Yuri Krotov

EASTER AT THE BEACH .sunny morning

2010

painting size is 60x50 framed size is 76x65

Born in Riga, Edgars Vinters was the only child of the facade and decoration painter Hermanis Vinters (1874–1939) and his wife Anna, née Kalniņa, (1879–1953). As a ten-year-old boy he met with the popular pastelist Voldemārs Irbe, who detected the boy’s talent, taught him the basics of pastel painting and opened his eyes to the beauty of nature in its so-called minor details. From 1935 on, he wrote small articles for children's and youth magazines, which he illustrated with pen and ink drawings and linocuts.[2] With the money he made, he contributed to the school fee for the commercial college he attended until 1940, after a change of school. Resulting from contact he made with the painter Hugo Kārlis Grotuss, from 1937 Vinters changed his painting style. Grotuss encouraged him to give up ‘the dark phase’ he was in through Irbe, to use brighter primers and to show more briskness and colours in his paintings. A porcelain factory engaged him to paint a series of porcelain plates for president Kārlis Ulmanis. After he had taken his high-school-diploma, he joined the Latvian Art Academy and until 1944 studied under the professors Jānis Kuga, Leo Svemps, Jānis Cielavs, Valdemārs Tone, Jānis Annuss, Kārlis Miesnieks und Vilhelms Purvītis. In 1944, Vinters had to drop out of his studies; he was drafted for the service in the Latvian Legion and deployed near Toruń on the Vistula River. In 1945 he was taken prisoner of war by the Soviet Army and deported to a POW camp near Moscow. There Russian officers...

Roy Petley is a contemporary British plein-air painter known for his impressionistic depictions of British coastal scenes. His lush paint handling is often likened to the works of Jo...

Roy Petley After the storm as a freshness of colour and lucidity of brushstrokes found in his repertoire ensures his paintings remains exciting to the eye ‘Throughout his life he continued to pursue his objective of reproducing the ‘atmosphere and light’ that he sees all around him,’ The paintings that we n an age of “virtual reality” when the art of picture making is possible through the screen, and imagery is well considered when floating in formaldehyde, it is reassuring to find an evergreen of traditional values. Roy Petley has always lived life to the hilt, but he likes his friends to share his successes. He has known tough beginnings, but is aware of his talent and when he uses it to the full effect, it is devastating. Choosing familiar subjects he is able to embody each with feeling. Each image has something to say – the colour and draughtsmanship put in with a seeming casualness immediately awakening the viewer to the freshness of the work. More astonishing are his continuous successes, for whilst he has already become a legend in his own space, recent exhibitions overseas have proved that in reality his particular brand of figurative art is still very much alive and increasingly in demand. Roy Petley was the first born to what became a large family in Grantham, Lincolnshire in April 1951. Little affection was shown to him, and the only discipline was the bad tempter of his mother; by the time he was five he had been removed from his family and taken to the Woodlands school near Uckfield, Sussex. A home as well as a school for abandoned children. He cannot remember when he first began to draw – ‘Always, always’ is his claim – but it was at this school, and in the charge of his art master whose name he recalls as Price. He was a resident at the school for ten years, and tells a story fit for Vasari in that in being let loose in the art room, in a frenzied flurry of activity, he used in one week all of the material available for all of the pupils for one whole term. Formal recognition of his talent came when in 1967 at the age of sixteen he was awarded a place in the Brighton School of Art. With his family and educational background it had been decided without reference to him that he needed safe career prospect offered by training in commercial art. He found himself compelled to draw carefully and in great detail aesthetically unrewarding objects. When he asked if he might change to fine art he was refused. Regretting only that in some sense he had been betrayed by his art master at Woodlands, he cut short his term at University and hitch-hiked to Italy to see and learn from the great masterpieces that has so inspired him. He settled in Florence, haunting the Uffizi and Pitti galleries, examining with the closest scrutiny everything from Walter Paters...

Dramatic stormy landscape by Charles Henry Harmon (American, 1859-1936). Looking out over a lake from the shoreline, dark grey storm clouds can be seen rolling over the mountaintops ...

A small, winding trail invites the viewer into this beautiful verdant landscape by California artist Ken Lucas (American, 20th Century). Signed "Ken Lucas" o...

In "Soft Turbulence," Linda Clerget masterfully blends the gentle chaos of nature with a symphony of colors. This captivating piece invites the viewer into a world where the serene a...

This evocative diptych by French artist Linda Clerget captures the fleeting beauty of light and emotion in two distinct yet harmoniously connected landscapes. "Gentle Turbulences" re...