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Dmitrii Article Feature Image

One of my mottoes is: “Turn old problems into new projects.”

With my art I want to change the attitude of people to plastic, make people friends with plastic and not enemies. So that each person thinks about his decision before littering the environment and starts to watch for cleanliness around ourselves for the sake of us and the sake of the next generations.

– Dmitrii Ulianov

Oleksandra Lykhoshvai: Your way of creating art is very unique, not often you can see an artist using plastic waste as his/hers main working tool. We are sure that “Why have you decided to use plastic?” Is a very commonly asked question, but want to start with introducing you to our readers. Can you tell us, where was the starting point of you as an artist? What encouraged you to connect your life with Art?

Dmitrii Ulianov: I got into the artist circle and painted with oil in youth. Over time, I realized that oil is from the last century so I was looking for new materials to create my works. During the ecological cleaning of rivers and the disposal of plastic waste, I was inspired to create such paintings I do now.

OL: Going back to the common question, we are also curious to know the reason for you using plastic and no paint in your artworks. Where did this idea come from?

DU: Experimented with plastic at home, the first artwork in plastic was the usual redrawing of a small picture.

OL: We understand that pollution is on a very high level nowadays, and plastic is one the biggest problems, and the main cause of it probably, nevertheless there are other wastes that can be used, lots of glass, paper, wire and old metal. Have you tried to use other materials in your paintings? 

DU: Yes, one of my mottos is: “Turn old problems into new projects.” As an artist, I work with plastic. But I have also worked with metal waste (was creating a sculptural park at the Kazantip festival out of tin waste, used elements of electric motors), worked with various sculptures, and ceramics – mosaics, musical instruments made of different metals (steel, tin). If I had power and time I would love to work with all kinds of raw materials.

OL: What do you find the most exciting in the process of creation of the recycling artwork? How long does it take you to create 1 artwork?

DU: The most exciting thing is when a photograph of an abandoned river is drawn with plastic collected on the bank of the same river from the picture, after which people look at this river as an object of art, and not as a polluted river. The picture is usually created from three weeks up to two months.

Dmitrii Ulianov River Lybid
Painted Object and 3D Painting
120 × 85 cm
Szilard Barta Ads
IMG 0497 (1)
Installation "Fish" Created from the elements of the electric motor
Installation "Fish" Created from the elements of the electric motor

OL: We’ve noticed that not all of your artworks depict nature, for example, “Portal Collector”. Can you share where do you usually get inspiration and ideas for your work? 

DU: I look at objects in real life and present them in a plastic form, this brings inspiration. Also, the understanding of the relief method of transferring the image, when the 2-D picture becomes a semi-painting, a semi-sculpture, after which you feel yourself the creator of a new genre. The process of creating a picture is already a source of inspiration. I study Hinduism, I read mantras, which also inspire me to create new projects: how to become the cleanest of the foulest by the fiery purification.

OL: We also know that you create sculptures. What materials do you use for sculpturing?

DU: For sculptures, I work with iron origami genre, the integration of design elements, the use of metals, glass, and plastic.

OL: Right now a lot of celebrities fight for ecological issues. With their social media, they try to get support for their programs, protests or fundings. Do you have examples of public people that you look up to? Or someone whose ideas you want to bring into life?

DU: My personal idea is not just about recycling, but about transforming waste into beautiful art. I am not particularly interested in the world of stars, so I can not answer the question about a particular person I follow.

OL: Going back to art, do you have favorite style or styles except recycling art? What about the artists, whom you can name as your art inspiration?

DU: Renaissance, Industrial, Gothic, modern street art. Favorite guitarists are sources of inspiration: Steve Vai, Yngwie Mountain, Joe Satriani. Inspires also the creativity of Banksy.

OL: You are from Ukraine, this country is developing and trying to become a full member of the EU. How does the situation with recycling and pollution go in Ukraine?

DU: In Ukraine, almost no one is interested in the progressive processing and recycling of waste, some people are trying to deal with the system, but without government support at all levels this task is very difficult. There are many problems connected with waste and recycling in Ukraine, even despite the fact that this industry is very promising for investors. For my part, I came up with a lot of projects that could draw public attention to environmental issues, but there is no funding.

Soren Parmo Ads

OL: Unfortunately Ukraine experienced Chernobyl catastrophe, this event, among others, caused a huge impact on the ecology, and brought pollution into many countries aside Ukraine. Have you ever thought to integrate or bring this topic in your artworks? 

DU: This catastrophe has become a source of income for modern businessmen and entrepreneurs, so I don’t dig or even touch there, not to mention that there are rumors that this catastrophe was artificially provoked by the USSR authorities. My idea is to purify the soul through the purification of the river/water. It’s impossible to grab and try to pay attention to everything, so it’s very important to draw people’s attention at least to the problem of dying rivers in Kyiv.

OL: Can you think of the ecological problem/place/picture that overwhelmed you? Something that you still consider as the most urgent and prior issue to solve.

DU: Ecology of the small historical rivers of Kyiv. With the example of purifying one small river, I want to show people all over the world that such purifying should be applied to all nature.

OL: In Kyiv, there is a street in the city center where a lot of artists and craftsmen sell their art. Do you exhibit on the streets or prefer to sell online? 

DU: Most of the street markets in Kyiv are monopolized by the criminal elements, but soon I want to try to promote my art on the street too and in the web space. But, unfortunately, I do not have enough money, connections, and experience for web promotion and sales of paintings.

OL: Choosing the path of recycling art have you ever came across the struggle of “not acceptable”? Meaning, people usually look for oil, acrylic and other more traditional art. 

DU: Now a few people, especially in Ukraine, fully understand the essence of my work and what I want to convey. Specifically, the painters condemn my art style until they see my paintings personally.

OL: Speaking globally, what would you wish to change in the World to stop the pollution? Or have you ever thought of the laws that you wish to appear/ programs that you wish to integrate that could solve the ecological situation?

DU: First thoughts are about all the plastic in the oceans, so dream to build artificial plastic islands. Solve the problem of inaccessible housing by constructing entire residential arrays of oceanic plastics waste. At the moment, entrepreneurs are already creating construction bricks from plastic, using a thermal press, to create residential buildings no less bright and colorful than my paintings. Also, I am dreaming about creating widescreen 3D interiors and plastic sculptures.

OL: Your art is a perfect way of spreading awareness of current ecological problems. You truly send a very meaningful message to people of all ages. Can you share with our visitors and readers what shall we anticipate next? What projects or plans do you have for the nearest future?

DU: As mentioned earlier, this is a more global format of work, exhibitions in the form of functional interiors, usage of plastic in industrial architecture, change the attitude of people to plastic, make people friends with plastic and not enemies. So that each person thinks about his decision before littering and so we begin to watch for cleanliness around ourselves for the sake of us and sake of the next generations.

I would also like to gain recognition from the ecological point of view, at least on the Kyiv scale. I also really want more people to reach the perception of such recycled works of art.

Dmitrii Ulianov River Syrets
Painted Object and 3D Painting
45 × 85 cm
Dmitrii Ulianov Ancient City
Painted Object and 3D Painting
120 × 85 cm
Malwina Ads

We thank Dmitrii for this interview, it helped us to realize true intentions lying behind each of his artworks. At the same time we also hope that it encouraged our readers to be more attentive to the surrounding world, and of course, proved that Art can go hand in hand with Environment. Check Dmitrii Ulianov’s profile here. And support his art below.

Szilard Barta Interview

Interview with Szilard Barta

Artist:
Szilard Barta

Country:
Hungary, Debrecen

Born:
1977

Education:
Self-educated artist

Main Theme:
Abstraction

Main Art Subject:
Painted Objects

Inspired by:
Nature and tense between materials and surface

Favourite artists:
Leonardo da Vinci, Raphael, from contemporary – Alberto Burri, Roberto Crippa, Edmondo Bacci, Ferruccio Bortoluzzi, Agustino Bonalumi, Hisao Domoto

Exhibitions:
2012 Budapest Dunapart Gallery
2018 Buják
2019. Debrecen city / Life Science Open Gallery

Awards:
2018 Young Generation Art Fair, Goldberger Institute of Contemporary Art

Szilard Barta for BeArte Gallery
Szilard Barta for BeArte Gallery

The intention is to have as little space as possible, with minimal and physical tension, to create the space for encounters and the unlimited flow of thoughts. Material and object art is a visual system in which the passion of scattering extends honestly and vividly to the barriers of the two-dimensional plane and communicates with what is around it.

 / Szilard Barta

Beata Piechocka: What is your main activity? Are you a fulltime artist?

Barta Silard:  Being a fulltime artist is the beginning of my goal. But at present, I work as an alpinist. I settle internet aerials powered by microwaves on radio towers.

BP: You have surprised me. The alpinism is associated with a very masculine and dangerous occupation. How did it happen that you have decided to become an artist?

BSZ:  It wasn’t a decision, it was an inner motivation. Art, as a tool of self-expression, was determined in my life earlier as well. The demand for presenting myself and my creations before a bigger audience appeared after a call for an exhibition of my early works. I wanted to show them and others wanted them to be shown.

BP: In your biography, you have written: “I’m looking for challenging boundaries in my creations. The intention is to have as little space as possible, with minimal and physical tension, to create the space for encounters and the unlimited flow of thoughts.” What have exactly you meant?”

BSZ: The aim of my „searching” is to create that origo, where the materials I have used, the surface I have made, and the observer’s attention reach the maximum concentration. Hence, the arising visual tension, in spite of the static presentation, induces energetic moments and thoughts, in this way repressing that cliche which follows every regularity. Thus it leaves room for intuitive feelings, thoughts and impacts. So it operates in space and time simultaneously without barriers.

BP: Why do you choose Painted Object as your main subject, is it because in that kind of art you can show this tension between two different materials you mentioned?

BSZ:  It wasn’t a conscious decision. It was some kind of a sense of loss which made my art to step on this way during the creation. And what I wanted to show overran the sterile „painting palette and frame’. The process of creating is an integral part of the work itself, that’s why I opened up to the approach, that the surroundings aren’t sterile, but it has to link integrally to the work – in many forms. By now, the effects of my creating environment and the attributes of the materials I use, not only means a built-in part but form the result itself.

BP: Can you also explain what exactly is the Painted Object? For me, it is an object between painting and reliefs; I also call it 3D painting. What is your definition?

BSZ: Well… maybe the best phrasing is, that full assimilation of an object, while all of its attributes are preserved in order to gain a new interpretation, thus making it whole.

BPIn principle, it’s difficult to describe your art in two words. Not only that the paintings themselves can be defined as reliefs or Painted Objects, but your art can also be defined as Recycled Art. What kind of materials do you use to create your art?

BSZ:  The materials which can be found in my environment. For the frames and bearers, I use used roofing and floorboard, the bark is always the bark of a fallen tree. I never use the bark of a living tree. Cotton, few nails, sometimes steel wire and rope. The paints are industrial oil paints, industrial glue and ground coat. Sometimes, broken slate and sand, too. Furthermore, which is blown by the wind or the sun burns into the picture during the creation.

U Series V. Flux
U Series V. Flux
Sz.Barta. U Series IX. Black Synchron
Sz.Barta. U Series IX. Black Synchron
Sz.Barta.U Series III. Yellow Synchronous
Sz.Barta.U Series III. Yellow Synchronous

BP: Is the connection with Recycled Art conscious, or did you join this ecological trend by “accident”?

BSZ:  It is an absolutely random connection. I only used what was available, thus it wasn’t a directive.

BP: But you mainly use “natural” materials. Maybe because you are alpinist and you are understanding the power of nature. So what do you think of that Eco-trend in art? Is it art or is it a craft with a noble idea?

BSZ:  I consider it the art of full value. When natural materials are used (despite appearances), it isn’t easy to be conscious and creative during the creating process. I think, its successfulness can be measured by „the more natural the better”.

