, NYC in 2018.
“My work is a study in contrasts: light and dark, vertical and horizontal, warm and cool tones, the real and the imagined, as well as the past, present, and future. These elements and others are designed to collide and sometimes find resolution on the surface of the paper. And by so doing, I invite you to take part in my artistic process – not to determine the stories I am telling – but hopefully, to inspire you to tell stories of your own.”
My paintings on clay panels begin with thin veils of paint that drip, pool and congeal, and like nature, move out of my control, beautifully mysterious. I work intuitively within these initial drips and pools, searching for structure. Each successive stroke of paint or pencil mark continues to build a dreamlike otherworldly place. The mood is one of nature untamed, enchanting and rife with hidden secrets.
My paintings are my connection to the Earth, its nature and beautiful mysteries. There is a sadness as I witness the loss of our last wild places. My paintings are an attempt to keep alive those places and offer my audience a sanctuary in which to reflect.
Riitta Klint is from Helsinki, Finland and currently lives in Fort Worth, Texas and maintains a studio in nearby Aledo. Between these two places is a lifetime spent traveling the world thanks to her father’s career with IBM. Living in her native Finland, as well as in Iran, Portugal, Indonesia, Germany, Mexico, and the United States, together with extensive travel in Asia and Europe has shaped her unique vision and palette. Her work offers the viewer a front seat to that journey, and a threshold to cross over into their own imagination.
Klint works primarily in acrylic and pencil on Claybord™, smooth kaolin clay covered panels that offer the ideal surface for her manipulation of color and medium.
Born in Victoria, Australia, Martin Lewis was a printmaker who is known for his scenes of urban life in New York during the 1920s and 1930s. As a youth Lewis held a variety of jobs that ranged from working on cattle ranches in the Australian Outback, in logging and mining camps, to being a sailor. In 1898, he moved to Sydney for two years where he received his only formal art training. During this period he may have been introduced to printmaking; a local radical paper, The Bulletin, published two of his drawings.
Lewis left Australia in 1900 and first settled in San Francisco. He eventually worked his way eastward to New York. Little is known about his life during the following decade except that he made a living as a commercial artist and produced his first etching in 1915. Lewis’ skill as an etcher was noticed by Edward Hopper, who became a lifelong friend. In 1920, dissatisfied with his job, Lewis used his entire savings to study art and to sketch in Japan. He returned to New York after a two-year stay and resumed his commercial art career, but also pursued his own work as a painter and printmaker.
During the Depression, Lewis moved to Newtown, Connecticut, but later returned to Manhattan, where he helped establish a school for printmakers. From 1944-1952 Lewis taught a graphics course at the Art Students League in New York.
During his thirty-year career, Lewis made about 145 drypoints and etchings. His prints, like Shadow Dance and Stoops in Snow, were much admired during the 1930s for their realistic portrayal of daily life and sensitive rendering of texture. The artist’s skill in composition and his talent in the drypoint and etching media have received renewed attention in recent years. Lewis is one of the few printmakers of this era who specialized in nocturnal scenes. Some scholars consider his print Glow of the City his most significant work because of the subtlety of handling. A minute network of dots, lines, and flecks scratched onto the plate creates the illusion of transparent garments hanging in the foreground, while the Chanin Building, an art deco skyscraper, towers over the nearby tenements.
Miller’s Penguin book covers and ironic titles catch the art world’s eye
These covers are closer to still life studies, rather than two-dimensional posters. Experimenting with different paper sizes and angles, he occasionally shows their spines, and the shadows they cast. It is a celebration of books as treasured objects. His drawings – in particular his studies for his large-scale oil paintings with their notes scribbled down the margins – are some of his most intimate works to date.
The ensuing images are humorous, sardonic and nostalgic at the same time, while the painting style hints at the dog-eared, scuffed covers of the Penguin classics themselves.
Starting with Jay Jopling in 1996, when Miller exhibited in a group show at London’s Institute of Contemporary Art, his works have garnered many a famous fan. Amongst which are AC/DC’s guitarist Angus Young, David Bailey, and Elton John – whose work amusingly, if a little painfully, bears the title ‘International Lonely Guy.’
George Michael, with his Harland Miller piece ‘Incurable Romantic Seeks Dirty Filthy Whore‘ commanded £237,500 in the posthumous auction of his art collection last year.
From an Art Daily online article (March 19, 2020):
“I love eating suits of arms, in fact I love all shell fish… food that only a battle to peel makes it vulnerable to the conquest of our palate.”
This reprint features all 136 recipes over 12 chapters, specially illustrated by Dalí, and organized by meal courses, including aphrodisiacs. The illustrations and recipes are accompanied by Dalí’s extravagant musings on subjects such as dinner conversation: “The jaw is our best tool to grasp philosophical knowledge.”
NEW YORK, NY.- “Les diners de Gala is uniquely devoted to the pleasures of taste … If you are a disciple of one of those calorie-counters who turn the joys of eating into a form of punishment, close this book at once; it is too lively, too aggressive, and far too impertinent for you.”—Salvador Dalí
Food and surrealism make perfect bedfellows: sex and lobsters, collage and cannibalism, the meeting of a swan and a toothbrush on a pastry case. The opulent dinner parties thrown by Salvador Dalí (1904–1989) and his wife and muse, Gala (1894–1982) were the stuff of legend. Luckily for us, Dalí published a cookbook in 1973, Les diners de Gala, which reveals some of the sensual, imaginative, and exotic elements that made up their notorious gatherings.
