Flower Photography

This floral photography has a dramatic sense of composition which recalls the careful arrangements of Dutch and Flemish still life paintings from the 17-18 century. Belgian photog...

This floral photography has a dramatic sense of composition which recalls the careful arrangements of Dutch and Flemish still life paintings from the 17-18 century. Belgian photog...

This floral photography has a dramatic sense of composition which recalls the careful arrangements of Dutch and Flemish still life paintings from the 17-18 century. Belgian photog...

Artist: Jonathan Singer, American Title: Giant Pink Amazon Waterlily on Black Year: 2014 Medium: Digital Photograph, signed in pencil Image Size: 13 x 10 inches Size: 22.5 x 16 in. (...

Edition of 10. Fujicolour / DMEL: professional photo paper (from Kodak).

This abstract floral landscape photography has a dramatic sense of composition which recalls the careful arrangements of Dutch and Flemish still life paintings from the 17-18 century...

Okurimono Pigment Print Images from the Okurimono series is available in 3 different formats : * 50 x 75 cm : edition of 10 + (+2ap) * 80 x 120 cm : edition of 7 + (+2ap) * 113 x 170 cm : edition of 7 + (+2ap) Each print is numbered and signed About the work : Work by contemporary photographer Christian Houge, from the Okurimono series. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays an important role. In this series, Houge has, through five trips to Japan (Tokyo, Osaka and Kyoto), explored Japans otherworldly subculture and its ritualistic perfection. In this personal art documentary he has ventured into delicate themes such as personal identity, sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The viewers associations are important in meeting this work and ambiguity plays a Okurimono (meaning both “gift” and “that which is in-between” in Japanese) - is a word that binds together this comprehensive project developed over five trips to Japan between 2007 and 2018. The series explores the personal pursuit of identity, at times with an underlying darkness as Houge had the chance to be introduced to Tokyo’s subculture. In exploring this theme, Houge has ventured into delicate matters such as sexuality, longing and gender dysphoria. In this particular series, he uses staging as a method to create a story within a story. The artist wishes to question the viewer and provoke a reflection on topics that are often seen as taboos in our contemporary societies. The viewer’s own associations are important in appreciating this work where ambiguity plays an important role. The project started in the Harajuku district of Tokyo which is known as a center of Japanese youth culture and where Houge found some of his first motifs: teenage girls dressing up in post-Victorian dresses or ‘cosplay’ costumes to identify with a character of their favorite comics. Here, the desire to express one’s uniqueness is central and the photographer explores the tension between personal identity and aesthetics shared by all (or at least by the same youth group). In many of his carefully staged photographs, Houge’s models are masked, so as to echo the many social masks we wear in our day-to-day lives. In our post-modern information society, drained of wonder, these enigmatic masked characters also evoke the world of shamans and pagan rituals, therefore injecting a sense of mystery and spirituality that many people are longing for. Symbolism and the many references to ritual and identity in an otherwise suppressed society, may at times create a sense of unease among viewers. The Okurimono project also explores the topic of identity and sexuality in gender dysphoria with Japan’s nyūhāfu (the transsexual ‘new halfs’). Here, the quest for identity coincides with a search of femininity and body image which results in complex physical transformations. Viewers may look at these portraits not having any clue that models are nyūhāfu. Yet, the photographs are staged so that viewers are placed in a disconcerting voyeuristic role while looking at otherwise closed world. Shibari (the art of tying), which originates from the Edo period (1600s), is another territory explored by Houge in his Okurimono series. His striking photographs of female models tied with red rope on a white background take us into this powerful journey into vulnerability and surrender, power and freedom. Through tradition, symbolism and technology, Okurimono also explores the hugely potent symbols that help define parts of Japanese culture and national identity, between old and new. As Art historian Erling Bugge put it: “Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar.” The images of the Okurimono series share a ghostly, otherworldly quality. In reality and dream, ritual and play merge while the boundaries between the known and the unknown dissolve. Christian Houge – Now – Okurimono Christian Houge guides us into a mystery. It resides between the ritualized shapes of the traditional and withdrawn Zen garden in Kyoto and the equally ritualized spaces of futuristic, urban Tokyo. For a westerner, Japan might look familiar, since what is held up for us looks like a futuristic spectacle somehow grounded in a western imagination. This judgment, however, is too easy. In Houge’s photographs, the sense of sameness withdraws and a very different feeling of strangeness creeps