BP: How are your objects created? Do you have an idea first and then you choose proper materials for it or is the opposite – the material defines the idea, composition, and result?

BSZ:  Yes, the material defines the idea, the combination, and the result. The bark is always the first. After the preparation, the size of the frame can be defined, the demanded beares, the lashing points, and the order. There are no plans for the creations, maybe I make sketches during the work, but only to define the lashing points and the amount of substance. The result can be seen only at the end of the process even for me

BP: Can you describe, step by step, the process of creating a Painted Object?

BSZ: After the studying of the found bark, I clean it, then polish it, it usually takes 2 or 3 days. Then I prepare the slats for the frame and match them. The next step is to form the bearers of the extruded surface – it takes 2 to 4 days again -, then to cut, polish and fix them. It is followed by stretching, forming, and temporary fixing of the canvas (1-2 weeks). That is the step when the bark meets the canvas and I fix them permanently. Then I form the connection of the canvas and the bark and stretch the canvas. It is followed by the proper foundation – 2-3 layers of ground base -, and painting in 2-3 layers again. Briefly, this is the procedure, but the time of the work is defined by the surface, and it is rather longer than shorter.

BP. I see it as a very hard work, where each step is logically thought through. So let’s talk a little about the colours. You use mainly primary colours. It seems the colour is not an essential part of the artwork.  Is it because you want to direct a viewer to the main subject – the tensions between two different materials? Would I be right by saying that colour is the background on which the main scene appears?

BSZ:  Actually, yes. The primary aim of the colour is to psych the observer up to the surface of the work. It is important, because this is the first thing the audience recognizes, and it dictates the focus on the main scene. After that, as visual background noise, it gives some kind of background music to the thoughts and the topic, story of the most important part, and defines the colour of the shadows generated by the lights.  To avoid giving over annoying information, I only use 1 or 2 colours, but I usually make monochrome works.

Read article about Recycled Art

Recycled Art
U Series X. Contact Point 78,5x84,5x15 Mixed Media On Extruded Canvas 2019. 2
U Series X. Contact Point
U Series IV. Resonant
U Series IV. Resonant
U series VII. Harmony
U series VII. Harmony

BP.: You create paintings in series, e.g. “U series”. There is also the “Female series”, which is very suggestive and provocative. Can you tell a bit about the idea of this series?

BSZ:  Representation of women is always a thankful topic. With my woman series, I wanted a new, directly minimalist approach about women, as a complex surface. I wanted it to be sensual, expressive, defining, and typical. That’s why I chose the triple play of leather, wood, and extruded canvas. I divided into five cycles the important life stages of women. The sensuality of the leather with the playfulness of the veins of the wood and the movement and colour of the extruded canvas. The visibility of the sex features is only presented to a required extent. I think it is expressive and fortunately, others think the same. One of the interesting things about it, that I had only a few materials during the procedure, thus I used a lot of things to make it – sewing by hand, paper strips and others.

BP: The painting from U series as e.g. “U series VIII. Feedback” seem to be very natural and “friendly” on the first glance, but object “U series VI. Infinity” is very industrial, modern and „cold”. What did you want to show with those artworks which belong to the same series, but differ so much with their impression?

BSZ:  The U series is about the connection between the natural and the artificial world. The presented materials almost become touchable. The evolved surface makes an impact on the observer, intruding in the space it cuts the annoying outer sources, thus allowing the audience to feel their own thoughts and help them to connect directly. The diversification of the U series shows that openness leads to the infinite possibility to connect to our environment and cooperate with it, which can enable us to create a better and higher world for ourselves. In this artworks, time and space melt into one picture, and while I was connecting to the forming of the surface during the creative process, now the observer can connect to it and to the creating forces, thus a connection is made which defines as a continuum.

BP: What do you consider as the destiny/purpose for Painted Objects in the ordinary home? Some people think that art is only for public spaces. Can you encourage and suggest to the potential buyers how they can present your works in their homes?

BSZ:  Well, I haven’t met this aspect so far, but in this case, we look at these works as if we bring little public spaces into our homes, were either alone, or in a company, we can connect to them and share them with each other.

BP: What do you want to tell the world with your art?

BSZ:  I don’t like explaining, since my works speak for themselves, and affect everybody, but they emphasize the importance of the actuality, significance and understanding of relationships, with our environment, ourselves and others as well. I only hope that I can manage to form something in the audience with these works.

BP: I am fully respecting your point of view. At the end of the interview, I always ask the artist about their artistic plans. What is the plan for Szilard Barta and where will the future bring him? What is he dreaming about?

BSZ:  I rely on my success, of course. The future is here, in every minute, thus I do everything I can. More intuitive, more openness, reaching and presenting the limits of the materials. It is my artistic ambition, which –  hope – can be shown before the world and will generate new cooperations, and will create a change, new artist groups, communities, and greater artworks.

BP. I must say, that it is not so often to find an artist who has such a deep and analytical approach to his/her art. I am impressed by how each stage of your work is logical and justified. I wish you, on behalf of myself and the entire BeArte team, to fulfill all your plans.

Thank you for very much for your time.

Sz.Barta. U Series VIII.Feedback
Sz.Barta. U Series VIII.Feedback
U Series. Infinity
U Series. Infinity
Recycled Art
Recycled Art Front News

What is this Recycled Art?

What we understand as real art is usually something that should evoke aesthetic feelings and emotions in us. Can we say that reused items or items often damaged and not new, or in other words – junk, can be understood as art?

Let’s start with what recycling is meaning at all? This term refers to the re-use of used materials for ecological purposes. We can say about recycling itself that it is 3R – reuse, recycle and reduce. In art, it means the use of recovered or processed objects to create a new object with the features of art.

Art and recycling started to go hand in hand in the 80’s when recycled art was allowed to enter museums and galleries. However, the idea of using worn-out objects in art is much older. Recycled Art is not a new trend, though it is still considered as avant-garde. Perhaps it is because it hardly gets into normal homes even though it is an equivalent trend in art in galleries. You can even say that Recycled Art is a symbol of our time.

Terms such as “Recycling Art, Recycl’Art, Upcycling, and even Eco-Art” are used as an alternative to the term Recycled Ar. Artists working with recycled objects, Eco-Artists, transform the existing used reality into something completely different and new. But that’s not all this art is about.

Many artists are at the heart of the biological and social future of our land and have engaged wholeheartedly in this trend. It would be right to say that Recycled Art in contemporary art has strong connotations with education. This is the case when art is supposed to not only arouse emotions but to teach and pay attention to social problems.

Recycling in art is actually the transformation of garbage into real work. Because what else can it be called than work, if the fact is that, for example; old bricks become sculptures’ legs, earring caps and plastic cups create a chandelier. All old fabrics, clothes, metal tubes, engine parts, cans, buttons, plastic waste, packaging are subjected to creative recycling.

These newly processed items are hosted in the salons as works of art and are also used in handicrafts and jewellery. There is also a lack of installations in public space, amusement parks created on the basis of recycled materials.

Eco-Artists drew attention not only to ecology but also to consumerism and the well-being of modern society. In this sense, it is also one of the fields of art that has a “practical” sense.

The creators of the Recycled Art trend have not only artistic talent but also a social activist streak.

We can say about recycling itself that it is based on the 3R – reuse, recycle and reduce.
In art, it means the use of recovered or processed objects to create a new object with the features of art.

Since when trash became an Art – A bit of History

As I have already mentioned, the idea of re-using old materials for making handicrafts is not new. Nevertheless, back then, it had a different task – cost reduction and usable goals. But what about the trash in art?

The German designer Kurt Schwitters is considered to be the precursor of the art of recycling and eco-design. In the 1920s and 1930s, he led the Merzkunst movement. He designed interiors using recovered objects. His greatest interior designs are Merzbau made in several versions.

Merzbau were huge undertakings, requiring work and time. Schwitters, a bit like Gaudi, created bizarre shapes, vaults, caves and niches inside the rooms. In addition, he filled the room with reused objects.

He claimed – in the physical and ideological sense – that Merzbau contained everything that mattered to him. Kurt gave the new objects their new “faces”. He was considered a genius, but his designs and ideas remained unintelligible at that time.

In 1908, thanks to Picasso, the first recycled painting “Le Rêve” was created. The artist created a drawing on a piece of cardboard and then attached a label to it. So he used the rubbish to create the work of art. At that time, it was extremely innovative and even shocking move.

In 1912, Picasso created “Nature morte à la chaise cannée”, for which he used the reused rope. Right now for us, the idea seems to be not bizarre, but let us remember that it was 1912 and not 2019. Who for God’s sake will make the frame using garbage instead of ordering a beautiful and solid new frame?

In 1958, the sculpture was created, as befits a hot-blooded Spanish man, it was a sculpture of a bull “Tête de taureau”, the fragments from a bicycle were used.

Kurt Schwitters,Merzbau
Kurt Schwitters,Merzbau
Picasso Paulo Le Rêve
Picasso Paulo "Le Rêve"
Pablo Picasso Nature Morte A La Chaise Canne
P.Picasso "Nature Morte A La Chaise Canne"
P.Picasso Tête De Taureau
P.Picasso Tête De Taureau

Georges Braque and Picasso refreshed the ancient Chinese collage technique (method of using photo and newspaper clippings to create full images). The collage has become a part of modern art.

With the rest, I will add that we owe the Chinese to the spread of decoupage (originally the decorative art of Siberian nomads) and, as it is well known, decoupage also uses paper, photos, and napkins for decorative purposes. Again, we are entering the Recycled Art field.

Dadaists such as Marcel Duchamp also contributed to the development of the recycling trend in art. Actually, Duchamp overtook the development of the Dadaist movement. It was Duchamp who used the term ready-made, he used objects, which he did not create and which he brought back to life giving them a different meaning, the importance of the subject of art. Of course, his most famous work is the “Fountain” from 1917. The urinal was used, of course, a ready-made object that has become a sculpture. The fountain became a symbolic caesura breaking the classical understanding of art.  An example of another ironic work of Dadaists is Man Ray’s Gift.

In the 1950s at Jean Dubuffet, he used the term “assemblages d’empreintes” for a series of collages created by using butterfly wings.

In the short term “assemblages”, began to be used in the XX and XXI centuries as art to identify three-dimensional collages made of finished objects. The work is composed of objects of various types and objects of everyday use.

Sometimes the items were specially adapted, processed. In the 1950s, the creator of “assemblages”, among others was Robert Rauschenberg, an American artist who had a huge influence on the Art of the USA after World War II.

During the studies, Robert Rauschenberg worked as a garbage collector, perhaps because of his interest in waste. He included worn-out objects in the compositions of paintings and called them spatial “combined painting”

But the stream of recycling in Art of the XX and XXI centuries had a slightly different meaning. The artists turned away from the traditional understanding of art and broke it with a provocative and ironic way. They basically moved the boundaries of what can be a work of art and made it endlessly. They put in the hands of contemporary artists the final decision about what is and what is not the work of art.

M.Duchamp's Fountain, 1917, Wikimedia
M.Duchamp's Fountain, 1917, Wikimedia
Man Ray's Gift
Man Ray's Gift
R.Rauschenberg, Riding Bikes
R.Rauschenberg, Riding Bikes

And today …

Modern art uses recycling materials for another reason. No one is fighting with the freedom of the means of artistic expression. The task of contemporary art is to pay attention to the problems of modern society. It is art in the service, not art for art, and here I see a significant difference between contemporary Recycling Art and those from the early 20th century.

What distinguishes this art, is the fact that a given thing is not the main subject in itself, but it is a component of a unique new whole.

It is also no longer art so iconoclastic as in the times of Duchamp or Picasso. Nothing shocks again. The concept of using a given object and creativity of the creator is more impressive than the material which was used by the artist. It is now not about the trash that was used to create a work of art, but rather how it was used and why.

