artist as brand, Boris Vallejo, charcoal, design, digital media, digital painting, dragons, fantasy art, illustration, illustrators journal, innovation, Julie Bell, levinland, lon levin, nude sketch, nudes, painter, sketching, technology, this week in digital media on blogtalk radio, twitter, Vallejo
Boris Vallejo is a personal favorite of mine and the Illustrators Journal. A lot of our readership and followers are fans as well so I am reposting this interview by Richard Vasseur/Jazma Online for all opf our enjoyment.
Vallejo is truly a unique talent with a smooth, luxurious painting style that is the perfect compliment to his subject matter. To me the style reflects the era we live in smooth, slick, over-the-top rendering of muscles and female forms. The promotion of which is intrinsic to the subject matter itself. He, along with Frazetta are the modern godfathers of fantasy art and we are lucky that he and his wife and partner sat down to discuss a little about themselves with Mr. Vasseur.
Richard: How did you first start oil painting and drawing?
Boris Vallejo: When I was thirteen years old my father got me a set of brushes and oil paints. I made my own canvas and had my first painting experience. Drawing was there ever since I remember.
Richard: Do you have any professional training?
Boris: I started art school at thirteen and studied for four years, although I did not graduate since I did not care for the academic subjects such as art history, perspective and so on. Later on I realized the importance of these things and read about them on my own.
Richard: Do you have a preference of drawing fantasy or super heroes?
Boris: I am primarily a fantasy artist.
Richard: How did you decide you wanted to be an artist?
Boris: When I decided that medical school was not for me.
Richard: Did you ever expect to become as famous as you have?
Boris: I try not to think about it at all. I don’t consider myself famous.
Richard: What about your art captures a person’s attention?
Boris: I guess that you would have to ask that question to somebody else as I cannot be objective about my own work.
Richard: You have designed more than 300 covers but would you like to or have you done a complete comic?
Boris: As I said I am a fantasy illustrator. I am not suited for comic book drawing although I love comics.
Richard: How did you first meet Julie Bell?
Boris: She was a competitive bodybuilder and she came to model for me.
Richard: You use erotica in your pictures as well as imagination where does your inspiration for these come from?
Boris: It is part of my nature. I paint what I feel. Inspiration comes from everywhere. I don’t look for it, it comes to me.
Richard: Which painters do you admire most?
Boris: Every artist is a source of inspiration. Some more than others. I cannot mention just a few.
Richard: How do you feel having so many people looking at your art every day?
Boris: It is great! I am grateful that I can make a living doing what I would love to do and I owe it all to the people that enjoy and support our art.
Richard: What advice do you have for new artists?
Boris: Work hard, be patient and don’t get discouraged. It takes time to get there.
Richard: How can someone contact you?
Boris: Our website is www.borisjulie.com
Richard: Do you have any final words for admireres of your work?
Boris: Thank you for being there!!!
Richard: Lilandra is one of your most famous artworks how did you end up creating it?
Julie Bell: The people at Marvel Comics commissioned me to paint Lilandra as part of an X-Men trading card set. I think they liked the way that I portrayed strong women and also the way I painted metal. Lilandra has both.
Richard: Why did you decide to get into illustrating?
Julie: Because it is a total blast and I love it!!
Richard: Do you think you will ever fully retire from work someday?
Julie: Definitely not. I couldn’t even think of it. Painting is more than just a job–it’s part of who I am as a human being.
Richard: What do you find most satisfying about finishing a piece of artwork?
Julie: I really enjoy looking at a newly finished painting for a little while and then I get very excited to start the next one.
Richard: Would you like to draw a complete comic or have you?
Julie: When I was a kid I drew comics for my friends. I think that’s as far as it will go. Comic art is such a specialized field and it takes many years to perfect, so I just keep painting and enjoy the comic art of other artists.
Richard: You have drawn a number of super heroes do you have a favorite hero you have drawn?
Julie: They were all really fun to work on. I’m trying to think of a favorite, but there are so many and their super powers all present different challenges to paint.
Richard: What is the “metal flesh” technique?
Julie: It is a name that was attached to my way of painting shiny metal. Often people think that I use special paints or airbrush to do it, but it’s just the same old oil paint and sable brushes that I use for everything else.
Richard: How much of an influence has your husband Boris Vallejo been on your art style?
Julie: A great, great influence. He is a very special man and his art reaches people all over the world at a profoundly deep level. He is the one who helped me bring my work up to the professional level at the beginning of my career and he continues to inspire me every day.
Richard: When you modeled for Boris were you at all selfconscious?
Julie: Of course! It was the first time I had modeled for an artist.
