329 results for "aspen"

All Colors Lead to...? - Original Abstract Ink Painting, 2019 18.5" x 14.5" (HxW) Alcohol Ink on Plastic Substrate A fluid rainbow emerges from the center of the composition, with c...

Artist Commentary: This original piece is alcohol ink on a clay panel board. The ink was moved around using an airbrush. The fine lines were created with a posca paint pen. This one...

Artist Commentary: The first thought in my head when I finished this was ‘antibodies’. They are anti-body, for sure. It looks like something under microscope and is unlike anything ...

Artist Commentary: The long name for this one is 'Tearing Through the Sky in Wonder'. This one is very spiritual to me. I see this as being the event that signals the tribulation as...

Artist Commentary: This piece is a riot of movement and color. It is titled 'War Dance' because if you look near the center/top you will see what looks like a headdress and arms moving out and up and then legs moving up and down at the bottom ... in a dance. It's an energetic piece to say the least! The American Southwest is the inspiration for this piece. The colors and culture all fascinate me endlessly. I wanted to depict this part of the world in a small way through this painting. However, there is so much more to it that cannot be communicated in one painting. However, what you see in this piece is what's most important. This one is already beautifully matted and framed in white, with museum glass. About the artist: I have been an artist all my life, ever since I could hold a pencil. I have always loved to draw and paint. My styles have varied over the years from realism to abstract and everything in between. The mediums I most enjoy working with are: oil, colored pencil, charcoal, graphite, watercolor, pen & ink, alcohol ink, and acrylic. Currently I am experiencing a mammoth amount of creative freedom working on abstract art. In 2015, I donated one of my kidneys to a young woman who had only been born with one very diseased kidney. Since then she has been thriving and now going to college and living her life. What a blessing! I consider this a privilege and I'm so happy I was a match for her. I have lived all over the country (U.S.). I primarily grew up in Woodland Park, CO. Following living in Woodland, I lived in Durango, CO, Farmington, NM, Houston, TX, Philadelphia, PA, Atlanta, GA and currently live in Montrose, CO (hopefully for good). I thankfully found my way back to Colorado. We live near Colona, in the shadow of Buckhorn Mountain (west/central Colorado) and absolutely love this place! It is remote, uncluttered, quiet, peaceful and beautiful. The inspiration I feel in my heart here is something I’ll be forever grateful for. It makes my soul sing! I love to ski and am glad I live near some great places. Telluride, Crested Butte, Aspen, etc ... when money allows. On February 12, 2017 I was in a ski accident in Telluride. Someone hit me from behind and knocked me unconscious for a few minutes (yes, I was wearing a helmet) and broke my collar bone. The guy hit me and left me for dead. He still has yet to be found. It's considered a felony to hit and run, just like in a car. Consequently, I suffered a concussion that has changed my life forever. My creativity has changed. Something happened to my eyes and I have a hard time doing the tiny details I used to do. But something also clicked in terms of how I approach my art. The freedom of abstraction has helped me heal and cope. Not only from the accident but with so many areas of my life. I have learned what true forgiveness means (to give as well as receive). I have a new appreciation for how fragile our lives really are and just how quickly life can be taken from us. A lot of things can change in the blink of an eye! That moment created a complete paradigm shift in my life. Mostly for the better. I’m involved in an art mentoring program called Art Partners. I mentor a young boy (age 10). He created a piece that won first place in the student category of the Ouray Alpine Artist’s Holiday art show (nationwide) as well as 1st place in The Montrose Visual Arts Guild 2018 art show. I love the fact that I get to help shape this young man's creative future. He's my lil buddy. There is an old cabin (100+ yrs old) on the property where I live that I have turned into my art studio. It’s my retreat and sanctuary. While I'm in this cabin, creativity just bursts forth in a riot of paint and color! This, I believe, is my heavenly father working through me. I'm still not sure what the grand purpose is but I keep my mind and heart open. I'm expecting adventure because, really, there's no way to know what's next. Like I always say, "the point is not to live forever but to create something that does." Keywords: alcohol, alcohol ink, abstract, ink, adirondak, fluid, fluid art, flow, flow art, design, sunset, salad days...