What is more, I think that Recycled Art has moved further towards design and handicrafts.

The contemporary avant-garde of the Recycled Art trend is Yoav Kotik, an artist from Israel who creates amazing items from bottle caps. The start of the artistic path of Yoav Kotik began with the Zik Group. Artists closely associated with Bezalel academy of art and design, they were known for their performances in which they worked with used materials and called their exhibition “Utilization of space”.

Kotik, however, decided to go on an independent artistic journey and went along the way of the bottle cap. The artist gives various shapes to the caps, he polishes and combines them with precious metals.

Another famous recycling artist is Luis Teixeir. In his works, he uses, for example, worn hangers or disposable cups, vinyl records. Luis designs chandeliers. One of Teixeir’s the most interesting and well-known ideas is the commissioning of works on prisoners’ lamps. It gives these women the chance to earn money and also to learn new skills. It is a truly social activity in which art is subordinated to the good of the whole. As the noblest and more practical goal. Right?

Also, the Polish Melafor Group is very interesting. They participated in many international exhibitions, and the last collection of Recycling Art by Malafor in Milan made a real sensation. The collection was made of recovered paper sacks.

Y.Kotik Design
Y.Kotik Design
Chandelier By Luis Teixeir
Chandelier By Luis Teixeir
Malafor Collection
Malafor Collection

The Danish exhibition “Think Twice” of the Kolding School of Design and Aarhus School of Architecture students was held in Copenhagen in 2011. They showed their ideas of how recycled items can be used.

Young artists showed the possibilities of using things that we usually threw away into the rubbish without thinking. Great interest among others works by young artists were:

  • The lamp that was made of a deck of playing cards, the author of which was Anna Karnov Pedersen.
  • Biodegradable and fully recyclable stool made from scrap cardboard tubes, paper and cotton strings by Katsuhiro Kanzaki.
  • Laerke Zesach Krabbe created the “Thrown Out”, a tasty and surprisingly strong chair made of upholstered baguettes of sliced bread, which were dried and reinforced with water glass.

Recycling in Art was also noticed in the Middle East. Mrs. Salwa Nabhan, and the graphic design faculty at Sharjah Higher Colleges of Technology in Sharjah UEA, puts a lot of emphasis on the need to use recycled products in our daily lives.

She says, “Installation Art is good for the environment because it takes everyday objects and transforms them into valuable artwork. This is because using raw or new materials can be expensive and people are limited with what they can buy”.

The students of this university have already worked on the creation of new works from recovered objects such as from wood or paper materials.

Lamp With Cards By Anna Karnov Pedersen
Lamp With Cards By Anna Karnov Pedersen
Recycled Art By Sharjah Higher Collages Of Technology
Recycled Art By Sharjah Higher Collages Of Technology

Eco Artists at the BeArte Gallery

The artists who work in the field of recycling art are Dmitri Ulianov from Ukraine and Szilard Barda from Hungary. Dmitri creates amazing 3D images often using only fused plastic. His works depict famous monuments of architecture, landscapes, and abstractions. Dmitri does not even add paint to his paintings but combines a variety of plastics to create the right shapes.

See the interview with our artist

Whereas Szilard creates Painted Objects that are on the borderline between painting and relief. He uses natural materials for this, for example, a birch bark which he then combines with other material such as canvas. The artist makes a special frame. On this frame, he fixes pieces of birch and then arranges them in layers. Each layer is painted and the process continues until the final version is created. The process takes up to 4-5 weeks.

See the interview with our artist

D.Ulianov. Field Of Plastic Flowers
D.Ulianov. Field Of Plastic Flowers
Sz.Barta.U Series III. Yellow Synchronous
Sz.Barta.U Series III. Yellow Synchronous
D.Ulianov. Andriyivskyy Descent
D.Ulianov. Andriyivskyy Descent
Sz.Barta. U Series VIII.Feedback
Sz.Barta. U Series VIII.Feedback

My reflections

I will certainly expose myself to many, but for me personally, the art of recycling does not have the power of destruction as traditionally conceived art. I am probably conservative in this respect, but I think I have the right to do so.

Of course, I know that an artwork can be done with everything. However, an object ceases to be a work of art when it begins to be mass produced.

I see this trend more in the space of design and handicrafts. I am taking Recycled Art more as a movement for the benefit of the public with a practical and noble purpose.

I do not see myself furnishing my living room with shades of plastic hangers. However, I am happy to see them in the public space, eg tables with legs on wooden boxes, sunbeds made of plastic bags in parks, cafes. However, each of us decides for ourselves.

When recycled items were used for the first time and in their opinion, it was to overcome the rigid rules of art and I accepted it as works of art of historical significance. Contemporary Recycled Art goes in my personal feeling towards handicrafts and design. Mainly because all of them are easily reproducible works.

However, each of you deciding to buy this kind of art must know that it participates in a certain social mission. It is not only about having nice aesthetic objects, but it is also about being objects of educational and social importance.

It is also practical to use things that have nothing to hide here, or at least cost less. The price of old rusty pipes is lower than the price of marble. This is obviously not a criticism. I just notice different aspects of this idea.

Of course, buying a work of art from recycling items will not solve the problem of the whole Earth, but certainly, we will demonstrate our solidarity with the movement and we will help artists involved in the awareness of the role of recycling in social life.

For each of us, art using used items will have a different meaning. It may meet your interest or rejection. Certainly, however, this is an excellent proposition for modern and minimalist interiors, and for everyone who has the good of the Earth at heart and would like to manifest it.

Let’s be aware that artists or craftsmen involved in recycled artwork for the common good of the future.

MARINA MALTEZOU

Marina Maltezou

Another of our artists using recycled material in her art
M. Maltezou, Out Of Birth
M. Maltezou, Out Of Birth
M. Maltezou, Faded Dreams
M. Maltezou, Faded Dreams
Note:

The following pictures were used for not commercial purposes and only for informational and educational purposes. Sources of photos and their authors are given in links or signs under the pictures.

Sources:
http://mentalfloss.com/article/13046/11-artists-doing-amazing-things-recycled-materials
https://www.carredartistes.com/en/blog/recycling-art--n158
https: //www.ecomena.org/recycling-art/
https: //inhabitat.com/photos-danish-students-inspire-us-to-recycle-and-think-twice-at-copenhagen-design-week/
https://www.trendhunter.com/trends/plastic-hanger-chandelierhttps://extraprodukt.pl/news/Recykling_nowa_sztuka_Robia_to_inni_mozesz_i_ty.htmlhttps://www.zmieniamymiasto.pl/architektura/recykling-w-sztuce-w-twoim-mieszkaniu/https://commons.wikimedia.org/w/index.php?curid=2155549
What do you see

What do you see through your camera when you take a photograph?

I specialize in photoart, also known as photo manipulation. As I stated in an earlier article, I see myself as a storyteller. So how does that work in practice? How do I explain to people what I do to produce my artwork?

I love this quotation from Edgar Degas:

Art is not what you see, but what you make others see.

What Do You See?

What do you see when you take a photograph?

With the advent of the smartphone we all take photographs everywhere we go. Snapshots, holiday memories, family memories. Perhaps the beautiful architectural lines of a building. A beautiful blue sky reflecting in a tranquil lake. Perhaps people sitting eating at a restaurant or some beautiful countryside.

What Do I See?

I see all those things and more. Sometimes I go out with friends and they ask me what I see in a view as they love the way I can weave a story. I might see there is a pigeon on a roof looking down to the street, or a cat looking out of a window. They become part of the story of the photograph. I see a tiny yacht in the distance on the lake that gives the lake a context, people enjoy boating on that lake. I feel the warmth of the sun or the cold of the wind and try to incorporate that feeling.

Keep Warm Eating Outside
Keep Warm Eating Outside

I see the table at the restaurant before people arrive and anticipate the diners’ arrival as in this image from outside a restaurant in Copenhagen. I see a dead tree in the middle of beautiful countryside or perhaps a building decaying surrounded by beautiful wild flowers. All visions with stories to tell.

Let’s look at a couple of my pieces to give you an idea of what I see.

Glance Down An Alleyway In Cortona

Cortona in Tuscany, Italy, was the setting for the feature film ‘Under The Tuscan Sun’. High on a mountain, with fabulous views and beautiful architecture, it is not hard to see why the town was chosen.

The Excitement And Anticipation Of Creation

On a recent visit to Cortona, I was surrounded by tourists thronging to the shops, bars and restaurants. But I was interested in what was going on in the alleyways and round the dark corners. These are nearly always places of discovery.

As always when I am on a shoot, I had already started to develop a vague excitement, the beginnings of a desire to get home. To start to create on the computer the picture I had in my head when I took the photos already in my camera. By this I mean, the final images I knew I was going to create and could see clearly in my mind.

This approach actually drives me nuts but it is what it is. When I am working on a photograph I work and work and work until I see in front of me what I see in my head. Sometimes it happens really quickly and very little work is needed on the photograph. Other times I can go back to something several times per day over several days.

Deciding On Whether To Even Take A Photograph

I was pleased with what I had taken so far during my visit to Cortona. I looked down the next alleyway and it had nice lines, contrasts in brickwork and I liked the lighting. It was warm and sunny and the light brought out the lovely earthy colors.

I was deciding what and how I was going to shoot when ‘the magic moment’ happened.

Walking The Dog In Cortona
Walking The Dog In Cortona

A man in an orange jacket came out of a doorway with dogs on a lead. And suddenly the image took life, it had a story! My pulse quickened and I had to slow my breathing and work really fast to take a shot before he moved. I knew it would be good and I was excited to start work on the photo.

Other people had stopped to see what I was photographing and all walked on without lifting their cameras. They couldn’t see what I could see, a visual story in the making. Looking at my final image now, what do you see?

Another Chance Glance

The second example is from Lewes in the UK. I was on a shopping trip with my Mum but had my camera with me as always. As I walked down the high street I happened to glance through an open gate and bammm! That magic happened again.

The Secret Courtyard
The Secret Courtyard

Here was a story waiting to be told. This time a secret courtyard was waiting to be discovered, full of magic and mystery. The nice thing about this image is that when it is on a plain wall it actually looks like you are looking through a window to the scene beyond.

So what do you see when you look through your camera? Let your imagination see the view.

Mulatto 35х30см, MDF,oil. Tatyana Mironova at BeArte Gallery. Winner" of Russian Art Week 2018

Interview with Tatyana Mironova

Artist – Tatyana Mironova
Country – Russia, Smolensk
Born – 1978
Education – High education  – University of Arts
Main Theme – portraits, animals and birds
Main Art Subject – paintings and bas-reliefs
Inspired by – wildlife, human, “holy element”
Favourite artists – Leonardo da Vinci, Raphael, from contemporary – Fred Wessel, Koo Schadler, Loetita Pilaut, Richard Clifton, Slava Fokk and others
Awards
2008 – was awarded a letter of appreciation from the Smolensk City Council for the creation of highly artistic paintings – winner at the exhibition of young artists
2018 — winner in the international exhibition «Russian Art Week», portrait genre, category “Professional”, Moscow
Tatyana Mironova for BeArte Gallery
Tatyana Mironova for BeArte Gallery
In modern art, there are directions that are just not interesting to me. For example, abstractionism.
In my artwork, I follow the rules – good drawing, composition, necessary contrasts.
Mulatto 35х30см, MDF,oil. Tatyana Mironova at BeArte Gallery. Winner" of Russian Art Week 2018
Mulatto 35х30см, MDF,oil. Tatyana Mironova at BeArte Gallery. Winner" of Russian Art Week 2018

Beata Piechocka: What was the beginning of Tatyana as an artist?