Richard: How was Imaginistix created and what is it?
Julie: It is the joining of Boris’ and my artistic talent. We started doing paintings together and really enjoyed both the process and the outcome.
Richard: What is the most important thing in your life?
Richard: What about body building did you enjoy and why did you stop doing it?
Julie: I enjoy most forms of exercise and movement just because I love the feeling of it. I haven’t stopped doing bodybuilding, I simply don’t compete anymore. The competitions take a very hard toll on the body and I had my fill of it. It was great fun to compete and it was a wonderful learning experience.
Richard: Any last words of advice?
Julie: Enjoy your life and be respectful of yourself and everyone around you!
abstract art, art, artist as brand, artwork, Baldassare Castiglione, Bernard Berenson, cartoon, charcoal, digital painting, drawing, Giorgio Vasari, Hippolyte Taine, illustrators journal, innovation, levinland, lon levin, nude sketch, nudes, painter, Renaissance, social media, this week in digital media on blogtalk radio
Within Leonardo’s own lifetime his fame was such that the King of France carried him away like a trophy and was claimed to have supported him in his old age and held him in his arms as he died. Interest in Leonardo has never diminished. The crowds still queue to see his most famous artworks, T-shirts bear his most famous drawing, and writers like Vasari continue to marvel at his genius and speculate about his private life and, particularly, about what one so intelligent actually believed in.
In the normal course of events many men and women are born with remarkable talents; but occasionally, in a way that transcends nature, a single person is marvellously endowed by Heaven with beauty, grace and talent in such abundance that he leaves other men far behind, all his actions seem inspired and indeed everything he does clearly comes from God rather than from human skill. Everyone acknowledged that this was true of Leonardo da Vinci, an artist of outstanding physical beauty, who displayed infinite grace in everything that he did and who cultivated his genius so brilliantly that all problems he studied he solved with ease. —Giorgio Vasari
The continued admiration that Leonardo commanded from painters, critics and historians is reflected in many other written tributes. Baldassare Castiglione, author of Il Cortegiano (“The Courtier”), wrote in 1528: “… Another of the greatest painters in this world looks down on this art in which he is unequalled …”while the biographer known as “Anonimo Gaddiano” wrote, c. 1540: “His genius was so rare and universal that it can be said that nature worked a miracle on his behalf …”
The 19th century brought a particular admiration for Leonardo’s genius, causing Henry Fuseli to write in 1801: “Such was the dawn of modern art, when Leonardo da Vinci broke forth with a splendour that distanced former excellence: made up of all the elements that constitute the essence of genius …” This is echoed by A. E. Rio who wrote in 1861: “He towered above all other artists through the strength and the nobility of his talents.”
By the 19th century, the scope of Leonardo’s notebooks was known, as well as his paintings. Hippolyte Taine wrote in 1866: “There may not be in the world an example of another genius so universal, so incapable of fulfilment, so full of yearning for the infinite, so naturally refined, so far ahead of his own century and the following centuries.” Art historian Bernard Berenson wrote in 1896: “Leonardo is the one artist of whom it may be said with perfect literalness: Nothing that he touched but turned into a thing of eternal beauty. Whether it be the cross section of a skull, the structure of a weed, or a study of muscles, he, with his feeling for line and for light and shade, forever transmuted it into life-communicating values.”
The interest in Leonardo’s genius has continued unabated; experts study and translate his writings, analyse his paintings using scientific techniques, argue over attributions and search for works which have been recorded but never found.Liana Bortolon, writing in 1967, said: “Because of the multiplicity of interests that spurred him to pursue every field of knowledge … Leonardo can be considered, quite rightly, to have been the universal genius par excellence, and with all the disquieting overtones inherent in that term. Man is as uncomfortable today, faced with a genius, as he was in the 16th century.
Pierre-Paul Prud’hon was born in Cluny, Saône-et-Loire. He received his training in the French provinces and went to Italy when he was twenty-six years old to continue his education. On his return to Paris, he decorated some private mansions and his work for wealthy Parisians led him to be held in high esteem at Napoleon‘s court.
His painting of Josephine portrays her, not as an Empress but as a lovely attractive woman which led some to think that he might have been in love with her. After the divorce of Napoleon and Josephine, he was also employed by Napoleon’ s second wife Marie-Louise.
Prud’hon was at times clearly influenced by Neo-classicism, at other times by Romanticism. Appreciated by other artists and writers like Stendhal, Delacroix, Millet and Baudelaire for his chiaroscuro and convincing realism, he is probably most famous for his Crucifixion (1822), which he painted for St. Etienne‘s Cathedral in Metz. Crucifixion now hangs in the Louvre.
