Svein Nielsen

Windy Days, Original Contemporary Surrealist Painting

2023

Reflections #1, Original Animal Still Life Painting, 2013 20" x 10" x 1.5 (HxWxD) Acrylic on Canvas Almost surreal, this animal study by artist Robert Crooker highlights the beauty of the blue heron as it makes it way through a gray seascape. Artist Commentary: A Blue Heron, or maybe 2... Artist Biography: Robert Crooker was born in Massachusetts in 1951. A life long Red Sox fan, he saw the likes of Frank Malzone, Yaz, George Scott, Rico, Jim Lonborg all play in years gone by. He has been married for over 27 years with 4 children, and 2 grandchildren. In the Mid-1970’s, Robert started collecting Vintage Disney...

Artist Commentary: The intricate and complex branching patterns of a giant willow tree stand out in ghostly contrast to storm clouds in the background. A patch of illuminated sky in...

Counter, Original Contemporary Conceptual Surrealist Painting, 2014 18" x 11.25" x 1.625" (HxWxD) Gouache on Wood Panel A confusing and seemingly impossible juxtaposition of subject matter, this conceptual work features her signature muted color scheme, incredible use of texture, and an intensely surrealist composition. The work is slightly reminiscent of the surreal painting *The Persistence of Memory...

Artist Commentary: Sea Foam Party Pt I & II are a 2 piece series of Shelbi Nicole's interpretation of a beautiful coral reef, but of course with her sign...

Artist Commentary: Sea Foam Party Pt I & II are a 2 piece series of Shelbi Nicole's interpretation of a beautiful coral reef, but of course with her sign...

Pasta Jay's Mixed Media Painting 48 x 36 inches Artist's Commentary: "I painted this to honor all the romantic and fun and sexy nights we have all had at our favorite restaurants...

Surrealist contemporary acrylic on canvas by Scottish artist Frank McLean Docherty R.S.W. This piece is wonderfully colourful, playful and is typical of his witty sense of humour. Docherty likes to tease us visually and asks questions and presents conundrums to the viewer. Frank McLean Docherty was born in Glasgow, Scotland in 1942. He became a student at Glasgow School of Art in 1960 and graduated from the Department of Printed Textiles in 1964. He taught in a secondary school in the East End of Glasgow for two years, thereafter departing to work in Dublin in the Republic of Ireland as a textile designer (Marks & Spencer, Heals and Liberty of London). He was also an illustrator for a range of newspapers and an Art Director of magazines. In 1973, he was appointed Principal Teacher of Art in a Scottish High School and in 1978 was honoured by the Queen when he was appointed Member of the Royal Society of Painters in Watercolours (R.S.W.) He left education in 1994. Since that time he has developed a vision which is quite unique in Scottish Art. Bank Managers, toucans, lighthouses, penguins, bowler hats, Frank Docherty...

Surrealist contemporary tablescape, acrylic on canvas by Scottish artist Frank McLean Docherty R.S.W. Signed and dated bottom left, presented in custom wood frame. This piece is wonderfully colourful, playful and is typical of his witty sense of humour. Docherty likes to tease us visually and asks questions and presents conundrums to the viewer. Frank McLean Docherty was born in Glasgow, Scotland in 1942. He became a student at Glasgow School of Art in 1960 and graduated from the Department of Printed Textiles in 1964. He taught in a secondary school in the East End of Glasgow for two years, thereafter departing to work in Dublin in the Republic of Ireland as a textile designer (Marks & Spencer, Heals and Liberty of London). He was also an illustrator for a range of newspapers and an Art Director of magazines. In 1973, he was appointed Principal Teacher of Art in a Scottish High School and in 1978 was honoured by the Queen when he was appointed Member of the Royal Society of Painters in Watercolours (R.S.W.) He left education in 1994. Since that time he has developed a vision which is quite unique in Scottish Art. Bank Managers, toucans, lighthouses, penguins, bowler hats, Frank Docherty...

Surrealist contemporary tablescape, acrylic on canvas by Scottish artist Frank McLean Docherty R.S.W. Signed and dated bottom left. This piece is wonder...

Trompe-l'œil (French for "deceive the eye",) is an art technique that uses realistic imagery to create the optical illusion that the depicted objects exist in three dimensions. Forced perspective is a comparable illusion in architecture. Though the phrase, originates in the Baroque period, when it refers to perspectival illusionism, trompe-l'œil dates much further back. It was (and is) often employed in murals. Instances from Greek and Roman times are known, for instance in Pompeii. A typical trompe-l'œil mural might depict a window, door, or hallway, intended to suggest a larger room. A version of an oft-told ancient Greek story concerns a contest between two renowned painters. Zeuxis (born around 464 BC) produced a still life painting so convincing that birds flew down to peck at the painted grapes. A rival, Parrhasius, asked Zeuxis to judge one of his paintings that was behind a pair of tattered curtains in his study. Parrhasius asked Zeuxis to pull back the curtains, but when Zeuxis tried, he could not, as the curtains were included in Parrhasius's painting—making Parrhasius the winner. With widespread fascination with perspective drawing in the Renaissance, Italian painters of the late Quattrocento such as Andrea Mantegna (1431–1506) and Melozzo da Forlì (1438–1494), began painting illusionistic ceiling paintings, generally in fresco, that employed perspective and techniques such as foreshortening to create the impression of greater space for the viewer below. This type of trompe l'œil illusionism as specifically applied to ceiling paintings is known as di sotto in sù, meaning "from below, upward" in Italian. The elements above the viewer are rendered as if viewed from true vanishing point perspective. Well-known examples are the Camera degli Sposi in Mantua and Antonio da Correggio's (1489–1534) Assumption of the Virgin in the Duomo of Parma. Similarly, Vittorio Carpaccio (1460–1525) and Jacopo de' Barbari (c. 1440 – before 1516) added small trompe-l'œil features to their paintings, playfully exploring the boundary between image and reality. For example, a fly might appear to be sitting on the painting's frame, or a curtain might appear to partly conceal the painting, a piece of paper might appear to be attached to a board, or a person might appear to be climbing out of the painting altogether—all in reference to the contest of Zeuxis and Parrhasius. In a 1964 seminar, the psychoanalyst and theorist Jacques Lacan...

A group of dancers chat and gossip using the fans to emphasise l their reactions The triangles of the fans are echoed throughout the painting; in the dancers’ feet, the dancers’ arms...

Eros the traditional symbols of love hovers over two lovers as they embrace at night. The painting is meant to suggest the idealised bliss of being in love “Most of my work is influe...