Tatyana Mironova: Like many children, I began to draw in early childhood and painted mostly people: I understood that I have to paint to have a beautiful image in the end. I really enjoyed looking at the smallest details of painting on wooden toys for a long time. I have this attention to details in painting now. It can be said that in painting the image of a person, a bird or an animal, the process consists of these small details: from small things a large one is born. I grew up in a natural environment in a big house and loved to watch sunsets and sunrises, young leaves of trees in spring, and snow-white fields in winter. Perhaps then I felt the power of colour and contrast. In my grandmother’s house, I really liked to look at the reproduction of the painting “The Unknown” by the famous Russian artist Kramskoy, I liked the beautiful contrasts and the face of the woman painted in the picture. Subsequently, this work inspired the creation of a self-portrait “Harmony in Black”, which participated in the All-Russian, then the international exhibition of portraits in the Erarta Museum (St. Petersburg) and was sold.

BP: Looking at your paintings, it is difficult to avoid the impression that you are very inspired by the art of the Early and Late Renaissance and the Russian icon. Where does this connection come from?

TM: My main subject in the painting is portraits. And, of course, I admired the masterpieces of Leonardo da Vinci, Raphael, copied their works. It is believed that the realistic image of a person was the main goal of the artists of the Early Renaissance. But these great creators have achieved more, reflecting the inner world of man in their paintings. When I look at old Russian icons, I understand that they are spiritualized, forcing the viewer to start a dialogue with himself, to become better. Religious scenes are also in the paintings of Renaissance artists and of course in the portraits, the artist must reflect the soul of man, his inner world. I always remember this when I paint a portrait.

BP. In your biography, you pointed out contemporary artists like Fred Wessel, Koo Schadler, Loetita Pilaut, and Richard Clifton. All of them derive a handful of the achievements in art by presenting it in a new modern version. Maybe except Richard Clifton who rather inspired you about the subject. For what reason do you think old art can be so appealing?

TM: Yes, many contemporary artists are interesting to me. Basically, those who know how to synthesize the aesthetics of classicism and modern art. Very interesting are those artworks where I see the synthesis of genres. For example, a realistic classic portrait of a person on a gold (or decorative) background, possibly with elements of abstraction. Thus, realistic art appears in a more modern context.

BP. In modern times it is difficult to indicate one leading direction of art, basically, everything is allowed. How do you feel with such freedom as an artist? Does the lack of rules in art bother or help you in your artistic work?

TM: In my opinion in modern art there are directions that are just not interesting to me. For example, abstractionism. In my artwork, I follow the rules – good drawing, composition, necessary contrasts.

BP. If you had to choose the direction of the art that is closest to you, what would it be?

TM: Realism, animalism, symbolism. These are the directions of art that are closest to me when the artist influences the feelings and mind of the viewer and expresses the joy of life.

BP. What kind of technique do you use in your painting?

TM: I paint with acrylic and oil paints on canvas or wood (MDF panels). I also use gold and silver leaf in my work, this is one of my favorite materials that give originality to my artworks, and this is a very important moment for the success of the artist, something that distinguishes him from other artists.

BP. What motivates you to paint?

TM: For me, art is life. Without it, life is boring and uninteresting, I understand that painting develops my mind, taste, sense of beauty. Often, the picture begins with the idea of a combination of colour, then I think about composition, and the patience and work. And, of course, I am glad that I found my viewer who loves and understands what I am doing.

The Little Red Riding Hood by Tatyana Mironova at BeArte Gallery
Little Red Riding Hood by Tatyana Mironova at BeArte Gallery
Self Portrait in Red by Tatyana Mironova at BeArte Gallery
Self Portrait in Red by Tatyana Mironova at BeArte Gallery

BP. In 2018 you became a winner of the international exhibition “Russian Art Week” in Moscow in the category of “Professional” in the portrait genre. The painting which was rewarded is “Mulatto from series of portraits the “Faces”. What do you think has determined your win?

TM: The picture “Mulatto” is a small but original work, which participated in the nomination “Synthesis of genres”.  A young black woman on the background of gold leaf – really original and creates a beautiful contrast. In addition, there is a feeling of luxury, chic.

BP. “Mulatto” reminds me of the coffin portraits from Fayum in Egypt. So, all this together: the icons, the Byzantine golden background contains the element of Greek art after Christ. What do you think about my connotation?

TM: Yes, this picture is really similar to Fayum portraits in colour, gold leaf is also often used in iconography. If in portraiture a gold background is applied, then it emphasizes the divine origin of man, reminds us that each has his own mission on earth.

BP. When I look at golden backgrounds and deep, spiritual eyes on your portraits I have the impression that you are the heir of the idea of a “holy” element in each of the paintings you’ve created. Is that what your artworks are about, about this divine element?

TM: In portraiture, the psychological component is very important, the image and the viewer interact. It takes time, effort, the skill of the artist in order to really create a living portrait. I think that the portrait is good if it contains the idea of the “holy” element.

BP. When you are painting portraits, what do you pay the most attention to?

TM: In portrait painting, as in any painting, good drawing and composition are very important, but what is always difficult is that the artist must reflect the soul of a person, his image

BP. In addition to portraits, you also create icons. Do you copy ideas or involve your own interpretation?

TM: There was a period in my creative activity when I was looking for my own way, so I experimented a lot with different styles, techniques, materials. I was always interested in icon painting, especially ancient icons. I studied the technology of icon painting with egg tempera on a plank of wood, as icon painters of the distant past did. Canonicity is the main feature of an icon, of course, it is an exact copy of the image from which a new icon is being drawn. I made several icons to order, but I came to the conclusion that I was more attracted by realistic oil or acrylic painting.

BP. You also paint icons, they are very popular In Russia. What do you think about why they are so popular?

TM: Icons are really very popular in Russia, as this is our history, culture, often it is a family value: parents pass the icons to their children. It is believed that icons protect the house from evil forces and have contact with saints and God.

Paired In Life By Tatyana Mironova At BeArte Gallery
Paired In Life By Tatyana Mironova At BeArte Gallery
African Bird By Tatyana Mironova At BeArte Gallery
African Bird By Tatyana Mironova At BeArte Gallery
Blue Birds By Tatyana Mironova At BeArte Gallery
Blue Birds By Tatyana Mironova At BeArte Gallery

BP. In addition to painting, you also create reliefs. This is quite a non-typical area of activity. Most often, it is associated with stucco and plaster that is used in palaces. Why did you choose such a niche as part of your artistic path?

TM: I studied the technology of creating a gypsum panel on wood (MDF panels) and in this way my artworks are really original wall decor. The bas-reliefs attract me by the fact that there are much fewer competitors here compared to painting.  Also, the works are very stylish and beautiful, people like it, and many have already found their buyers in Western Europe and the USA.

BP. What application would you suggest for reliefs for the ordinary interiors?

TM: I believe that the bas-reliefs are perfect for the popular and romantic style of Chebbi Chic with its light pastel colours. But for ordinary interiors, the bas-relief panels are also suitable, giving them originality. All my bas-reliefs are ready for hanging, they can be used as a panel or framed. Fine will also look a few bas-reliefs on the wall in one row.

BP. I know that you create reliefs in your own unique technique. Can you tell us a bit more about the work you go through while creating a relief?

TM: The process of creating a bas-relief begins with the preparation of the base – a wooden board, on which I apply a layer of acrylic glue impregnation. Then, after drying this base, I make a mixture of high-strength glue and plaster and place bas-relief elements in it — flowers, leaves in a beautiful composition. I prepare gypsum flowers and leaves for work separately.

BP. This sounds very complicated and time-consuming work. Which of the stages of creating a relief is the most difficult?

TM: The greatest difficulty is the creation of a successful composition of the bas-relief and its elements – flowers and leaves.

Flower Composition With Orchids. T.Mironova At BeArte Gallery
Flower Composition With Orchids. T.Mironova At BeArte Gallery
Flower Bas Relief With Orchids. T.Mironova At BeArte Gallery
Bas Relief With Orchids. T.Mironova At BeArte Gallery
Flowers By Tatyana Mironova At BeArte Gallery
Flowers By Tatyana Mironova At BeArte Gallery

BP. What do you want to express through your art?

TM: It is very important for an artist to define his mission, to choose his own way. In my work, I focus on the portrait. Through my art I want to express a simple idea -it’s good to be a man who understands his high destiny in this earthly life. I often study exotic faces, national costumes, ethnic jewellery belonging to women from different parts of the world.  In my series of paintings “Faces” images of people of different nations and races will be painted. So, viewers see that every nation has its own beauty, an interesting history, and this unites us all.

BP. Can you share with our readers your nearest artistic plans?

TM: This summer I take part in the international exhibition, in the world-famous project “Geysers of the Subconscious” in Moscow. And, of course, I will continue to work on the series of paintings “Faces”.

BP. Tanya, we wish you successes in this exhibition and on many others. We are also waiting for more of your beautiful artworks.  Thank you for time and the interview.

Tatyana Mironova with her artwork
Tatyana Mironova with her artwork
Auction online at BeArte Gallery
Backside (Seaside)
New German Pop Art

Pop Art is, as most would say, a reaction to overly abstract art, whether pop art is rather trivial, even naive. It is not a surprise that pop art came from the English, predominantly American cultural space. Susanne Boehm accepted it as it is, and involved new-teutonic lightness in her artistic touch. Consequently, this art does not demand absolute reality, as well as no clear inviolable purity of the elements.

Susanne Boehm is the protagonist of the “New German Pop Art”. In her exhibition “Power Pop”, that was held in the Galerie im Schloss (Hemsbach, Germany), Susanne was inspired by her own world. In her works, she displayed “a lot of power”. Power in every respect: Powerful colors, Original patterns, Novel painting technique. And empty faces. In a way, a trademark, because, as the curator quotes the artist, these spaces invite the viewer to complete the scene themselves. Despite such self-assured demarcation from the overseas tradition, Susanne Boehm remains true to the nature of Pop Art: her motives are taken from the banal everyday culture, the Zeitgeist (is a concept from 18th- to 19th-century German philosophy, translated as “spirit of the age” or “spirit of the times”), also the mass media, from the daily newspapers to the news from Internet. So her artworks remain almost photorealistic and are figurative because of their flatness, they are very recognizable because of what they represent.

Susanne Boehm

Susanne Boehm "Power Pop" Exhibition
at "Power Pop" Exhibition
"Bar" Susanne Boehm
"Bar" by Susanne Boehm

"Backside (Seaside)"

Backside (Seaside)
by Susanne Boehm

"Summertime"

Summertime
by Susanne Boehm

Of course Susanne plays with the elements of Pop Art, with clear primary colors, reduced to the essentials and always rich in contrasts to the pain threshold. Dr. Paul Weskamp, who introduced the exhibition and has long accompanied Susanne Boehm on her artistic journey, also recognized that she could let off steam in her desire for bright colors on sharply defined surfaces.

Formally, the painter is interested in aesthetic motives, in the content of the rather small absurdities of everyday life, to which she approaches in a playful, sometimes profoundly ironic and slightly provocative manner.

Let’s have a look at the perfectly displayed mental depth that is performed in the “Backside (Seaside)” artwork. The large-format work shows the rear view of an older couple, who are united in understanding, harmony and depressing indifference at the same time, in grief and pain, perhaps on the last day of the holiday with a resigned view of the deep blue sea.

The similar scene we see on the “Summertime” painting. This time, two elderly women admire the view of the water, somewhere at the beach. The color scheme is bright and cheerful, seems like everything is obvious and on the surface, but true emotions that are hidden in these faceless figures are deeper. Looking at someone from the back you can hardly recognize what he or she is thinking about. That’s why it is a key point of the artwork, with no face the figure and surrounding world can tell much more than shown emotions on the face. People are anonymous in their grief, happiness or strangeness.

"Beach Life"

Beach Life
by Susanne Boehm

In “Beach Life” Susanne Boehm uses an interesting trick, the story is told from a bird’s eye view combined with a detailed piece where the anonymous here is shown. The artwork is the pure joy of life. Susanne uses minimalistic and clear forms. With her mastery, she is able to create and convey to the viewer the full picture of summer in one artwork.