The young Théodore Géricault had painted copies of work by Prud’hon, whose “thunderously tragic pictures” include his masterpiece, Justice and Divine Vengeance Pursuing Crime.
Oudry is an artist who was well ahead of his time in depicting nature. The lighting and rendering techniques he used are certainly with the realm of a Rembrandt or Chardin although he is not revered as such today. However, don’t cry for him, he was a very successful painter who was lauded during his lifetime.
Jean-Baptiste Oudry (17 March 1686 – 30 April 1755) was a French Rococo painter, engraver, and tapestry designer. He is particularly well known for his naturalistic pictures of animals and his hunt pieces depicting game.
Although Oudry produced excellent scenes of animals and of hunting, he also painted portraits, histories, landscapes, fruits and flowers; he imitated bas reliefs in monotone tints en camaïeu, used pastels, and created etchings. He was often sent examples of rare birds to draw, and for his constant patron, the Christian Ludwig II, Duke of Mecklenburg-Schwerin, a famous series of animal portraits from the ducal menagerie (still at Schwerin).
Oudry lost some of his responsibilities when Fagon was replaced by de Trudaine. He suffered two strokes in quick succession. The second left him paralysed, and he died shortly thereafter, at Beauvais (Oise). He was buried in the Church of Saint-Thomas in Beauvais. His epitaph on the stone was lost when the church was demolished in 1795, but was later found and placed in the Church of Saint-Étienne.
His son, Jacques-Charles Oudry, was also a painter.
Two exhibitions curated by Hal N. Opperman, first at the Grand Palais, Paris, October 1982 – January 1983, and then in a travelling exhibition in the United States, 1983, encouraged a reassessment of this purely French portraitist and genre painter.
abstract art, artwork, charcoal, digital media, digital painting, drawing, illustration, illustrator, illustrators journal, innovation, levinland, Louvre, marijuana, modern art, museums, Nazis, nude sketch, nudes, Riijks, sketching, tate, this week in digital media on blogtalk radio
I was cruising through some other sites I manage and I noticed this great post by Nellie Day, a friend of mine and went to the site to check it out and for an artist this is a great site. You can get close up and personal with artwork you may never have access to. Check out brush strokes see the texture…learn from the masters. I highly recommend this site as a fun visit or a place to study and learn.
Google has repurposed its Google Street View technology to an indoor venue – or, rather, 17 of them. The Internet corporation recently created Google Art Project, which takes Internet surfers inside 17 art museums around the world.
Similar to Street View, Google Art Project fans can navigate through corridors and around exhibits. There are also tabs that let users view close-up angles of their favorite works of art. Avid aficionados can even zoom in on the artworks’ brush strokes, thanks to the high-powered lenses. The project’s director noted on Google’s blog that the cameras used produce images that are “1,000 times more detailed than your average digital camera [could produce].”
We tried visited GoogleArtProject.com, the project’s home, to test out a few museums for ourselves. First, we should say that Google partnered with some world-class institutions. Among the museums participating in the project are New York’s Metropolitan Museum of Art, Amsterdam’s Van Gogh Museum, France’s Palace of Versailles and London’s Tate Britain.
Navigating through the actual museum spaces is a bit tricky, just as it is on Google Street View if you’re not used to the way the camera responds to certain clicks. It’s also difficult to get a front-facing view of the artwork when navigating a gallery’s floor.
Not to worry, though, Google Art Project provides two separate tabs for each museum. The “View Artwork” tab can be utilized when you want to see the artwork up close, and the “Explore the Museum” tab lets you work your way through the actual floor space.
GoogleArtProject.com is completely free, so even save yourself admission to some of the world’s greatest art museums!
Watch a preview of Google Art Project below, or visit the website to try out the museums first hand.
Anyone who paints in egg tempura deserves an extra pat on the back. The process is tedious and can be very frustrating. Marsh was a master and anyone who likes his work would have to learn the in and outs of this style of painting to achieve the coloration and luminosity egg tempura provides.
Reginald Marsh (March 14, 1898 – July 3, 1954) was an American painter, born in Paris, most notable for his depictions of life in New York City in the 1920s and 1930s. Crowded Coney Island beach scenes, popular entertainments such as vaudeville and burlesque, women, and jobless men on the Bowery are subjects that reappear throughout his work. He painted in egg tempera and in oils, and produced many watercolors, ink and ink wash drawings, and prints.