up on us. In fact, what this series registers is a remarkable place of alterity in today’s global order, a radical difference bang in the middle of the familiar. This is pushed to the limit in the technological and virtual wonderland of Akihabara in Tokyo, where shop after shop trade in electronic products and computer games, while a weird costume play, “cosplay”, is being performed in streets. A similar kind of simulation is being acted out in the district of Harajuku, where Houge found some of his motifs. There is no authenticity here, no western “essence” or “reality”; instead, the virtual conquers the carnal body in a purified play of surface, image and the hyperreal. This is exotic. All the while as we are conscious of these notions as pinnacle points in a western idea of the post-modern. But in this sense Japan has always been “post-modern”. It has always integrated the most refined culture and technology from the outside while somehow retained an identity for itself. So, what would this identity be? Houge takes the view of ritual and play. Indeed, Japanese culture seems to be grounded solely on ritual, in business and in sex, in its relation to nature and in religion. This play transcends the notion of authenticity altogether, unlike the West which is haunted by the “ghost” of origin and beginnings. In Japan, “now” would mean just that; it is a “no looking back”, but rather a flow of intensities integrated in the play and ritual of the ever-present, okurimono. There is no threat of being eaten up by western culture and technology here, for, like in Zen practice, the ritual oversees everything and has no historical drag. Japan becomes weightless, shot into orbit outside the material of earth itself. Is acting out the role as Lewis Caroll’s Victorian girl driven by a sense of nostalgia? I think not. It is a striving for a moment of perfected presence, in dialogue with Houge’s optical machine. It is the moment of Now. The girl, the Zen garden and the image shares in a perfection modified by small uncertainties, coincidental imperfections that become somewhat oblique points of entry for us - a discarded handkerchief or seemingly unremarkable shapes and reflections in the prismatic play of surfaces. There is a ghostly, otherworldly quality in these images, even in the fleeting blossoming cherrytree and the play of shadows across a concrete minimalism. The doubly exposed or reflected light on the lens reminds us of the uncertain beginnings in photography’s history, with its widespread belief that the camera was able to perceive more than the naked eye, like spirits and ghosts. In Houge’s images there are different specters, skeletal, natural shapes on the one hand, the machine and the virtual on the other. Here, like some scene from the film Blade Runner, there is an uncanny confusion and mix between the human and non human. Maybe the search for a perfect moment in the perpetual flow of things is a romantic or melancholic longing for transcendent wholeness, a drive that is harnessed in a rigorous attention to visual detail. This compulsive discipline might seem absurd to any western observer, while longing itself form a common ground and will ultimately be the basis in our meeting. Erling Bugge Bio: Christian Houge (born in Oslo 1972) Based in Oslo, Norway, I have been making photographs for over twenty years and new insights continue to open. By exploring the relation, and conflict, between Nature and culture, I get a better understanding about Mans` condition. I am interested in the consequences of Humankinds progression and how science often is the result of our conquering of Nature, both on Earth and beyond. Mans` ego, consumer society, the last remnants of pure Nature and identity are recurring elements in my work. I often juxtapose the visually aesthetic with an underlying uneasiness. This often emanates a cognitive dissonance in the viewer to invite deeper truths and personal references. Looking at our actions and place in environment, which we are so dependent on, is a recurring theme in all my exploration and can use everything from digital cameras to large format and panoramic analog cameras for specific projects. I have exhibited extensively in galleries and museums in my native country Norway, as well as the US, England, France and China. The series `Death of a Mountain`(2016-2021) is nominated for the 2021 Leica Oskar Barnack Award, as well as receiving an arts grant from Norwegian Arts Council. Most recently, my series `Residence of Impermanence` 2017-2019 has been exhibited at five museums and several galleries already (including a solo show at Fotografiska, Stockholm (2019), and Les Recontres d`Arles, Haugar Artmuseum, Preus Muaeum of Photography and 2019 (Galerie Omnius, Arles). In 2021, this series received ten nominations for the Prix Pictet Award with the theme FIRE. `Residence of Impermanence` is currently exhibited at the UCR: California Museum of Photography in Los Angeles with the exhibition `Facing Fire,` Art, Wildfire and The End of Nature in the New West...

albumen print, mounted on card stock with the photographer's name, title, and number in the negative 11 1/2 x 8 3/4 inches/29.2 x 22.2 cm

This abstract floral landscape photography has a dramatic sense of composition which recalls the careful arrangements of Dutch and Flemish still life paintings from the 17-18 century...