Artist Commentary: This one was inspired by an old photo that was taken of a couple saying goodbye (or hello) to each other at either a train station or bus station. Are they embarking or returning? It is a touching image in either situation. Alcohol ink is hard to control and most times it is going to do what it's going to do. The trick is to stop before it gets overworked and the original intent is gone. The gestural nature of this piece communicates a reality. Something that pulls you in to its reality. It's a reality more real to me than the reality we experience each day and with our own every day eyes. About the artist: I have been an artist all my life, ever since I could hold a pencil. I have always loved to draw and paint. My styles have varied over the years from realism to abstract and everything in between. The mediums I most enjoy working with are: oil, colored pencil, charcoal, graphite, watercolor, pen & ink, alcohol ink, and acrylic. Currently I am experiencing a mammoth amount of creative freedom working on abstract art. In 2015, I donated one of my kidneys to a young woman who had only been born with one very diseased kidney. Since then she has been thriving and now going to college and living her life. What a blessing! I consider this a privilege and I'm so happy I was a match for her. I have lived all over the country (U.S.). I primarily grew up in Woodland Park, CO. Following living in Woodland, I lived in Durango, CO, Farmington, NM, Houston, TX, Philadelphia, PA, Atlanta, GA and currently live in Montrose, CO (hopefully for good). I thankfully found my way back to Colorado. We live near Colona, in the shadow of Buckhorn Mountain (west/central Colorado) and absolutely love this place! It is remote, uncluttered, quiet, peaceful and beautiful. The inspiration I feel in my heart here is something I’ll be forever grateful for. It makes my soul sing! I love to ski and am glad I live near some great places. Telluride, Crested Butte, Aspen, etc ... when money allows. On February 12, 2017 I was in a ski accident in Telluride. Someone hit me from behind and knocked me unconscious for a few minutes (yes, I was wearing a helmet) and broke my collar bone. The guy hit me and left me for dead. He still has yet to be found. It's considered a felony to hit and run, just like in a car. Consequently, I suffered a concussion that has changed my life forever. My creativity has changed. Something happened to my eyes and I have a hard time doing the tiny details I used to do. But something also clicked in terms of how I approach my art. The freedom of abstraction has helped me heal and cope. Not only from the accident but with so many areas of my life. I have learned what true forgiveness means (to give as well as receive). I have a new appreciation for how fragile our lives really are and just how quickly life can be taken from us. A lot of things can change in the blink of an eye! That moment created a complete paradigm shift in my life. Mostly for the better. I’m involved in an art mentoring program called Art Partners. I mentor a young boy (age 10). He created a piece that won first place in the student category of the Ouray Alpine Artist’s Holiday art show (nationwide) as well as 1st place in The Montrose Visual Arts Guild 2018 art show. I love the fact that I get to help shape this young man's creative future. He's my lil buddy. There is an old cabin (100+ yrs old) on the property where I live that I have turned into my art studio. It’s my retreat and sanctuary. While I'm in this cabin, creativity just bursts forth in a riot of paint and color! This, I believe, is my heavenly father working through me. I'm still not sure what the grand purpose is but I keep my mind and heart open. I'm expecting adventure because, really, there's no way to know what's next. Like I always say, "the point is not to live forever but to create something that does." Keywords: alcohol, alcohol ink, abstract, ink, adirondak, fluid, fluidart, flow, flow art, design, sunset, salad days...

Artist Commentary: Stop shrinking is based on a mentality I have had for far too long. I have found that I have been shrinking to fit the places I have outgrown. By this I mean that...

Artist Commentary: This piece is a riot of movement and color. It is titled 'War Dance' because if you look near the center/top you will see what looks like a headdress and arms mov...

Artist Commentary: This piece is a unique one for me because I am typically used to working in traditional sizes. This is a very long and narrow piece. It has been reworked several ...

Artist Commentary: This piece is called ‘The Crab Walk’ because the overall shape reminds me of a crab. But it can be anything you see. It’s the eye of the beholder that determines ...

Sunset Splash, Original Abstract Painting, 2019 9" x 12" (HxW) Alcohol Ink on Yupo Paper This work by artist KC Pollak utilizes the complementary colors of ...

Artist Commentary: As I was creating this piece I didn't see the Bluebird just to the left of the center of the big flower. It wasn't until someone else commented on it. Once they d...

Artist Commentary: This is a larger piece (26" x 20") and I started this with my two favorite colors of alcohol ink, eggplant and flamingo. I wanted a soft, wispy, ethereal look. Wo...

Genesis 3, Original Abstract Painting, 2020 11" x 8.5" (HxW) Alcohol Ink on Paper Part 3 of KC Pollak's 'Genesis' series, she closes it off with another sim...

Curious Route, Original Abstract Ink Painting, 2019 12" x 9" (HxW) Alcohol Ink on Plastic Substrate There is an incredible amount of dimension to this work by artist KC Pollak...

Artist Commentary: Virus is a piece that ended up being an accident. I was experimenting with trapping alcohol ink inside circular objects. I got frustrated at one point and dragged...

Artist Commentary: I am currently fascinated by the brown/pink color and pink/orange/red combinations. They seem emotionally charged, for some reason. Everyone that sees this piece ...

Artist Commentary: This is the 2nd in a series that was created out of a place of sorrow but comes from a place of healing. A dark place came bubbling out. But a beautiful one resul...