A casual interest in learning to paint led Marsh, in 1921, to begin taking classes at the Art Students League of New York, where his first teacher was John Sloan. By 1923 Marsh began to paint seriously. In 1925 Marsh visited Paris for the first time since he had lived there as a child and he fell in love with what the city had to offer him. Although Marsh had appreciated the drawings of Raphael, Leonardo Da Vinci and Michelangelo since he was a child—his father’s studio was full of reproductions of the old masters’ work—the famous paintings that he saw at the Louvre and other museums stimulated in him a new fascination with the old masters.
While exploring the works of European painters such as Titian, Tintoretto, and Rubens, Marsh met Thomas Hart Benton in one of the galleries in France. Benton, known today as a social realist, andregionalist painter, was also a great student of the Baroque masters. The resemblance Marsh saw between Tintoretto’s famous works and Benton’s motivated Marsh to try to paint in a similar wayFollowing his European trip (in which he also visited Florence) Marsh returned to New York with a desire to utilize the principles he felt were evident in the art of the Renaissance painters—particularly the way large groups of figures, together with architecture or landscape elements, were organized into stable compositions.
Marsh then studied under Kenneth Hayes Miller and George Luks, and chose to do fewer commercial assignments. Miller, who taught at the Art Students League of New York, instructed Marsh on the basics of form and design, and encouraged Marsh to make himself known to the world. He looked at Marsh’s early, awkward burlesque sketches and at his more conventional landscape watercolors and said, “These awkward things are your work. These are real. Stick to these things and don’t let anyone dissuade you!” By the beginning of the 1930s Marsh began to express himself fully in his art
Reginald Marsh rejected modern art, which he found sterile. Marsh’s style can best be described as social realism. His work depicted the Great Depression and a range of social classes whose division was accentuated by the economic crash. His figures are generally treated as types. “What interested Marsh was not the individuals in a crowd, but the crowd itself … In their density and picturesqueness, they recall the crowds in the movies of Preston Sturges or Frank Capra”.
Marsh’s main attractions were the burlesque stage, the hobos on the Bowery, crowds on city streets and at Coney Island, and women. His deep devotion to the old masters led to his creating works of art in a style that reflects certain artistic traditions, and his work often contained religious metaphors. “It was upon the Baroque masters that Marsh based his own human comedy”, inspired by the past but residing in the present. The burlesque queen in the etching Striptease at New Gotham (1935) assumes the classic Venus Pudica pose; elsewhere, “Venuses and Adonises walk the Coney Island beach [and] deposed Christs collapse on the Bowery”. The painting Fourteenth Street (1934, in the Museum of Modern Art, New York) depicts a large crowd in front of a theater hall, in a tumbling arrangement that recalls a Last Judgment.
Marsh filled sketchbooks with drawings made on the street, in the subway, or at the beach. Marolyn Cohen calls Marsh’s sketchbooks “the foundation of his art. They show a passion for contemporary detail and a desire to retain the whole of his experience”. He drew not only figures but costumes, architecture, and locations. He made drawings of posters and advertising signs, the texts of which were copied out along with descriptions of the colors and use of italics. In the early 1930s he took up photography as another means of note taking
Signage, newspaper headlines, and advertising images are often prominent in Marsh’s finished paintings, in which color is used to expressive ends—drab and brown in Bowery scenes; lurid and garish in sideshow scenes.
During the 1940s and for many years Reginald Marsh became an important teacher at the Art Students League of New York, which ran a summer camp where Marsh’s students included Roy Lichtenstein. Lichtenstein was influenced by Marsh’s subject matter in his work. Also in the 40s Marsh began making drawings for magazines such as Esquire, Fortune, and Life. A degree of mannerism is apparent in his later paintings, in which wraithlike figures “float in a watery netherworld” in a deeper pictorial space than that of his compositions of the 1930s.
Shortly before his death he received the Gold Medal for Graphic Arts awarded by the American Academy and the National Institute for Arts and Letters. Marsh died from a heart attack in Dorset, Vermont on July 3, 1954.
I don’t know anything about Kiefer but what I’ve seen and read but his use of materials and style evokes real deep feelings and I resonate with that.
Anselm Kiefer (born March 8, 1945) is a German painter and sculptor. He studied with Joseph Beuys and Peter Dreher during the 1970s. His works incorporate materials such as straw, ash, clay, lead, and shellac. The poems of Paul Celan have played a role in developing Kiefer’s themes of German history and the horror of the Holocaust, as have the spiritual concepts of Kabbalah.
In his entire body of work, Kiefer argues with the past and addresses taboo and controversial issues from recent history. Themes from Nazi rule are particularly reflected in his work; for instance, the painting “Margarethe” (oil and straw on canvas) was inspired by Paul Celan‘s well-known poem “Todesfuge” (“Death Fugue“).
