Winter Impression 18. Oil on Linen. 10.6 H x 13 W x 0.4 in
In Marta Zamarska’s pleasing series of paintings, Winter Impressions, we see various snowy winter landscapes, often featuring figures in various outdoor activities: children sledding in the snow, climbers make their way up snowy peaks, cross country skiers treading along a path. In these, the figures are painted as the merest impressions, as if seen some distance off through a haze of wind blown snow. The features of the landscape, captured as soft variations in color and shadow.
Winter Impression 19. Oil on Linen. 39.4 H x 47.2 W x 1 in
In others, any figures that might have been present, are lost from view in their entirety. For example in Winter Impression 20, a burst of sunlight is scattered in an airborne cloud of snow, an unlooked for hazy explosion of warm red and yellow. It is as if, the view were too dazzling to see clearly.
Winter Impression 15. Oil on Linen. 10.6 H x 13 W x 0.8 in
Winter Impression 20. Oil on Linen. 19.7 H x 23.6 W x 0.4 in
Nude in Ball on Floor. Oil on Wood. 14 H x 14 W x 1 in
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.
Nude in Butterfly Pose. Oil on Canvas. 10 H x 10 W x 1 in
Family Portrait. Oil and Spray Paint on Canvas. 21.6 H x 17.7 W x 0.8 in
Laslo Sergiu is a Romanian artist fond of interspersing his largely grey-scale paintings with bursts of vivid neon color. In Family Portrait, the artist paints in monochrome an image of a parent hugging a child, behind rainbow-colored bands reminiscent of blinds on a window. Interestingly, while the features of the child’s face are seen, the parent’s face has been smoothed flat into featureless gray. Instead, it is the parent’s grasping hands which are most prominent. The effect is somewhat ominous, however the child’s expression, and the bright colors of the stripes, seem to allay any suspicion of a darker subtext.
Dame lo. Oil on Canvas. 78.7 H x 82.7 W x 0.8 in
Diana Roig paints richly textured gestural paintings. In Dame lo, the artist has created a piece that has all the colorful complexity of marbled clay, but the grittiness of a cross-sectional slide of scar tissue. The artist says that some people say that it feels like a landscape, and that others say it reminds them of water lilies.
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.
Untitled. Oil on Canvas. 39.4 H x 27.6 W x 0.8 in
Untitled. Oil on Canvas. 47.2 H x 31.5 W x 1.2 in
Untitled. Oil on Canvas. 47.2 H x 31.5 W x 0.8 in
Beach Day. Oil on Wood. 19.5 H x 31.5 W x 1.5 in
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.
View 01. Oil on Canvas. 23.6 H x 23.6 W x 1.6 in
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.
The Scent of Rain and Wet Hair. Oil on Canvas. 37.4 H x 33.5 W x 0.8 in
Few paintings of rain feel quite as wet as this evocative painting by artist Robert Bubel. Here, two trees painted in black and blue drip with rain over a sidewalk running along an empty street. Painted in whites and yellows, details of the street and sidewalk are lost, as they are slick and glossy with an abundance of rain.
Titled, The Scent of Rain and Wet Hair, the piece attains its forceful presence, in part, by drawing upon our own memories of walking in the rain. The title also does something interesting: although no figure is visible, some person must be present: the person whose wet hair is smelled, and the one who smells that hair. These, of course, could be the one and same, and the artist himself.
Pinguin. Oil on Canvas. 66.9 H x 47.2 W x 0.7 in
In this painting by Austrian artist Margit Platny, now living and working in Italy, a group of three figures painted in various shades of gray, are seen walking determinedly toward their own colorfully patterned shadows, which extend outward from their feet as might be observed in the last moments of daylight. The ground, painted in places green and others gray, is fog-like, as if the ground were a sheet of glass, or perhaps a mirror, upon which moisture had gathered such that it is only in their shadows that we can see more truly the nature of the world they walk upon.
Dumah the Angel of Dreams. Oil on Canvas. 47.2 H x 31.5 W x 1 in
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.