To conclude it would important to say that Pop Art nowadays has much more layers. And even though, it was not taken seriously when it emerged, nowadays artworks in Pop style can stand both for ease, simplicity and for deep meanings with multilayering.

The article was created by Susanne Boehm. To start your acquaintance with the wonderful world of Pop Art, we welcome you to review the profile and fantastic artworks of the artist.

Make An Offer 2
Warsaw Mermaid On Powiśle

The history of the Warsaw Mermaid by Pablo Picasso

Portrait De Picasso, 1908
Portrait De Picasso, 1908

Born: 25 October 1881, Malaga, Spain

Died: 8 April 1973  in aged 91, Mougins, France

Name: Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso

Educated: Real Academia de Bellas Artes de San Fernando and by father José Ruiz y Blasco.

Art Movement: Cubism, Surrealism

The fact that Picasso visited Poland in 1948 is not so well known. The goal of this visit was Wrocław where the First World Congress of Intellectuals in Defense of Peace took place. The noble idea of the event, though devoid of any real meaning, was supposed to be for a protest of the elites against the political division of the world. The Congress, organized under the favour of Stalin, was supposed to fulfil mainly propaganda goals. He was agitating against the capitalist West.

Picasso was invited to this congress as a member of the French Communist Party.  As Teodor Toepliz wrote about Picasso and revolution: “Like millions of people in Europe, Picasso treated the end of the war as openness to intellectual development, cheerfulness, and joy. He expressed his faith in progress, justice and in the liberating power of cognition by joining the Communist Party”

Picasso himself commented on his accession to the KPF with a laconic printed declaration: “My accession to the Communist Party is a logical consequence of my whole life, my entire work. I can proudly say that I have never considered art as a pleasurable lifestyle, as entertainment. With the help of drawing and colour, I wanted, since it was my weapon, to keep moving forward in the knowledge of life and people, in order to liberate us every day with this knowledge. In my own way, I tried to say, what I think is the truest, most justified, the best and what has always been the most beautiful – the greatest artists know it well.”

Initially, Picasso was not eager for doing this trip. First, he had never flown before. He did not like travelling or leaving France. He did not have a passport. The courtesy of representatives of the Polish government was quite big, for instance, they promised medals made with his picture. In the end, he made the decision to travel. Maybe he also agreed, because he was promised accommodation in the most luxurious hotel – Bristol, or because the Polish government has prepared a private plane for the artist – the Soviet painted green Li-2.

Lisunov Li 2 Soviet AF Monino
Lisunov Li 2 Soviet AF Monino 1994
First World Congress Of Intellectuals In Defense Of Peace In Wroclaw
First World Congress Of Intellectuals In Defense Of Peace In Wroclaw
Pablo Picasso Stanislaw Lorenz In MNWarsaw
Pablo Picasso Stanislaw Lorenz In MNWarsaw
Pablo Picasso and poet Paul Eluard decorated with the Commander's Cross with the Star of the Order of Polonia Restituta
Pablo Picasso and poet Paul Eluard decorated with Commander's Cross with the Star of the Order of Polonia Restituta

For the organizers of the Peace Congress, the participation of a person like Picasso was of great propaganda importance. It is no wonder that they had a huge pressure on their heads so such a huge artist could appear at the Congress. Picasso was a living legend. For the organizers of the Peace Congress in Wroclaw, the artist was like the icing on the cake among other prominent figures invited to participate.

Among them were such celebrities of those times like:

Joliot-Curie (daughter of Maria Skłodowska-Curie), Paul Éluard and Fernand Leger, Sartre, Bertrand Russell, and Julien Huxley, Louise Aragon, dean of Canterbury Hewlett Johnson, Roger Vaillant. At the Congress, Picasso read resolutions regarding the poet and communist activist Pablo Neruda, imprisoned in Chile. Because of the arrest, the poet did not appear in Wrocław. According to the rumour, Picasso was accepted with such popularity in Warsaw that the offended and jealous Ferdinand Leger left Wrocław before the end of the Congress. In the French party, Leger was older than Picasso and he was offended by all the splendour that fell on Picasso. Artist was to stay in Poland for 3 days, in fact, his stay was extended to 2 weeks. He and accompanying writer Paul Eluard were taken to Krakow, Oświęcim, and Warsaw. Several accounts from this period tell us that Picasso was very interested in the situation of the country he knew mainly nothing about and in people he met.

Among other things, he received a distinction from the hands of Bronisław Bierut, the communist president of Poland. It was the Commander’s Cross with the Star of the Order of Polonia Restituta.

Osiedle Na Kole
Osiedle Na Kole in 1947
Osiedle Przy Pruszkowskiej. Photo Odkrywca Warszawy.
Housing estate at Pruszkowska Str. was built in 1931. Photo by OdkrywcaWarszawy.
House on Sitnika.str. 1. Photo by AniaiJurek
House on Sitnika.str. 1. Photo by AniaiJurek

However, Picasso himself donated to the National Museum in Warsaw a collection of ceramic plates made and painted by him.

His companions in Warsaw were the married couple of architects Helena and Szymon Syrkus. Privately, Syrkus’ were friends with Picasso. Those who were deeply interested in French architecture had many common topics with Picasso. Helena and her husband were members of the Polish section of Congrés Internationaux d`Architecture Moderne. In particular, Szymon was an enthusiast of Le Corbusier’s architecture. Both pursued their leftist social views by designing functional housing estates for the working class.

Among other things, in the years 1931-1935, they implemented a modern housing estate on Rakowiec at Pruszkowska St. in Warsaw. Personally, as a child, I was fortunate to live in one of these blocks with my parents.  I can honestly confirm that these apartments, although small, were very functional.

Syrkus couple used system solutions with the use of fixed segments of the kitchen and bathroom, which was an extremely innovative solution for those times. After the war, the Syrkus designed their greatest achievement – a housing estate in one of the districts of Warsaw – “Osiedle na Kole”.

In addition to the segment solutions, innovative technologies were also used, such as the construction of external walls made of foam concrete blocks, and a ready-made concrete face layer was used. The layout of the greenery was also designed. The construction began in 1947. In 1992, the estate was entered into the register of monuments.

Exactly this housing estate, the “Osiedle na Kole”,  been still under construction, on September 3-rd in 1948, was visited by Picasso and Paul Eluard. Helena Syrkus wrote in her memoirs that when Picasso visited their architect studio, he saw the plans of the  Osiedle na Kole and asked them to show it to him.

Warsaw Mermaid In Old City
Warsaw Mermaid In Old City
Mermaid by Picasso
Mermaid by Picasso
Warsaw Mermaid On Powiśle
Warsaw Mermaid On Powiśle in Warsaw

Apparently, he was delighted with the functionality and the idea of building recycling he liked the most. The debris from war damage was used for reconstruction. The almost completely destroyed Warsaw was raised from the ashes. New, modern ones buildings were erected in place of old buildings. After the housing estate was led by artists Picasso and Eluard, the architect, Halina Pągowska-Czyżyńska, was leading the construction project according to the Syrkus project.

In her memoirs, she wrote that Picasso was very interested in the technical issues of construction. He even wanted to sign up for the memorial book, but there wasn’t one on the construction site. He decided, however, that he would leave something from himself.

Picasso even wanted to draw something for Halina, but she did not want to bother the artist. She asked only for an autograph. A moment later, Picasso entered one of the tiny apartments of the estate and drew with charcoal a Warsaw mermaid on the wall of the kitchen niche. The Mermaid with a sword and shield is the coat of Warsaw. After finishing drawing Picasso said: Pour Vous Madame (For you Madame).

The drawing stretched almost from the ceiling to the floor, was measured like 180 by 170 cm. Known for his pacifist ideas, the artist did not want to draw a traditional sword, which the mermaid holds in her hand. He wondered what else it might be, so Helena would propose a trowel as a symbol of the construction and the workers’ movement. Unfortunately, she did not know how to say trowel is in French, so she came up with the idea to draw a hammer. And that’s how a mermaid with a hammer came into life, mermaid having a shield with the sun, a prominent bust, and supposedly a face of Halina.

As later remembered Helena Syrkus, who was not present when drawing the mermaid:

– If only he would ask us where to place his wonderful signature! We would certainly advise him a large entrance hall, where his drawing would be viewed daily by all residents and where shows could be organized. You could even fix it, even glaze the entire wall. And so …

Auction online at BeArte Gallery
Woman In An Armchair No.1 (The Polish Cloak) 1949 By Pablo Picasso
Woman In An Armchair No.1 (The Polish Cloak) 1949 By Pablo Picasso

After Picasso’s departure, people were wondering who to give away the apartment with, or indeed the work of a living legend. As a result of Picasso’s stays in Poland, there was, among others, the image of the “Woman in a Chair or at the “Woman in a Polish Cloak”. Picasso, fascinated by Polish folklore, to his girlfriend François Gilot bought in Krakov a sheepskin coat with folk motifs and then portrayed her in them. To mention more, he sent a number of prints to the National Museum in Warsaw.

Finally, flat No. 28 at the street Deotymy 48 (at present, J. Sitnik Street) was assigned to Franciszka Sawicka-Prószyńska. She lived there with her husband, who was ill after returning from the Nazi concentration camp. Because Franciszka worked in a community center, she was taught on how to take care of the Picasso mermaid. Tenants were proud of acknowledging their mission and opened the apartment doors to hundreds of visitors.

For them, it was a kind of social mission. At first, Mrs. Franciszka was proud of the task entrusted to her, she even made a guest book and asked the visitors to sign in it. In short, however, she got the prose of life. The interested people were lining up from 7 am and the number of visitors during the day could reach up to 400 people. Individuals, people from all over Poland, domestic and foreign delegations, working-class people, school trips. Apparently, even Bierut came to see the mermaid. Franciszka was so tired of the situation that she began to cover the mermaid with a rug or curtain so that she could rest for a moment.

According to Franciszka, it looked like this:

“In the winter time, visits were bringing mud to me, in the summer debris and dust from the ever-growing housing estate … I did not have the right to paint, renovate the apartment, which had black walls after five years … Do I like Picasso art, I do not like such questions. What was on the wall was not one of the masterpieces. Finally, my husband and I tried to not look at the mermaid, but it was difficult, because the mermaid, was on the whole wall. So we hung the curtain to at least for a day to have a normal room … The rebellion in me gradually increased… I decided to go to somebody, to do at least something about it…”

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Franciszka also was writing a letter after the letter to the administration of the community with a request to transfer the Picasso’s work. The numerous commissions to decide how to move the work of Picasso was gathered but they did not bring any results. So Franciszka continued writing, this time with a request for permission to paint. In an application from 1952, she wrote to the administration mentioning that author is Picasso. After about six months, the answer came with permission to renew the flat and paint over the mermaid.

In August 1952, the renovation brigade entered the apartment. And as Franciszka continued telling us: “…painters came. They spread their ladders. One took a wall with Picasso. “Damn! – said the painter – who did this to you, my brother-in-law could paint it better!!”. And splashed the paint. That’s how there was no longer the mermaid by Picasso.

You can say that back then, the drawing of the famous artist has lost its life because of the ineptitude and stupidity of administration. Due to the impossibility of moving the drawing, there where other possible options to save the mermaid, such as organizing a Picasso’s museum in Warsaw and move the tenants to another flat. The mermaid would certainly be an additional attraction in Warsaw. It is also known that Picasso painted the second mermaid while being in Poland. This time a lot more modest. It happened during a solemn dinner at the President of the city, Stanisław Tołwiński. His wife asked Picasso to enter the family album and draw something.  The artist drew a mermaid with dimensions of 21 cm x 29 cm. Unfortunately, this mermaid also went missing with the album. It is being sought for by the National Museum in Warsaw. I keep my fingers crossed for success

“Bouilloire et fruits” by Cezanne
Courtesy of Christie’s
Courtesy of Christie’s

Criminal affair from the past and “Bouilloire et fruits” by Cezanne that was sold for $ 59.3 million.