Richard Hawk calls his works of oil on copper a “co-creation with nature”. Hawk turned to the melding of copper oxidation and traditional oil painting in 2011. His works on canvas, p...

Richard Hawk calls his works of oil on copper a “co-creation with nature”. Hawk turned to the melding of copper oxidation and traditional oil painting in 2011. His works on canvas, p...

"Sylvia Martins is a Brazilian born painter and printmaker whose work often incorporates soft pastels and impressionistic brushstrokes to create luminescent, dreamy images varying in...

"Sylvia Martins is a Brazilian born painter and printmaker whose work often incorporates soft pastels and impressionistic brushstrokes to create luminescent, dreamy images varyi...

My work has traditionally been characterized by immediacy and gesture, executed combining elements of both painting and drawing, and I typically have tapped into the instinctual and ...

MESTIA MOUNTAIN VALLEY 2 by artist Bill Claps is a white, gold, and brown contemporary landscape mixed media on canvas that measures 22 x 32 Visual artist and writer Bill Claps medi...

USHGULI WITH SHAKRA MOUNTAIN by artist Bill Claps is a white, gold, and brown contemporary landscape mixed media on canvas that measures 22 x 32 Visual artist and writer Bill Claps ...

It's All Derivative, Brigitte I, Negative by artist Bill Claps is a gold, black, and white contemporary figurative pop art mixed media with light gold foil on canvas piece that measu...

It's All Derivative, Brigitte I, Positive by artist Bill Claps is a gold and white with black contemporary figurative pop art featuring Brigitte Bardot, mixed media with light gold f...

Drawing (Green with Three Tongues), Pastel on CutOut Paper by Richard Smith, 1970 Additional information: Medium: Pastel on Cut-out Paper with Staples 99 x 143 cm 39 x 56 1/4 in Signed and dated Smith was a key figure in the British development of Pop Art. By 1970 when this work was executed, Smith was primarily concerned with the examination of the two-dimensional nature of painting and was experimenting in both his oils and his works on paper with extending the paint surface out into a three-dimensional space. In this work we see the added extensions in collage (the ‘three tongues’) to the normal rectangular format. The large scale is testament to the influence of advertising in Smith's late 60s and early 70s works. This work was made in the same year that Richard Smith represented Great Britain at the XXXV Venice Biennale, with a solo show in the British Pavilion. Smith was chosen by a committee of art experts, who were Director of Tate Norman Reid, art historian Alan Bowness, art collector David Thompson, the British Council’s Lilian Somerville and art historian Norbert Lynton. It was a hugely defining period in Smith's career, including the creation of his sculpture-cum-paintings 'Waterfall', 'Triangular' (both in the collection of Tate, London) and Sphinx Series (British Council), before he began developments towards his Kite Series in 1971. Charles Richard "Dick" Smith was an English printmaker and painter. Smith was born in Letchworth, Hertfordshire, to Doris (née Chandler), a nurse and daughter of a chemical company director. He studied at Hitchin Grammar School and Luton School of Art. After military service with the Royal Air Force in Hong Kong, he attended St Albans School of Art followed by post-graduate studies at the Royal College of Art, London, from 1954-57. Smith shared a flat-cum-studio with Peter Blake in his second year at the RCA, and then again for two years after he left the college in 1957. When Terence Conran's Soup Kitchen opened on Fleet Street in the late 1950s, it featured a letter-collage mural by Smith and Blake. Michael Chow would later commission Smith to design installations for his restaurant in Los Angeles, and Chow and Conran have remained two of his biggest supporters. In 1959 he moved to New York to teach on a Harkness Fellowship, staying for two years, where he produced paintings combining the formal qualities of many of the American abstract painters which made references to American commercial culture. The artist's first solo exhibition was at the Green Gallery. As his work matured it tended to be more minimal, often painted using one colour with a second only as an accent. In trying to find ways of transposing ideas, Smith began to question the two-dimensional properties of art itself and to find ways by which a painting could express the shape of reality as he saw it. He began to take the canvas off the stretcher, letting it hang loose, or tied with knots, to suggest sails or kites - objects which could change with new directions rather than being held rigid against a wall, and taking painting close to the realm of sculpture. These principles he carried into his graphic work by introducing cut, folded and stapled elements into his prints; some works were multi-leaved screenprinting, and others printed onto three-dimensional fabricated metal. Smith returned to England in 1963 - specifically East Tytherton, Wiltshire where Howard Hodgkin was a neighbour - and gained critical acclaim for extending the boundaries of painting into three dimensions, creating sculptural shaped canvases with monumental presence, which literally protruded into the space of the gallery. Evocative titles such as Panatella and Revlon, and cosmetic, synthetic colours alluded to the consumer landscapes of urban America which had proved so influential. He showed at the Kasmin Gallery, a venture between Kas and the Marquess of Dufferin and Ava in New Bond Street, throughout the 60s, more-widely known as David Hockney's first gallery. After being awarded the Grand Prize at the 9th São Paulo Biennial in 1967 and important exhibitions at Kasmin in 1963, Tate in 1964, and Richard Feigen Gallery in 1966, Smith was invited to exhibit at the XXXV Venice Biennale as the official British artist in 1970. Smith was chosen by a committee of art experts, who were Director of Tate Norman Reid, art historian Alan Bowness, art collector David Thompson, the British Council’s Lilian Somerville and art historian Norbert Lynton. Smith taught with Richard Hamilton at Gateshead in 1965, where he met Mark Lancaster and Stephen Buckley, and again in 2000, becoming close to the artist and his wife, Terry. By the late 1960s Smith's ambition to produce paintings which shared a common sensibility with other media, such as film and photography, began to wane and he focused on the formal qualities of painting. The freestanding installation Gazebo exhibited at the Architectural League of New York in 1966, and a tent project at the Aspen Design...