Edition of 110 Signed and numbered by the artist. Artist Commentary: Halston’s studio at the Olympic Tower was as grand as he was. From his office, you could see the spires of Saint...

With a varied career as both an artist and art director, Cy has collaborated with many of America’s best photographers. His works are close, intimate portraits of almost infinite dep...

Aditya Dicky Singh, Untitled, photograph on fine-art Hahnemuhle archival paper 66" x 44" unframed (167cm x 112cm) 2022 Edition 1/10 *Should you wish the photographs to be printe...

Listing is for UNFRAMED print. Inquire within for framing. Edition of 10. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. ABOUT: In her ninth solo show at the Robin Rice Gallery, veteran artist Patricia Heal documents her visual narrative of their enchanted home in upstate New York. Hidden within untouched forests lies Peabrook, a babbling brook running through the property. The classic architecture of the house is offset by uniquely quirky interiors designed by the English-born Patricia and her husband, Anthony Cotsifas, which generate an otherworldly existence within the estate. “Peabrook is my Neverland,” Heal states, in reference to J.M. Barrie’s Peter Pan. “It is a fictional place often described as a metaphor for eternal childhood.” Heal hopes that, with just a visit to the gallery and a little imagination, you, too, can see Peabrook. Her use of the large format, now-extinct Polaroid film for her black and white photographs, and the warm soft colors found in many of the other pieces of the collection, contribute to the sense of antiquity and fantasy surrounding Peabrook. The whimsical subject matter, including mythical creatures and extensive taxidermy, complete the “magical” representation of Heal’s home that she strove to depict. The simply framed 4” x 5”, 5” x 7” and 8” x 10” photographs sit within large mattes, in keeping with the classical quality of her images. “I really wanted to work in film again, and this project seemed the right one to do it with,” says Heal, who lists Sarah Moon and André Kertesz as artistic inspirations. The dark and mysterious invitational image, “Willow”, depicts a portrait of a hooded woman, her downward gaze partially obstructed by the soft branches of a fern from the surrounding garden. The earth-toned image contains the unpredictable streaked effect of developed instant film. In another image, entitled “Sitting Room”, we see a positive image of a film negative. Most notable is the hanging rhinoceros head towering impressively over two antique sitting chairs...

Belgian photographer Isabelle Menin creates portraits of flowers that are not only gorgeous in form and color, but also uniquely expressive. Fresh blossoms and withering blooms melt ...

Belgian photographer Isabelle Menin creates portraits of flowers that are not only gorgeous in form and color, but also uniquely expressive. Fresh blossoms and withering blooms melt ...

Allan Forsyth AQUA FLORA N°10 112x85cm Archival Chromagenic Photographic Print Diasec Framed Edition 12 Allan Forsyth is an artist who explores a breadth of themes that is reflected...

Based in Toronto, Canada, T.M. Glass is a digital artist whose practice explores the historical, technological, and aesthetic conditions of photography to stretch it beyond its traditional definition. After studying sculpture at the Ontario College of Art and Design and turning to photography as the primary mode of production, Glass discovered rapidly advancing digital technology that made it possible to render a high degree of depth and level of detail as a celebration of nature. While Glass’s painterly photographs and the 3D-printer sculptures have the appearance of an easy kind of naturalness, they are the result of detailed planning and hours of painstaking manipulation. A single work may demand months of production time. Stemming from a deep, personal engagement in horticulture, the primary subject matter became the persistent allure of flowers. Glass pairs flora from renowned gardens including England’s Royal Lodge, India’s Rambagh Palace, and Quebec’s Jardin de Metis with historic vessels...

Allan Forsyth UNTITLED GARDEN 2 Limited Edition Archival Chromagenic Photographic Print Edition 12 Sheet Size: H 100cm x W 100cm x D 2cm Diasec Framed Ready to Hang Please note that ...