Monday, May 13, New York’s Christie auction house had significant reasons for satisfaction.

Paul Cezanne’s “Bouilloire et fruits”, valued at USD 40 million, was finally sold for an impressive sum of nearly USD 60 million. It was one of several paintings belonging to the media magnate S.I. Newhouse Jr. deceased in 2017.

You might say that “Bouilloire et fruits” deserves this price and deserves to gain fame again. But not everyone remembers that decades ago the painting was a part of a crime story that began in 1978 and which finally ended in 2008.

The history of this painting can be a perfect topic for a screenplay and from what I know it happened.

The beginning of the story begins from the moment Cezanne or his son sold the painting. The buyer was a collector Baron Denys Cochin, a French writer who became famous for the purchase of several French works of Impressionists. During Cezanne’s lifetime, Cochin bought and sold many of his paintings.

Cezanne Bouilloire Et Fruits
Paul Cézanne, Bouilloire et fruits, 1888–90. Courtesy of Christie’s.

In 1902, the “Bouilloire et fruits” was sold to Paul Durand-Ruel. Ruel is considered one of the first contemporary art dealers who also dealt with financial support for artists. There are speculations that Cochin and Ruel collaborated and speculated in the art trade. Then the painting came into the hands of the Cassirer family. For a time, it was on the deposit of Gemeentemuseum, The Hague, and the Municipal Art Gallery, Johannesburg.

The story has gone on and around 1952, the artwork was sold to the German art dealer Justin Thannhauser. After ten years, “Bouilloire et fruits” was in the possession by American collectors Dr.Harry and Ruth Bakwin. The Bawkin’s were doctors who created one of the best private post-war collections in New York. The collection was inherited by Michael Bakwin and this is where our proper story begins.

It was in 1978, during the celebration of the Remembrance Day, M.Bakwin and his wife left the estate for a short time. After returning, it turns out that they fell victims of the burglary and from their collection disappeared the 7 best paintings including our “hero” the “Bouilloire et fruits”.

Decades and involvement of several countries needed before the theft was resolved. Both a lawyer and a criminal had their participation in it. As it was mentioned in the beginning – a ready topic for the script.

The owners of “Bouilloire et fruits”.

  • Baron Denys Cochin, Paris.
  • Galerie Durand-Ruel et Cie., Paris (acquired from the above, 11 March 1902).
  • Paul Cassirer, Berlin (acquired from the above, 5 February 1903).
  • Hugo Cassirer, Berlin (acquired from the above).
  • Lotte Cassirer-Fürstenberg, Berlin (by descent from the above by 1933; on deposit at the Gemeentemuseum, The Hague, from 1933 and until 1939; then on extended loan to the Municipal Art Gallery, Johannesburg, circa 1939-1952).
  • Justin K. Thannhauser, New York (acquired from the above, 1952).
  • Harry and Ruth Bakwin, New York (by 1955).
  • Michael Bakwin, Stockbridge, Massachusetts (by descent from the above; stolen in May
  • 1978 and recovered in 1999); sale, Sotheby’s, London, 7 December 1999, lot 31. Acquired at the above sale by the present owner.

Source: Alain.R.Tuorg

Auctions

The case regained momentum after 20 years when the unidentified owner wanted to put 7 paintings at the London auction. Photos of the paintings planned for the auction aroused interest in the Art Loss Register which was dealing with the recovery of stolen artworks.

It was confirmed that the photos depict seven paintings stolen in 1978. M.Bakwin authorized the Art Loss Register agency to take action to recover the collection.

However, it was not easy. First of all, it was impossible to determine who is the current owner of the stolen works.

All negotiations were conducted with the help of a Swiss lawyer representing an unidentified holder.

The place of storage of artworks was also unknown. To prolonged activities, that did not bring results, was added also the people’s fear, that contact with the owner of the paintings was broken.

The Swiss lawyer, on behalf of the unknown owner, made several proposals to Bakwin, which were to be a condition for returning the artworks. He offered artworks for a refund of $ 15 million. The next offer was that Bakwin has to pay 10-15% of paintings value or $ 1 million.

Time passed, the stolen collector was losing his hope to recover the collection more and more. Finally, Art Loss Register advised Bakwin to demand the return of at least Cezanne’s painting, the most valuable in this collection, for transferring ownership of the other six paintings to the unidentified holder.

After informing the FBI and the Swiss police about the situation, Bakwin, fearing the loss of everything, finally but reluctantly agreed.

At the same time, the Art Loss Register has set the conditions for the holder of the paintings. He had to submit a written statement in the presence of his lawyer that he was not involved in the theft of the artwork, that he had acquired them in goodwill. The sealed document was to be deposited in a public institution.

Paul Cezanne 1861
Paul Cezanne 1861

In 1999 the deal was finally closed. The Swiss lawyer and the representative of the Art Loss Register met and exchanged Cezanne’s painting for the proprietorship of the remaining 6 paintings. The originality of Cezanne’s work of art had been confirmed by two impartial and invited experts. The illegal holder still did not want to reveal himself and the ownership of the paintings was transferred to a newly established Panama company called Erie International Trading Company, Inc.

In the same year, M.Bakwin decided to sell Cezanne, and it was bought by a press magnate and collector S.I. Newhouse for 29.5 million USD. However, the story does not end yet.

The case of the remaining paintings came to life again when in 2005 part of the collection popped up at the Sotheby’s auction. Again, the Art Loss Register was involved in the case, and again M. Bakwin tried to regain his right to the ownership of the paintings with the help of English lawyers.

In the English court, a case was brought to the attention of the Sotheby’s and Erie International Trading Company. It must be emphasized that Sotheby’s was a party to this case only because of the possession of collection. It was obvious that Sotheby’s had nothing to do with the illicit acquisition of works of art.

At the same time, Erie Company founded the case in Geneva, as in the case regarding the ownership of the artworks mentioned in the contract, it was subject to Swiss jurisdiction.

In the English court, M. Bakwin tried to prove he was forced to transfer the ownership to Erie International Trading Company and the whole proposal was a forced situation. However, in the court in Geneva, the Erie Company has proved that their company is in legal possession of the paintings.

Soon, the English court took the side of M. Botwin’s lawyers. Thus, representatives of the Erie company to save the situation tried to reach the owner of the paintings.

The company came across a trace of Robert Mardirosian, a criminal lawyer who was supposed to represent the real thief. At the same time, the Art Loss Register established the connection between the creation of Erie Trading Company and Mardirosian. This could indicate that the robber was Robert Mardirosian.

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Des Pommes Et Une Poire
Des Pommes Et Une Poire. B.Krajewska
Piknik
Picnic. J.Szumska
Stilllifewithlemon
Still life with lemon.C. Fertey-Green
Flowers in Pastel Colors Gallery Bearte A.Rogowska
Flowers in pastel. A Rogowska
Bouquet. C. Christine Fertey-Green
Bouquet. C. Christine Fertey-Green

In order to get proof of whether Mardirosian is actually the unidentified owner of the paintings, the Art Loss Register reached for the case of the sealed document which was in deposit in London. By the court order, the document was opened.

The two signatures, one the statement and one from Mardirosian, were compared and confirmed to be identical. This was evidence that Mardirosian was involved in the theft of collection from the beginning.

Robert Mardirosian hired a lawyer who tried to prove that he received the paintings from criminal David T. Colvin. At the same time, Mardirosian has made public that David Colvin really stands behind the theft of works of art. Robert also involved a lawyer who tried to prove the veracity of his version.

Mardirosian claimed that the paintings were in his office thanks to David Colvin, who left them during one of the visits. Colvin was a Mardirosian’s client accused in a criminal case. He was on his way to Florida, and since he had nowhere to stay, Mardirosian offered him a place to stay for one night. In the morning, David Colvin disappeared and left the artworks.

The investigation indicated that the paintings had been in Mardirosian’s possession for over 20 years. Robert Mardirosian first moved them from Massachusets to the Swiss bank and then tried to sell at an auction in London. David Colvin could not confirm the Mardirosian version because he was shot in 1978 for a poker debt of $ 1,500.

Mardirosian was arrested by the FBI and finally, he the lawyer who possessed the happiness of the stolen paintings was sentenced to 7 years in prison in 2008.  Is reported by the FBI on its pages: “In November of 2008, retired Massachusetts attorney ROBERT R. MARDIROSIAN, of Falmouth, was sentenced to prison on August 18, 2008, for possession of stolen goods. The case of Stockbridge home in Massachusetts history.

In February 2007, finally, Michael Bakwin regained the remaining six paintings by means of court decisions.

Additionally, Bakwin in 2011 won a $3 million in a civil judgment against Robert M. Mardirosian.

As wrote John M. Guilfoil in boston.com: Michael Collora, the lawyer of Mr Bakwin said “I think the civil jury here has sent a strong message to those dealing in stolen art that there will be a price to pay for that activity’’.

Collora said Bakwin, who is now in his late 70s, finally feels that the story has concluded.

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Sources used when writing the article:

  • Paul Cezanne. Życie i Twórczość. Maria Teresa Benedetti. Arkady. 1998
  • http://www.alaintruong.com/archives/2019/05/10/37326883.html
  • http://www.artloss.com/case-studies/cezannes-bouilloire-et-fruitshttps:/
  • www.businesstimes.com.sg/keywords/bouilloire-et-fruits-pitcher-and-fruithttps:/
  • www.christies.com/features/Masterpieces-from-The-Collection-of-SI-Newhouse-9761-3.aspx?sc_lang=enhttp:/
  • www.alaintruong.com/archives/2019/05/10/37326883.html
  • www.ifrancja.fr/iportal/twarze-cezannea-paryski-dziennik/
  • http://ow.ly/Ae8T30oPGE7

Photography and illustrations: images used for this article have been placed for non-commercial purposes and only for informational and educational purposes. Photographs contain information about the source or links to the source.

From Devils Dyke by Philip Tyler
Philip Tyler
Philip Tyler self-portrait

Philip Tyler is an English artist and teacher of visual research and colour theory, who in one of his interviews said about himself: “I draw, paint, make prints and work digitally as well as take photographs”.

He has a track record of exhibiting work both nationally and internationally since the mid 1980s and his work has exhibited in The Ruth Borchard Self portrait prize,  ING Discerning Eye, Royal Institute of Oil Painters, The Lynn Painter-Stainers prize, The Garrick Milne Prize, The Royal Overseas league, East, The National Open and the Whitworth young contemporary’s competitions.

His work is in both public and private collections in this country as well as in America Australia Finland Hong Kong and Sweden, including Brighton Museum and Art Gallery, Peterborough Museum as well as being collected by Brian Sewell

Campanent by Philip Tyler
Campanent by Philip Tyler

Since May, Philip Tyler has been a member of the BeArte Gallery and together with other English artists has been presenting his landscapes on canvas.

What is most amazing is that Philip creates such unique landscapes with eye-catching colour combinations, despite the fact that he is colour blind.

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Beata Piechocka: Can you tell our visitors how your adventure with art began, why did you become an artist?

Philip Tyler: The decision to become an artist was not one which happened quickly. I began drawing properly about the age of 7 and I took my studies very seriously once I went to secondary school. I was lucky enough to have two fantastic art teachers who guided me through my final years at school and onto and Art Foundation in east London. As a working-class kid, the idea of being an artist was outside of my experience, so I was focusing on becoming an art teacher. It was only in the final year of my degree at Loughborough College of Art and design that the idea of being an artist became a serious one I have strived to push myself and my work ever since.

BP: With what direction, the trend of art you identify or associate yourself the most?

PhT: I am really not interested in trends or fashion in the art world. The internet is full of images of people adopting mannerisms and approaches to look current. I’m only really interested in responding to the emotional situations I find myself in.