In this episode, Sidney talks about how Gemini GEL got started and grew into the organization it is today, sharing stories about the artists he’s worked with along the way.
In 1966, at the age of forty-one, Sidney Felsen moved from the world of accounting to that of art, founding the artists’ workshop and fine-art print publisher Gemini GEL in Los Angeles. With Gemini GEL, Sidney quickly got to work with some of the biggest artists of the twentieth century: Man Ray, Josef Albers, Jasper Johns, and Robert Rauschenberg, to name a few. And Gemini GEL continues its work with new generations of artists, including Julie Mehretu, Tacita Dean, and David Hammons.
Sidney Felsen is the co-founder of Gemini G.E.L., a printmaking studio in Los Angeles that has been operating since 1965. Some of his photographs documenting the artists at work at Gemini are collected in the book The Artist Observed.
Van Gogh Museum Tour in 4K. Have you always wanted to be alone in the Van Gogh Museum? Step into Vincent’s world and enjoy the private video tour. (Episode 1)
George Wesley Bellows (August 12 or August 19, 1882 – January 8, 1925) was an American realist painter, known for his bold depictions of urban life in New York City. He became, according to the Columbus Museum of Art, “the most acclaimed American artist of his generation”.
Bellows first achieved widespread notice in 1908, when he and other pupils of Henri organized an exhibition of mostly urban studies. While many critics considered these to be crudely painted, others found them welcomely audacious, a step beyond the work of his teacher. Bellows taught at the Art Students League of New York in 1909, although he was more interested in pursuing a career as a painter. His fame grew as he contributed to other nationally recognized juried shows.
Bellows’ urban New York scenes depicted the crudity and chaos of working-class people and neighborhoods, and satirized the upper classes. From 1907 through 1915, he executed a series of paintings depicting New York City under snowfall. In these paintings Bellows developed his strong sense of light and visual texture,[14] exhibiting a stark contrast between the blue and white expanses of snow and the rough and grimy surfaces of city structures, and creating an aesthetically ironic image of the equally rough and grimy men struggling to clear away the nuisance of the pure snow. However, Bellows’ series of paintings portraying amateur boxing matches were arguably his signature contribution to art history.[11] They are characterized by dark atmospheres, through which the bright, roughly lain brushstrokes of the human figures vividly strike with a strong sense of motion and direction.
Pennsylvania Station New York City
Pennsylvania Station, also known as New York Penn Station or Penn Station, is the main intercity railroad station in New York City and the busiest in the Western Hemisphere, serving more than 600,000 passengers per weekday as of 2019.mPenn Station is in Midtown Manhattan, close to Herald Square, the Empire State Building, Koreatown, and Macy’s Herald Square. Entirely underground, the station is located in Midtown South beneath Madison Square Garden, between Seventh and Eighth Avenues, and between 31st and 33rd Streets, with additional exits to nearby streets.
Penn Station has 21 tracks fed by seven tunnels (the two North River Tunnels, the four East River Tunnels, and the single Empire Connection tunnel). It is at the center of the Northeast Corridor, a passenger rail line that connects New York City with Boston, Philadelphia, Washington, D.C., and intermediate points. Intercity trains are operated by Amtrak, which owns the station, while commuter rail services are operated by the Long Island Rail Road (LIRR) and NJ Transit (NJT). Connections are available within the complex to the New York City Subway, and buses. An underground passageway formerly provided an indoor connection with the 34th Street–Herald Square subway station and 33rd Street PATH station.[7]
Penn Station is named for the Pennsylvania Railroad (PRR), its builder and original tenant, and shares its name with several stations in other cities. The current facility is the remodeled underground remnant of the original Pennsylvania Station, a more ornate station building designed by McKim, Mead, and White and considered a masterpiece of the Beaux-Arts style. Completed in 1910, it enabled direct rail access to New York City from the south for the first time. Its head house was torn down in 1963, galvanizing the modern historic preservation movement.[8] The rest of the station was rebuilt in the following six years, while retaining most of the rail infrastructure from the original station.
Excerpts from a Christie’s online article (Feb 28, 2020):
Joan Miró
Like Pablo Picasso, his compatriot and peer, Miró had an unwavering commitment to printmaking. Also like Picasso, he created more than 2,000 works in the medium. It’s often said that Miró’s fondness for calligraphic lines — such a distinctive feature of his paintings — lent itself naturally to graphic work.
‘In terms of both the quality and quantity of his output, Joan Miró was one of the most important printmakers of the 20th century,’ says Murray Macaulay, Head of Prints at Christie’s in London.
The son of a watchmaker, Joan Miró was born in Barcelona in 1893. He moved to Paris in the early 1920s and soon joined the Surrealist movement. He also befriended a host of avant-garde writers, such as Max Jacob, Tristan Tzara, Antonin Artaud, André Breton and Paul Eluard.
The first prints Miró ever made were illustrations for Tzara’s 1930 book of poems, L’arbre des Voyageurs. Literary sources would prove to be a constant inspiration for him, with notable examples including Alfred Jarry’s play, Ubu Roi; Stephen Spender’s poem, Fraternity; and the mystic, medieval text, Canticle of the Sun, by St Francis of Assisi.