His works are characterised by a dull/musty, nearly depressive, destructive style and are often done in large scale formats. In most of his works, the use of photography as an output surface is prevalent and earth and other raw materials of nature are often incorporated. It is also characteristic of his work to find signatures and/or names of people of historical importance, legendary figures or places particularly pregnant with history. All of these are encoded sigils through which Kiefer seeks to process the past; this has resulted in his work being linked with a style called “New Symbolism.”
Kiefer has lived and worked in France since 1991. Since 2008 he has lived and worked primarily in Paris and in Alcácer do Sal, Portugal.
There’s not much I can say about Michelangelo that hasn’t already been said. Arguably the most significant artist who ever lived. Not so much for his work per se but for his influence, his groundbreaking approach and his intense work ethic. He is the standard to which all others aspired to which to my way of thinking held true until Picasso came along and shattered the art world into a million factions.
Michelangelo di Lodovico Buonarroti Simoni (6 March 1475 – 18 February 1564), commonly known as Michelangelo was an Italian Renaissance sculptor, painter, architect, poet, and engineer who exerted an unparalleled influence on the development of Western art. Despite making few forays beyond the arts, his versatility in the disciplines he took up was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man, along with fellow Italian Leonardo da Vinci.
Michelangelo was considered the greatest living artist in his lifetime, and ever since then he has been held to be one of the greatest artists of all time. A number of his works in painting, sculpture, and architecture rank among the most famous in existence. His output in every field during his long life was prodigious; when the sheer volume of correspondence, sketches, and reminiscences that survive is also taken into account, he is the best-documented artist of the 16th century. Two of his best-known works, the Pietà and David, were sculpted before he turned thirty. Despite his low opinion of painting, Michelangelo also created two of the most influential works in fresco in the history of Western art: the scenes from Genesis on the ceiling and The Last Judgment on the altar wall of the Sistine Chapel in Rome. As an architect, Michelangelo pioneered the Mannerist style at the Laurentian Library. At 74 he succeeded Antonio da Sangallo the Younger as the architect of St. Peter’s Basilica. Michelangelo transformed the plan, the western end being finished to Michelangelo’s design, the dome being completed after his death with some modification.
In a demonstration of Michelangelo’s unique standing, he was the first Western artist whose biography was published while he was alive. Two biographies were published of him during his lifetime; one of them, by Giorgio Vasari, proposed that he was the pinnacle of all artistic achievement since the beginning of the Renaissance, a viewpoint that continued to have currency in art history for centuries. In his lifetime he was also often called Il Divino (“the divine one”).One of the qualities most admired by his contemporaries was his terribilità, a sense of awe-inspiring grandeur, and it was the attempts of subsequent artists to imitate Michelangelo’s impassioned and highly personal style that resulted in Mannerism, the next major movement in Western art after the High Renaissance.
This painting shows the deftly ability of Decamps to show humor with the context of serious painting technique. While we might see this as fairly normal in his day it was unusual. His use of composition, color and staging made him a master storyteller with his art and although his work was in the fine art area it’s clear to see how he influenced the upcoming illustrators of a later era.
He was born in Paris. In his youth he travelled in the East, and reproduced Oriental life and scenery with a bold fidelity to nature that puzzled conventional critics. His powers, however, soon came to be recognized, and he was ranked along with Delacroix and Vernet as one of the leaders of the French school. At the Paris Exhibition of 1855 he received the grand or council medal. Most of his life was passed in the neighborhood of Paris. He was fond of animals, especially dogs, and indulged in all kinds of field sports. He died in 1860 in consequence of being thrown from a horse while hunting at Fontainebleau.
Decamps’ style was characteristically and intensely French. It was marked by vivid dramatic conception, bold and even rough brushstrokes, and startling contrasts of color and of light and shade. His subjects embraced an unusually wide range. He availed himself of his travels in the East in dealing with scenes from Scripture history, which he was probably the first of European painters to represent with their true and natural local background. Of this class were his Joseph sold by his Brethren, Moses taken from the Nile, and his scenes from the life of Samson, nine vigorous sketches in charcoal and white.
Perhaps the most impressive of his historical pictures is Defeat of the Cimbri, representing the conflict between a horde of barbarians and a disciplined army. Decamps produced a number of genre pictures, chiefly scenes from French and Algerian domestic life, the most marked feature of which is humour. The same characteristic attaches to many of his numerous animal paintings; Decamps was especially fond of painting monkeys. His well-known painting The Monkey Connoisseurs satirizes the jury of the French Academy of Painting, which had rejected several of his earlier works on account of their divergence from any known standard.
The pictures and sketches of Decamps were first made familiar to the English public through the lithographs of Eugene Ie Rouit.