BP: What motivates you to make artistic work?

PhT: Of course, I am inspired by the work of other artists.  I want to be the best artist that I can be and the only way I can do that is to match myself against the very best.  When I am painting I completely lose myself, It’s the place where I can truly be me and forget my concerns.

Overlooking Findon by Philip Tylor
Overlooking Findon by Philip Tylor

BP: You cover many topics in your artworks, self-portraits, also portraits of stars, landscapes, and views of cities. Which of these topics is the closest to you and why?

PhT: I tend to work in series and at any one time I am completely absorbed by the subject. When I am painting landscapes I am obsessed by them, when painting portraits, I am obsessed with that.  But my self-portraits are probably the things that I am the most obsessed with, whilst the landscape have a real emotional resonance with me because they were made after my father died.

BP: In one of your interviews, to the question about an experience in your life which influenced your art, you mentioned the loss of loved ones and the birth of your daughter. These are different occasions which bring different emotions, sadness, loss and joy. Just like life. How these personal events influenced your art? Can you share a bit more about it with our readers?

PhT: Painting can be used as a cypher fore complex ideas. The ability to channel whatever ones feels into work is challenging, but if one is able to do this then one will always work, whether you are happy, sad or indifferent, you can always make work

BP. When I look at your work, I feel that regardless of whether you are painting the sky, face or streets of cities, you are painting a portrait. I mean, it’s not just a physical resemblance or an impression of reality on the canvas. It seems to me that you want to convey the essence of the object you paint, both physically and mentally or maybe even metaphysically, even if it concerns the clouds. What do you think about my interpretation of your art, how compatible is it with what you paint?

PhT: Yes, I think that I want to capture the essence and the spirit of a place or a person.

BP: Great Britain has a beautiful tradition of landscape painting. The most famous and known to the world are Turner, Gainsborough and Constable. Turner,  painted the impressions even before the Impressionists, Gainsborough is known for his portraits of the landed gentry, also dreamed about the rural village and painted romantic, often creating, idyllic landscapes. Constable went away from embellishing of what he saw and painted the truth: realistic, natural and chaotic landscapes. Among these three artists, whose style is the closest to you and why?

PhT: I think that I feel more of a connection with Constable in terms of his directness of approach.

Philip Tylers’ self-portraits

Philip Tyler
IMG 20180802 153504
IMG 3942
Philip Tyler Selfportrait

BP: When I first saw your paintings, these were landscapes. However, I admire, for example; Your self-portraits, but most of my attention was caught by your way of depicting clouds. In my mind, maybe a little funny, I was calling you Lord of the Clouds, because that was my strongest impression after reviewing your artworks. What intrigues you in the landscapes that you want to paint them?

PhT: I grew up in London surrounded by tower blocks.  The landscape has poetic and romantic connotations for me as I first really got to grips with landscape painting once I left home for the first time.  The landscape also reminds me of the few family holidays I had as a child with my mum and dad. In more recent times landscape has a real emotional connection to me, especially after I lost my father and had to come to terms with the impact that had on me. I think that there is something uplifting and perhaps spiritual about being in a massive cloud and space it inhabits.

BP: Most artists paint other fragments of landscapes, e.g trees, groves, rivers. Why did you soar higher and have chosen clouds? What does the sky have in itself that Earth doesn’t?

PhT: I think that it is the sky that seems to capture everything I want, especially if there is a storm brewing, or has just dissipated.

Auctions

BP. Looking at your paintings, I can see that you’re using a unique palette. The colours, although not intensive, but are light. This is not a typical palette for the UK landscape, which is associated mainly with grey. Your landscapes remind me more of Italian views. Have you always been accompanied by such colours? Where does the intention of using this palette come from?

PhT: I think that there is a real difference between the colour that you see on the screen and the colour you see in the actual paintings. I am obsessed by colour and I teach colour, but I am also colour blind, so rather than thinking about what the colour is in the landscape, I am much more interested in what the colour can be.

BP: Do the colours you are using result from what you see or are they the result of a conscious and analytical decision? For example, for strengthening and balancing the composition?

PhT: Colour is explored in a systematic way in terms of my choice of the palette, but also used in an intuitive emotional way. The colours you see if often the top layer or many other colour decisions.

BP. The composition of your landscapes is for 70% of the sky and 30% of the land. It is also mainly horizontal. Is this a way to strengthen the effect of the presence of the clouds?

PhT: Yes I Iove the tension between opposites, empty space and gestural areas, hot against cold, soft against hard.

BP. In your paintings, it is difficult to look for some significant dominant elements, the main “heroes” of the landscape so to say. It’s hard to decide which element is important, except for the clouds. Is this your way of achieving the illusory effect, where space enclosed in the image format?

PhT: The landscape is a real one, not imagined but translated. I am often drawn to those Sussex views which disappear away toward the horizon, where not one thing is the single protagonist, but all parts contribute to the whole.

The cityscapes of London by Philip Tyler

Phty2
Phty3
Phty4
Phty1

BP: At prestigious auctions of modern art, it is difficult to find many examples of landscape paintings. However, as the reports show, the landscapes are selling as one of the best topics among individual art lovers. What do you think, why landscapes are still so popular?

PhT: Landscape evokes many things in the viewer.  Whenever I have tried to paint a picture to sell I have failed.  I only seem to sell the paintings that come from my emotional response to the subject.

BP: Can you share your way of painting your landscapes? Do you paint in the open air, do you use photos or memory? Can you describe the stages of work?

PhT: All things are permissible and used. I draw and paint in the landscape, take thousands of photographs, make print and loads of colour studies. All of this then gets synthesized into a large painting.

BP: In which technique do you paint? Is it glaze, verdacio, alla prima, inpasto? And why?

PhT: All techniques are used to achieve different effects, vaporous clouds, trees, shadows, paths, rain, sunlight. You achieve these phenomena by adapting how the paint is applied, but the process of painting a landscape usually starts off in an explosive way with lots of energy being thrown at the canvas.

BP: How do you build the illusion of space on the image?

PhT: Physicality of paint, thinness, thickness, saturation, tonal contrast all of these things are the formal elements used to create space as well as the perspective of course.

BP: You wrote the book “Drawing and painting the landscape”. Lisa Takahashi gave an excellent review of this book. What prompted you to write a book about painting landscapes?

PhT: I have really enjoyed the process of writing and the books are an attempt to share my knowledge.  One day I am going to die and it is nice to think that alongside the paintings I leave behind my thoughts on drawing and painting have been recorded as well

BP: In the book, you give examples of your favourite artists. Can you tell our readers who they are and why you include them in a book about landscapes?

PhT: Virtually all the artists in my books are either artists I know personally, have shown at the same galleries or have admired online.  There are many good artists out there who do not always get the coverage they deserve.  The books provide an opportunity to promote their work

BP. Do you have any advice, suggestions for the beginner landscape painters

PhT Buy my second book and be prepared for failure. You learn from your mistakes, so the more that goes wrong the more you can learn from these.  You do not have to have a studio, not copious amounts of time.  You have to work with what you have but you will learn by making painting after painting

BP. What does a great painted landscape mean for you?

PhT: When you encounter a great painting, you are brought into contact with the person who made the work, you touch their spirit and their humanity.

Drawing and Painting the Landscape: A course of 50 lessons

Drawing and Painting the Landscape: A course of 50 lessons
By Philip Tyler
Paperback: 208 pages
Publisher: The Crowood Press Ltd (1 Sept. 2017)
Language: English

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Fulking escarpment by Philip Tyler
Fulking escarpment by Philip Tyler

BP: Does the process of teaching others to help you to develop your artistic skills? If it does, in what ways?

PhT: Sometimes, but equally teaching is very difficult. It is not always about what I do, more often than not I have to out my head into what the student is doing and figure out a way of working through their problem.  I have to be aware of a lot of art and design and a lot of ways of working if I am to guide the student in the right direction.

BP: Will you describe the fact that your works are in many foreign galleries around the world as the final artistic success? Or does it mean something different for you?

PhT: It is exciting to see that one’s work is spread around the world, but success is elusive.  How is this measured?  Is this about appearing in a major show, appearing in important magazines, being bought by major collectors?  If this is a success then I am a long way from this. If success is not having to teach every day, then that is what I am working toward

BP: What we as BeArte Gallery can wish you on your artistic path?

Ph.T. Having a more international presence and having worked in some museums and art galleries would be nice.

BP: Looking at your artworks, I’m sure it will happen.  Thank you for your time and we wish you will soon fulfil your plans.

From Devils Dyke by Philip Tyler
From Devils Dyke by Philip Tyler
Visit Philip Tyler

Explore landscapes from other artists at BeArte Gallery

Clouds by Ilona Primus - Ziarnowska
Clouds by Ilona Primus - Ziarnowska
Inverno I by J.Malinowski
Inverno I by J.Malinowski
After Battle by J.Haluch
After Battle by J.Haluch
Landscape with a Lake Agnieszka Rogowska Gallery BeArte
Landscape with a lake. Agnieszka Rogowska. Oil. 80 x 65 cm. 2018
Forest, March 2018 by David Harrison
Forest, March 2018 by David Harrison
Featured Image Ingrid Bugge 1

How did everything Start?

In 2012 Nikolaj Hübbe (artistic director of the Royal Danish Ballet) invited Ingrid Bugge, to follow The Royal Danish Ballet so that she could create her soul-image of the ballet. Moments that would otherwise disappear. Nicolai experienced that her interpretations of the ballet created magical moments. As well as uniting dance, story, time and place which, as a result, became secured and cultivated.

The photographic collages visualize the nerve and soul of ballet and resemble the classical painting in their expression. The intention of the ballet photography art project was to capture and condense moments from the ballet performances. In order to reveal the essence of ballet.

Ingrid’s thoughts of the performance and her project

“There they are, the dancers. So fine and gracious, with makeup and dressed in elf clothing and troll fur, beetle wings and rococo wigs. It’s an enchanting sight. I carefully take the camera from my bag. I do not dare to press too hard on the release button or stand to close. I feel like a stranger here, trying to settle in. I have permission to photograph from the auditorium, the rigging loft and behind the scenes. From where the light technicians work. Looking through my viewfinder, I constantly discover new expressions in the movement, captivating me. Lights glide poetically over the magical scenery. The orchestra fills the theatre. The skin of the dancers; their challenges, their victories, the stories they so passionately tell with their bodies. And the secret adventures that happens behind the curtain.

I got a deep understanding of the world of ballet and the classic tales the dancers unfold. As a result my art project The Essence of Ballet came to life”

– Ingrid Bugge 

The Poet of The Ballet

Nicolaj Hübbe described the Art Project as:

“A ballet performance, from the first glimpse behind the carpet of Acropolis and masking the stage with the curtain fall after each act. You can compare it with the technical magic of the camera. The stroke on the bar by the stage manager matches the photographer pressing the camera shutter. 

With curtain rise, a myriad of visual and auditory expressions appear which seeps into the consciousness of the audience. In the end the technicians lower Acropolis. From what we have seen, the memories are now embedded in our memory. Different movements created in time and space can now develop through something similar.

These internal images reflect what we have seen or perhaps what we think we have seen! The audience leaves and the theatre closes. However, the camera moves faster than the 2½ hour performance and capture moments from the ballet before the shutter time. Therefore, it has come to capture moments that people do not see. 

Throughout the year Bugge has worked with The Royal Ballet. She has captured these moments in a sensitive and poetic way and composed them in photographic commentaries.  In like manner, she reflects the ballet with a personal approach and with sensitivity to the performances. The images we see through Ingrid’s lens are like the strange and wonderful recollections. In fact, they have gathered in our consciousness after the final curtain fall.” 