With a varied career as both an artist and art director, Cy has collaborated with many of America’s best photographers. His works are close, intimate portraits of almost infinite dep...

With a varied career as both an artist and art director, Cy has collaborated with many of America’s best photographers. His works are close, intimate portraits of almost infinite dep...

With a varied career as both an artist and art director, Cy has collaborated with many of America’s best photographers. His works are close, intimate portraits of almost infinite dep...

Signed and numbered by the artist.

Signed and numbered by the artist.

Aditya Dicky Singh Untitled Photograph on fine-art Hahnemuhle archival paper 33" x 46" unframed (84cm x 117cm) 2022 Edition 1/8 Aditya Dicky Singh's images have enthralled many and ...

Allan Forsyth WILD HEART Limited Edition Archival Chromagenic Photographic Print Edition 25 Size: H 100cm x W 100cm x D 2cm Diasec Framed

Hand printed by artist. Framed in classic Ansel Adams style: Plexiglass with gun metal frame. Beautifully description of title and signature on recto.

Listing is for UNFRAMED print. Inquire within for framing. Edition of 5. If the exhibition piece is sold or the customer orders a different print size, the photograph is produced upon purchase. Please allow two weeks for production. Shipping time depends on method of shipping. Price is subject to availability. The Robin Rice Gallery reserves the right to adjust this price depending on the current edition of the photograph. ABOUT: Every year, the gallery owner curates the show to best exemplify the 56 exhibited artists’ strengths and aesthetics, remaining cohesively linked by Robin’s extensive knowledge of her artists and of photography. “This is my favorite exhibit, even though it takes months to curate and a week to install,” says Robin. “It is my curatorial showcase.” From floor to ceiling, the walls of the gallery rooms are a mosaic of nearly a hundred photographs, their various sizes, color schemes and subject matter expertly laid out to fit together like the pieces of an eclectic puzzle. This year’s invitational image, “Beach Samba” by Patricia Heal, is a portrait of a woman in a large, orange-red sunhat, whose downward gaze obscures her face entirely. Blurring the line between photography and painting, the color palette and uniquely large grain pattern of the photograph is reminiscent of Georges Seurat’s pointillism...

Berry Berenson and her sister Marisa, are shown in a “Vogue’s Own Boutique” session published April 1, 1970. “Berry, Marisa, and Squashy the dog find Th...

Signed and numbered on front of mount. Titled with portfolio plate number on back of mount. 3 of 15, #6 artist reference number. Original silver gelatin print.

Still life photograph, red rose series, mounted on aluminum. Élisabeth Montagnier was born in Algeria. She is a little lost when she arrives in Marseille in 62, does not understand ...

AP Archival pigment print on Japanese Washi Kozo Paper Vincent Ricardel is a photographic artist whose career has spanned the editorial, commercial and fine art worlds of photograp...

Ed. 1/7 Born in New York City and raised in Short Hills, New Jersey, Lisa Pearlman discovered her passion for photography as a teenager. She earned a degree in Semiotics from Bro...

Ed. 1/7 Born in New York City and raised in Short Hills, New Jersey, Lisa Pearlman discovered her passion for photography as a teenager. She earned a degree in Semiotics from Bro...

Allan Forsyth AQUA FLORA X N°2 Limited Edition Archival Chromagenic Photographic Print Edition 6 + 2 APs Sheet Size: H 112cm x W 80cm x D 2cm Diasec Framed Please note that in situ i...

Framed still life photograph of an indigo blue Morning Glory flower on a solid black background “Untitled 36” by Chad Kleitsch, this image is part of the artist’s “Botanical Mind” s...

Untitled- Flower 147 (White) by Chad Kleitsch Contemporary still life photograph of dandelion parachutes Archival pigment print on Hahnemuhle photo rag matte paper 40 x 30 inch (40 x...

