Natasha Lelenco

Profile Portrait on Pixelated Floral Carpet Background – “Exchange Currency #4”

2019

This captivating piece by Natasha Lelenco is part of her "Fetiches" series, where the artist explores the themes of identity, nature, and symbolism through a Pop-Surrealist lens. The...

Part of the Influencers de Taberna series, Fluorescent Husband (2020) captures a moment of surreal humor inspired by a real yet absurd conversation. The painting depicts a woman bath...

This acrylic painting on canvas presents two mirrored female busts rendered in vivid green tones, their identical facial structures and stylized hair buns evoking a reflection on sam...

This piece belongs to the first series of 6 large coins created by Natasha Lelenco in 2019, starting from the concept of the "face" and incorporating a floral background inspired by ...

Original Painting of a French Woman at Le Café La Nuit in Arles, France by Contemporary British Artist, Angela Wakefield. Provençal eatery with a charming terrace said to have inspir...

Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of Fine Arts in Gdańsk (1999-2004). Diploma with special recognition in painting in ...

This is more than a cover illustration depicting the legendary Charlie Parker playing the saxophone. It's an inventive graphic design concept from trailblazing illustrator Robert Weaver. By showing the subject in two parts. The artwork's visual idea is as radical as Parker's music. A wide shot and a close-up butted together dynamically communicates an energetic motion and movement in a still image. Signed lower right. Record album cover illustration for Charlie Parker: Bird with Strings Live at the Apollo, Carnegie Hall and Birdland (Columbia Records, 1976). From Wikipedia: Robert Weaver (July 5, 1924 – September 4, 1994) was an American illustrator who was considered a pioneer of a contemporary approach to the field that began in the 1950s. Biography Beginning in 1952, he embarked on a mission to combine the visual ideas found in fine art with the responsibility of journalist. At the time, many practitioners of illustration were expected to paint and draw for advertising and magazine assignments with artwork that was conservative, idealized and saccharine, while other illustrators such as Ronald Searle, Arthur Szyk, George Grosz, Kathe Kollwitz and later Ralph Steadman and Tomi Ungerer injected their own opinion into the matter. Weaver joined this latter tradition by moving his role of an illustrator from a page decorator to a journalist. He ventured from the typical haven of an illustrator's studio into the world and used a pencil to observe, record facts, and draw real life based visual essays, the way that illustrators such as Burt Silverman and Franklin McMahon did. This approach would later be termed "visual journalism" and in 1983 would form the basis of a special masters degree, Illustration as Visual Essay, from the School of Visual Arts in New York. He died at his home in Manhattan on September 4, 1994.[1] Career and legacy In an article for the AIGA in 1990, noted graphic art historian Steve Heller categorized Weaver as a journalistic illustrator. Other artists included Bob Gill, Jack Beck, Robert Andrew Parker, Thomas B. Allen and Philip Hays. They received crucial assignments from a group of visionary art directors that included Cipe Pineles...

I have created a work of art that embodies a symbiosis between the classic and the urban, with a worn-out origin. It is a deliberate blend designed to evoke a strong sense of observa...