Penelope Gottlieb

Colocasia esculenta

2020

"By placing figures into fantastical landscapes, I allow the viewer a glimpse into what might be reality, or not. This practice allows me to push the boundaries of what a past/presen...

This is an unframed original painting on paper. Rocky Hawkins was born in 1950 in Seattle, Washington and grew up in small towns near the Cascades Mountains. His interest in the myst...

This is a framed painting on paper. Biography Creating paintings inspired by western movies and by Remington and Russell, he is a native of the West, having been born and raised in rural Colorado. He studied art at Baylor University in Waco, Texas; at the California Institute of the Arts in Valencia, and at the University of Colorado, Boulder where he earned a Master's Degree in 1979. For two decades he worked as curator at the Yellowstone Art Museum in Billings, Montana, before leaving in 1999 to begin work as a full-time painter and independent curator. His work is in the collections of the Buffalo Bill Historical Center in Cody, Wyoming; the Art Museum of Missoula; and the Yellowstone Art Museum; the Federal Reserve Bank in Helena, Montana; and the Deaconness Medical Center in Billings, Montana. Artist Statement For a long time, the images in my paintings have been identifiably, even iconically, western-stagecoaches and false-front main streets, poker games and gun battles, cowboys, Indians, cavalry troopers and horses, all suspended in a choreographed matrix of dancing paint. Distinct from the traditional western genre-which inventories the minutia of cowboy gear or tells sentimental stories of rangeland romance-my paintings embody something more elemental and timeless, animated and abstract. The images tend to be stark, graphic, and charged with painterly energy. Though they are derived from fugitive television images, the paintings, as paintings, are still, silent and non-ephemeral. They register the technological transfer of primal shadows onto the electroluminescent screens of our collective consciousness, a shimmering blur of perception and memory transposed in an interchange of gesture and description, painted marks simultaneously arresting and embodying movement. I've always liked what a painter friend, Marc Vischer, wrote in 1988 about an early group of my western paintings. Now, I'm fourteen years closer to actualizing my vision for this work, and his astute remarks seem more pertinent today than they did then. He wrote in part, "For McConnell, a searing light emanates from a new desert: that of television. And from that most desolate backdrop, he salvages fragments from a movie world that spoke of honor in a land that was lawless. In a romantic sense, McConnell's works are a visual seance. Figures, like specters distorted through intense heat waves, are captured from their eternity of 24 frames a second. Their shapes and shadows are brought back into a radically different world and given substance and texture. It is an impossible attempt to freeze them, to arrest the present's ceaseless molestation of the past, to close off the continuum. Sometimes this is done darkly and thickly as an emphatic gesture of permanence. In other works a few light strokes quickly applied suggest the ephemeral nature of film and perhaps the fleeting nature of our own lives." I have been examining new imagery in my paintings, drawing subjects from Mexican graphic novelas, modern women and men of romance and mystery from the mid-20th century, motorcycles and airplanes. The end titles of movies, stated in several languages, have inspired me to begin a new series of cross-media translations in both acrylic and watercolor. My paintings have long begun where the movies have left off. The elements of water and light co-mingle in some pieces from this series and in others which take the viewpoint of a swimmer, watching other swimmers from the wet side of this aqueous membrane, looking up toward the light. My arrival in Montana in 1982 brought me into intimate contact with some of the most storied places of the historic West and also gave me the opportunity to study the paintings of two of the most influential codifiers of western imagery, Frederic Remington and Charlie Russell...

"By placing figures into fantastical landscapes, I allow the viewer a glimpse into what might be reality, or not. This practice allows me to push the boundaries of what a past/presen...

This is an unframed original painting on paper. Rocky Hawkins was born in 1950 in Seattle, Washington and grew up in small towns near the Cascades Mountains. His interest in the myst...

"By placing figures into fantastical landscapes, I allow the viewer a glimpse into what might be reality, or not. This practice allows me to push the boundaries of what a past/presen...

Charles Frederick de Brocktorff (1775–1850) ‘Camelopard – a present from the Pacha of Egypt to the King – at Malta on its way to England’ Signed and dated C.F. de Brocktorff. / 1827. lower right, inscribed as titled in the painted margins lower centre. Pencil and watercolour heightened with gold paint and gum arabic on paper, 36.8 x 27.9 cm A gift so majestic, it made kings blush, and a gift so grand, it would startle Europe into a craze. Pasha Muhammad Ali of Egypt (1805-1848) did it in 1827: he sent to Europe three magical spotted, horned creatures, each with a neck reaching the skies and legs as long as a house is high. One giraffe to King Charles X of France, one to Francis I of Austria and the most fabled one to King George IV of England. A curious sight for Europeans, who had not seen such a beast since the Medici giraffe in 1487. Few animals created more of a stir in Europe than these royal...

Artist Commentary: I collect organic objects because I find them to be fascinating and beautiful. Keywords: Nature Artist Biography: Judith grew up 15 miles north of Milwaukee in ...

This pastel drawing by Nils Kreuger, dating from 1905, presents an intimate moment between two horses that appear to be embracing each other. The use of pastel chalks is confident, i...

Artist: Robin Hill Title: Black Vulture Medium: Watercolor on Paper, signed Paper Size: 58.5 x 39 in. (148.59 x 99.06 cm) Frame size: 74 x 54 inches

A large print of John Gould & Henry Constantine Richter Pheasants II from his published book " Birds of Australia ". John Gould was influenced by James Audubon paintings of birds w...

Danish Painter School J Beney? J. Brady? signed and dated lower left 1868 Songbird in a snowy underground