Minimalist landscape photograph of black and white waterlilies "Summer Lilies", photographed by Betsy Weis in 2006 archival inkjet print on watercolor paper 20 x 30 inches, 27 x 37 inches in white frame with white mat & anti-reflective non-glare glass Wire backing for easy installation, ready to hang as is Photographed at the Brooklyn Botanic Garden, this black and white archival pigment print by Betsy Weis captures a cluster of water lilies afloat on a glassy, onyx-like body of water. Looming clouds are reflected in the pond's serene surface. Crisp, moody, and rich in texture, the photograph can stand on its own as a quiet glimpse at nature, or can be juxtaposed with others in the series to form a more complete vision. This photograph is available unframed, $1700. The image measures 20 x 30 inches, and the paper measures 24 x 26 inches. Artist statement: Nature provides the perfect model of beauty, according to Plato and Socrates. In the classical period, something was considered beautiful because it existed in nature; art was secondary. In the 18th Century, the German philosopher Johann Joachim Winckelmann argued against the idea that art imitates life, believing that qualities superior to nature are found in art, specifically, ideal beauty, and “brain-born images”. Neoclassical thought represented that art need not serve any end other than its own existence. For me, beauty is an ideal, nature is real, and art comes from the brain. I take pictures in nature, finding shifting, disparate, and beautiful landscapes. I develop my pictures of trees...

Minimalist landscape photograph of black and white lily pads on water "End of Summer", photographed by Betsy Weis in 2006 archival inkjet print on watercolor paper 20 x 30 inches, 27 x 37 inches in white frame with white mat & anti-reflective non-glare glass Wire backing for easy installation, ready to hang as is Photographed at the Brooklyn Botanic Garden, this black and white archival pigment print by Betsy Weis captures a cluster of water lilies afloat on a glassy, onyx-like body of water. Looming clouds are reflected in the pond's serene surface. Crisp, moody, and rich in texture, the photograph can stand on its own as a quiet glimpse at nature, or can be juxtaposed with others in the series to form a more complete vision. This photograph is available unframed, $1700. The image measures 20 x 30 inches, and the paper measures 24 x 26 inches. Artist statement: Nature provides the perfect model of beauty, according to Plato and Socrates. In the classical period, something was considered beautiful because it existed in nature; art was secondary. In the 18th Century, the German philosopher Johann Joachim Winckelmann argued against the idea that art imitates life, believing that qualities superior to nature are found in art, specifically, ideal beauty, and “brain-born images”. Neoclassical thought represented that art need not serve any end other than its own existence. For me, beauty is an ideal, nature is real, and art comes from the brain. I take pictures in nature, finding shifting, disparate, and beautiful landscapes. I develop my pictures of trees...

Minimalist landscape photograph of black and white lilies on water "Dusk Lilies", photographed by Betsy Weis in 2006 archival inkjet print on watercolor paper 20 x 30 inches, 27 x 37 inches in white frame with white mat & anti-reflective non-glare glass Wire backing for easy installation, ready to hang as is Photographed at the Brooklyn Botanic Garden, this black and white archival pigment print by Betsy Weis captures a cluster of water lilies afloat on a glassy, onyx-like body of water. Looming clouds and nearby trees are reflected in the pond's serene surface. Crisp, moody, and rich in texture, the photograph can stand on its own as a quiet glimpse at nature, or can be juxtaposed with others in the series to form a more complete vision. This photograph is available unframed, $1800. The image measures 20 x 30 inches, and the paper measures 24 x 26 inches. Artist statement: Nature provides the perfect model of beauty, according to Plato and Socrates. In the classical period, something was considered beautiful because it existed in nature; art was secondary. In the 18th Century, the German philosopher Johann Joachim Winckelmann argued against the idea that art imitates life, believing that qualities superior to nature are found in art, specifically, ideal beauty, and “brain-born images”. Neoclassical thought represented that art need not serve any end other than its own existence. For me, beauty is an ideal, nature is real, and art comes from the brain. I take pictures in nature, finding shifting, disparate, and beautiful landscapes. I develop my pictures of trees...

"Ranunculus Perfect Pink", from the Ranunculus series. Limited edition flex chromogenic photograph, printed in 2016. Signed, titled, dated, and inscribed "From the Ranunculus series / Edition 2" on verso. Dimensions: (Frame) H 31.5" x W 31.5" x D 2" ; (Photograph) H 30" x W 30" Condition: Very good. Presents beautifully overall. After studying photography at the renowned Rhode Island School of Design, Christopher Beane moved to NYC, where he currently resides. In the mid-1990s, Beane stumbled across and became seduced by the early morning alchemy of the 28th street flower market - he found his unforeseen muse. Imports of both local and foreign became the artist's subject matter for the next several decades. He began by first documenting. Then he slowly started to formulate his own unique fingerprint in the fine art world. Noted curator and art historian, Anthony F. Janson proclaims Beane to be "the love child...