-Nicolaj Hübbe

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About Artbook

The art book is a rare and fascinating window to the enchanting world of ballet. Including 63 photographic collages from The Royal Danish Ballet. Also, it includes interviews with ballet master Nikolaj Hübbe, writer and ballet reviewer Erik Aschengreen and photographer Lars Schwander.

Nikolaj Hübbe poetically describes three important events in his life. Especially, his experiences as a ballet dancer and Artistic Director of the Royal Danish Ballet. Erik Aschengreen tells the story of his lifelong fascination with and love for ballet. In particular how he made ballet his profession. Lars Schwander, the founder of Fotografisk Center describes the art of photography and ballet. And how Bugge’s photographs occupy a space in between the two. Furthermore, Ingrid Bugge tells about her encounter with the ballet as well as the artistic process behind the art project.

Overall, the book’s purpose is to accompany the reader into the poetic nerve of the ballet. Its soul and its presence. The Essence of Ballet addresses those who are fascinated by or perhaps in love with the poetic essence of the ballet. Much like the contributors to this book.

Balletbog01 Ingrid Bugge

Pages: 138
Format: 34 x 30 cm
Language: Danish and English
Hardcover with an extra plastic cover
Price: 60 EUR – plus shipping
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Painting with My Camera – Multitouch Ibook

IBook Billeder 1

Go behind the process of the Art project The Essence of Ballet with this interactive multi-touch ebook. Through explanatory videos, texts and images you will get to the finest detail of Ingrid Bugge’s photographs. Bugge made these photographs in 2012 and 2013 at The Royal Danish Ballet.

Delve into the details of the photographs, learn about some of The Royal Danish Ballets many stories. And listen in on how Bugge made the Photographs. This is a unique chance to discover the art-project come to life. From the very beginning to Ingrid’s finished photographic collages.

Art Exhibition

The exhibition, The Essence of Ballet was on display for the first time in Artcentre Silkeborg Bad’s ten halls.  Balletmaster Nikolaj Hübbe opened the exhibition on the 3rd of May 2014. It lasted from the 3rd of May to the 7th of September 2014.

A total of 39 huge pieces of ballet photography were on display. Meanwhile, the visitors had an opportunity to get a look into my work process, through a showing of a movie. In continuation of the exhibit, the Royal Ballet Silkeborg made an appearance on the 13th of June 2014. It was during their sommer-tour of Denmark. While the exhibition was open, it was also possible to see a 30 meter long frieze with selected pieces in Silkeborg.

Afterwards, Galleri Kunsthuset, Galleri Lejre and Galleri Belle exhibited selected pieces from the art project. Likewise, Bugge chose 20 pieces for a specially curated exhibition in Perm, Moscow and St. Petersburg in 2016/17.

Make sure to check the Ingrid Bugge‘s profile and her wonderful Art Photography here.

BeArte Gallery expresses great gratitude to Ingrid for providing the materials for the article.

storytelling

How the death of an old oak tree inspired artist Dorothy Berry-Lound to create a series of images and a story, narrated with her own voice, in memory of the tree.

Love Attraction

To fall in love
or just to feel addicted

How art affects us and influences our everyday lives

Warning! This article is about emotions. Maybe it will be too fierce to call it a love story. But it’s close. Perhaps it is better to describe the feelings as an addiction. At least it is even closer. It’s about your first art purchase. Your first crush and falling in love. It’s also a little about the influence of Art on society. But let’s get into the influence a bit later.
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Art is alluring. It is a kind of magical magnet that switches on our possessive primeval instinct. We watch and immediately our brain is bombarded with signals that push us toward the moment of purchase: ‘It’s incredible; It’s so beautiful. It awakens deep feelings in me. I MUST OWN IT!’
After your first art purchase, you are on the hook. There is no way back. Suddenly, the old wall decor, posters and whatever else you have had hanging over the couch, become strangely tame. It is as if they seem false. At least boring. They do not contain the excitement that you have just experienced. It is mass production, and even though the colours fit the curtains, they somehow bleach next to your newly purchased artwork. Out of nowhere, some of your needs disappear so that everything must fit together as in a Laura Ashley showroom. Lines, patterns and colours can be broken because what entered the room is ‘art’ and it encourages you to dare break out. Something more valuable than matching pillows, blankets and vases has entered your life. Art simply pushes you beyond the edge where the colour composition in the living room determines the decor.

Art has a specific energy. It is as if the artist’s feelings become our own feelings. Unknowingly, we notice how she or he has worked and conveyed their thoughts and emotions from the painter’s palette to the canvas. We are often not aware of it, but deep within us, we feel connected with the artist. We haven’t just bought a painting; We have been given insight into another person’s inner universe, and this insight seems like a tremendous value.
The fewest people will be aware they think it as described. But it is often the underlying feelings we have inside of us. Our ownership has become a bond between the artist and us. We have bought something ‘genuine’ that has a massive impact on us, and it immediately starts to change us and our perspectives.

“Gegenständlich”:

representational; objective; figurative; graphical

Andreas Wiese
Profession: Painter
Nationality: German
Art direction: Contemporary Art

Processed By: Helicon Filter;

Our artist Andreas M. Wiese is a wise person. He will not feel happy for me giving him this label, of being wise. But I do it anyway for many reasons. When we visited him a week ago, he once again repeated his mantra; that he does not paint anything realistic but only transform to the canvas what he has inside his head. It is we who make it realistic, with the story we create. With the fear of his anger, I translate it as described before, that we receive his thoughts and feelings, and make the artwork special, with the story we give it. We too become creators. The artist creates the artwork, and we create its story. This is how we take ownership of the artwork, and that is the way we become connected with the artwork and the artist.

The influence of Art

Art can have a huge impact on us. If we go back in time we will see art as a single form, it has often been the music and theatre that has started new cultural directions. In my last article, I wrote about the censorship of the artwork ‘Consumer Art’ by Natalia LL. A girl provokes us by performing fellatio with a banana. Itself it may seem both inappropriate and exciting depending on the eyes that see it and not least in what context and time it appears. But when we look back into history, we start to understand why it came up and how it affected us.

After World War II, society had to be rebuilt in most of the world. The industry was about to start again manufacturing consumer products rather than bombs and weapons, and cities were to re-emerge from ashes. Suburbs popped up, and society with father, mother, children and cars were created everywhere. Peace spread in pace with uniformity and fixed rhythms. All seem idyllic until the music began to play. A new kind of music. More wild and untamed. And through the 50s and 60s, first the young generation was affected, and with the total emancipation in the 70s, the established middle class was also drawn into the new era. The beard began to grow, the hair grew longer, and the sexual release grew fast. In that light and in that context, Natalia LL’s art video makes good sense. Because art always puts things at the head. It always pushes us a little further than we would have dared to walk ourselves. It gives us the courage to become part of a new direction. It makes us free. Someone is leading the art, and we follow.

So even the government of Poland, with pressure on the management of the National Museum of Warsaw, dislike the artwork of Natalia LL today, no one can take away the influence it was part of and the importance the artwork had when it was exhibited.

There is nothing that art can not express.

Oscar Wilde

The fascinating thing about art is its way of changing our perspective. We become more focused when we see something different from the normal. We get more curiosity in life. We seek more profound into the worlds of others and dare more. Because art gives us the courage and that is what has always been the most excellent power of art. To show us new ways in life and provide us with the courage to change ourselves. Whether, as written before, it’s music, theatre, literature, visual paintings, architecture or sculptures, art has always been the force that has pushed our society in a new direction.

So, when you get your first crush, it’s not just feelings and emotions you have exclusively. It makes you part of a movement. You have recognized something. You feel and listen and everything you receive from the artist, will become part of your behaviour, so you, along with the art, can change the world. It might sound crazy, but you are not alone. Every other art lover gets affected today as you do, and together, you change our culture and society.

My first artworks were four beautiful paintings by the Spanish artist Luis Frutos. I have added them at the top of the article. This was where my love story started and where art started to affect me. I hope you still remember yours.

Here is how art has changed our life

In the more dramatic part of the changes art has given, we have Leonardo da Vinci. Many titles can be put on Leonardo, but common to all his interests was a search for the underlying. Therefore, he also broke the law autopsy as many deceased as he could get hold of, so that he could better understand human anatomy. With his ‘Studies of the foetus in the womb’ from 1510, challenged moral and artistic convention and with his discoveries of the human body and organs and dramatically methods, he changes the way that both artists and scientists studied the human body.

Leonardo Da Vinci Studies Of The Foetus In The Womb
Leonardo Da Vinci Studies Of The Fetus In The Womb

A marvellous example on how Leonardo changed our life is to look at how the UK heart surgeon Francis Wells pioneered a new way to repair damaged hearts after being inspired by Leonardo’s 500 years old medical drawings. The drawings allowed him to work out how to restore normal opening and closing function of the mitral valve. You may ask if Leonardo’s drawings were art. Maybe not the one we would like to hang in the living room, though his drawings came out of his creativity and need to be able to create perfection. Feelings and needs that all artists have.

At Leonardo’s time, he shook and offended many. Today we love his work and, in many ways, they have changed our perception and our lives.

Georges Braque, 1908, Maisons Et Arbre, Oil On Canvas, 40.5 X 32.5 Cm, Lille Métropole Museum Of Modern, Contemporary And Outsider Art
Georges Braque 1908 Maisons Et Arbre Lille Métropole Museum Of Modern, Contemporary And Outsider Art
Pablo Picasso, 1910, Girl With A Mandolin (Fanny Tellier), Oil On Canvas, 100.3 X 73.6 Cm, Museum Of Modern Art New York.
Pablo Picasso, 1910, Girl With A Mandolin (Fanny Tellier), Oil On Canvas, 100.3 X 73.6 Cm, Museum Of Modern Art New York.

Later in history, Georges Braque started a new direction; cubism. Throughout the history of painting, there was no other such a great break with the classic achievements of art as was done by the Cubists. Until the arrival of Cubism, paintings were supposed to reflect reality, but Cubists wanted to define reality in a new way. They saw the object first geometrized and then broken into smaller elements of rolls, cones, balls, etc. So, the basis of cubism is the principle that the object is broken into a series of separate planes, viewed in different lighting, which is then presented side by side on canvas.

In 1915, a few years after Georges Braque and Picasso started their Cubistic movement, Kazimir Malevich painted the Black Square, which has been the basis on which abstract and conceptual art movements are widely built in our days and probably the reason we have the minimalistic style and design in architecture and furniture, to make some examples.

So, when we understand Braque, Picasso and Kazimir, we also understand why our furniture’s, cars, architecture and even cloth are more simple today, why everything we find around us is shaped into squares, circles and strict lines from toilets to cutlery.

Cubism may not directly have changed us as individuals, but the direction affected us all, including fashion designers, architects, industrial designers and more, which meant our everyday lives and our impressions were also changed and continue to be.

Marcel Duchamp, 1917, Fountain, Photograph By Alfred Stieglitz
Marcel Duchamp, 1917, Fountain, Photograph By Alfred Stieglitz

When Marcel Duchamp in 1917 presenting his Fountain, a urinal signed with the pseudonym “R. Mutt”, it shocked the art world but was later, in 2004 selected as “the most influential artwork of the 20th century”. From this time the term “Readymades” created a moment where everyone could expect a beautiful design in every simplest and most miserable object or material.

Thanks to this fountain, contemporary design and fine arts were created using various means of expression and forms known to us as obvious and encountered every day. No rules or directions applied any longer. Artists take full advantage of the achievements of their predecessors, and the users can enjoy various proposals for decoration, items, shapes of furniture and even cars.

Duchamp’s Fountain, in one way, became the starting point for how we behave today, where everything is allowed and where we do not need to follow specific directions or indoctrinations to be accepted. Striped pants for the dotted shirt make you avant-garde and not tasteless. You decide for yourself, partly because a French-American artist chose to break the norm and exhibit a toilet at the exhibition at The Grand Central Palace in New York in 1917.

You can fall in love with art but be aware, it affects you more than you know.