In Terrasse by painter Annie Puybareau, we see two women seated at an outdoor cafe, conversing, as might be glimpsed from a terrace. The light is bright, but low; long shadows extend along the ground from the furniture. The colors are cool and pleasant. Much of the visual interest in the painting derives from the angle of perspective, and the interplay of light and shadow.
The art of Ingrid Capozzoli Flinn focuses on the female form in nude, usually posed in subdued interior spaces. Unlike many paintings of women in the nude, the chosen poses, while often innovative, seem deliberately neutral; the artist is exploring the female form through color and light, but the intent seems neither to entice nor to repel; instead, it is an invitation to observe. In this respect, her work is refreshing.
In these two works, the model faces away from the painter. In one case, the figure is on the floor huddled in a ball, the arch of her back brightly lit by the studio lamps. In the other, the model sits in a butterfly pose on a stool. In contrast to many of her other works, these paintings utilize richer, earthier color tones, both in the depiction of the model, but in the depiction of the interior spaces.
A woman wearing a bright red shirt, sits, her legs tucked and crossed beneath her in this figurative abstract painting by Iranian Canadian painter Majid Eskandari. The details of the woman’s face has been replaced by non-representational overlapping strokes of vibrant color. The intense red color of her shirt, and the tone of her flesh is set against a sedate and more uniformly painted background: a light blue wall, and grey floor.
By obscuring the woman’s face, the artist frustrates our natural tendency to read the face to inform our interpretation of the mood of a figurative painting (a technique that seems quite popular among a number of contemporary artists, Hanna Ilczyszyn to take just one example). Instead, we rely on the cheerful colors, and the apparent youth and beauty of the figure’s form.
In these three pieces by Polish painter Anna Orbaczewska we see a woman in a bathing suit walking or standing looking down, as if she has lost something and is searching for it.
In each of these pieces, only a part of the canvas has had color applied to it, so that we see the woman, and just a hints of her surroundings: some greenery, water, and mud or sand, painted in dark greens, blacks, and browns. The effect is to brighten the canvas over all, while emphasizing the figure and her pose. We are left to wonder what the figure is doing.
In Beach Day by British artist Emma Copley, a multitude of people occupy a distant sandy ocean-side beach. A bluff is seen in the distance, upon which are several cheerful white houses with blue windows. In the foreground is a small rambling fence. The sea is painted in a myriad of blues, pinks and yellows, while the beach sand is predominately yellow and orange. The scene is lively and fun, but distant. This distance, coupled with the thickly applied paint and vibrant color, encourages us to focus on larger patterns of how people group together and use space, rather than their individual activities. A socially oriented landscape.
In this abstract figurative painting by Hungarian artist János Huszti, a figure defined by negative space, looks through either a camera or pair of binoculars upon what might be a distant sea-side pier partially hidden by fog.
According to the painter, a blank canvas was painted in three or four colors, and then pressed against a second canvas, allowing the two canvases to slip against the other, creating a textured background. Finally, the canvas was painted with white to create negative space.
Dumah is a name of ominous portent, the angel of stillness and death, a recurring figure in Rabbinical literature and Yiddish folklore. In Dumah the Angel of Dreams by Russian painter Grigorri Pavlychev, in sparsely painted lines of white and green over dark brown, a female figure is painted against a background of a myriad of whites, greens, yellows and reds, almost as if the angel had been stenciled in over a richly layered background of street graffiti. The angel sits in silent contemplation.
In Harvest Season by Iraqi-American painter Qais Al-Sindy a man and a woman present their harvest of dates. The man, clothed in white, stands behind the woman, clothed in red and black and holding a bowl, as if to invite the observer to taste the fruit of their labor. Their colorful garb contrasts with the more sedate colors in the background. In describing the painting, the artist recalls visiting Southern Iraq and watching palm date farmers climbing trees to harvest the dates. The painting, indeed, presents itself as an amalgamation of memories recalled with the vibrancy of youth.
In this intriguing oil painting by Czech painter Tomas Nemec, three night-time bathers hesitatingly enter the water of a pond or river. The tall grass and what appears to be curled barbed wire standing between the scene and the observer gently chides us for our act of voyeurism; has our curiosity been satisfied? what were we hoping to see? what presumptions guided us?
Oil on Canvas. 51.2 H x 66.9 W x 1.2 in.
In this pleasing oil painting by Polish artist Robert Bubel, a woman walks through an open art gallery towards a group of paintings hanging on the wall. Paint drips from the canvases, as if to express their fresh vibrancy. The title of the piece is provocative; is it addressed to the woman in the painting? or is it an invitation to view the art in its natural format: hanging on a wall, rather than as a digital image.
Oil on Canvas. 35.4 H x 39.4 W x 0.8 in