1957: Singer Julie London enjoying breakfast in bed at the Beverly Hills Hotel. Estate stamped and hand numbered edition of 150 with certificate of authe...

Signed and numbered by the artist.

Artist: Jonathan Singer (American, b. 1949) Title: Two Lilies Year: circa 2010 Medium: Digital Photograph on Aluminum Panel Image Size: 40 x 40 in. (101.6 x 101.6 cm)

Contemporary still life photograph of white tulip flower on white background "Untitled - Number 149 (White)", by Chad Kleitsch, 2010 Archival pigment print on Hahnemuhle photo rag ma...

Contemporary still life photograph of dandelion flowers on a white background Untitled- Flower 147 (White) by Chad Kleitsch Archival pigment print on Hahnemuhle photo rag matte paper...

Untitled - Number 149 (White), by Chad Kleitsch, 2010 Contemporary still life photograph of white tulip flower on white background Archival pigment print on Hahnemuhle photo rag matt...

Contemporary still life photograph of white tulip flower on white background Untitled - Number 149 (White), by Chad Kleitsch, 2010 Archival pigment print on Hahnemuhle photo rag matt...

Pigment photographic paper - photography & fine art print © Jean Pierre De Neef Artwork sold in perfect condition from a limited edition of 12 ex-...

Untitled - Number 149 (White), by Chad Kleitsch, 2010 Contemporary still life photograph of white tulip flower on white background Archival pigment print on Hahnemuhle photo rag matt...

With a varied career as both an artist and art director, Cy has collaborated with many of America’s best photographers. His works are close, intimate portraits of almost infinite dep...

With a varied career as both an artist and art director, Cy has collaborated with many of America’s best photographers. His works are close, intimate portraits of almost infinite dep...

Signed and numbered on front of mount. Titled and dated with artist's stamp on back of mount. Edition of 15.

With a varied career as both an artist and art director, Cy has collaborated with many of America’s best photographers. His works are close, intimate portraits of almost infinite depth, casting the ordinary in an entirely new light. Looking through his trove of lush imagery, the recurring elements of classical still life composition, gorgeous Mediterranean light combined with his hand painted backdrops...

The national flower of Japan, the cherry blossom – or Sakura, represents a time of renewal and optimism. Due to their quick blooming season, cherry blossoms also symbolize the tran...

Archival digital print 25 x 18 inches, edition of 150 Additional sizes available This contemporary, archival digital scanograph floral still life was made by fine art photographer, ...

Archival digital print 27.75 x 20 inches, edition of 75 Additional sizes available This contemporary, archival digital scanograph floral still life was made by fine art photographer...

Archival digital scanograph 27.75 x 20 inches, edition of 75 Additional sizes available This contemporary, archival digital scanograph was made by fine art photographer, Lisa Frank,...

Betsy Weis (Photography) Summer Lilies, 2006 20" X 30" $1,700.00 archival inkjet print on watercolor paper (Also available with 27 x 37 inches in white frame with white mat & AR non-glare glass, $2,000) Image: 20 x 30 inches Paper: 24 x 36 inches Photographed in Wellfleet in Cape Cod, this black and white archival pigment print by Betsy Weis captures a cluster of water lilies afloat on a glassy, onyx-like body of water. Crisp, moody, and rich in texture, the photograph can stand on its own as a quiet glimpse at nature, or can be juxtaposed with others in the series to form a more complete vision. This photograph is available unframed. The image measures 20 x 30 inches, and the paper measures 24 x 26 inches. Artist statement: Nature provides the perfect model of beauty, according to Plato and Socrates. In the classical period, something was considered beautiful because it existed in nature; art was secondary. In the 18th Century, the German philosopher Johann Joachim Winckelmann argued against the idea that art imitates life, believing that qualities superior to nature are found in art, specifically, ideal beauty, and “brain-born images”. Neoclassical thought represented that art need not serve any end other than its own existence. For me, beauty is an ideal, nature is real, and art comes from the brain. I take pictures in nature, finding shifting, disparate, and beautiful landscapes. I develop my pictures of trees...