Major George Washington Littlefield died in 1920. He commissioned E. Martin Hennings around 1910 to do six large paintings of scenes from his 235,000-acre ( part of the XIT ) ranch to hang in his bank in Austin. I have included photos of the paintings hanging in the bank from the Littlefield Book. I am not sure, but the bank possibly went under sometime in the 197s-1980s. All of the art and antiques were stored, and they had a sale. We have 3 of the six murals that were commissioned by Littlefield. I have about 40 pages of info on Littlefield and the murals. Too much to enter now but I will be scanning that info later this week. The Littlefield mansion is still in Downtown Austin. At one time he was the richest man in the state. He was UT's biggest donor for several years prior to his death. The paintings are 34 x 130 35 x 144 35 x 119 Two are hanging in my friend's ranch house. The other is of a large herd of Hereford Cattle. It is actually pictured on the cover of the Biography of George Washing Littlefield. Littlefield, George Washington (1842–1920). George Washington Littlefield, cattleman, banker, and member of the Board of Regents of the University of Texas, son of Fleming and Mildred Terrell (Satterwhite) White Littlefield, was born in Panola County, Mississippi, on June 21, 1842. The family moved to Texas in 1850 after a confrontation between Fleming Littlefield and his wife's family. In marrying Fleming, her overseer, after the death of her first husband, Mildred in her family's eyes had married beneath her station, an action to which her family objected. George grew to young manhood on the family plantation near Belmont, Gonzales County, helping his mother to manage the place after Fleming's death in 1853. George received a basic education in Gonzales College and Baylor University, 1853–55 and 1857. With the outbreak of the Civil War in 1861 George enlisted in Company I, Eighth Texas Cavalry (Terry's Texas Rangers), which fought in the Army of Tennessee. Before his military career was ended at Mossy Creek, Tennessee, on December 26, 1863, by an exploding cannon shell, George rose to the rank of company commander, the youngest in his regiment, and fought at Shiloh, Perryville, and Chickamauga. At Mossy Creek he was promoted to major, a title by which he was addressed after the mid 1880s. Back in Texas after being discharged in 1864, he took control of a plantation belonging to himself and his brother, and "went to work to make the best, as he thought, of a miserable life, having to carry his crutches everywhere." During the war, on January 14, 1863, George married Alice Payne Tillar, with whom he had two children, both of whom died in infancy. In his business ventures thereafter, George Littlefield, who had a highly developed sense of family, utilized nephews and the husbands of nieces as managers. George's first year's farming after the war ended in disaster caused by three years of worm infestation and flood. Even the road-side store he opened, which prospered because George accepted barter, in particular cattle, could not make up for the losses. In 1871 he gathered a herd of cattle, half of which were his and the rest belonging to his brother, bought more, and drove the herd to Abilene, Kansas, where he sold the animals for enough to discharge all of his debts and leave him with $3,600 "to begin business." Over the next several years entrepreneur Littlefield opened a dry goods store in partnership with J. C. Dilworth in Gonzales, bought and trailed cattle, bought ranches in Caldwell and Hays counties, and developed his plantations. In the trailing business, Littlefield commonly bought his cattle, rather than, as most trailing contractors did, trailing them for a fee. He took the greater risk but reaped the greater reward in their sale. In 1877 Littlefield bought water rights along the Canadian River near Tascosa and established the XIT Ranch which he sold in 1881 for $248,000. Littlefield rejoiced that he had obtained "far more money than he had ever expected to have" and thought of retiring at thirty-nine years of age. But he did not retire, as "he learned. . .that the more money a man makes, the more he has to make, that a man's world opens up a little bit wider with each deal and demands become heavier." In 1882 Littlefield followed the advice of his principal ranch manager, half-nephew J. Phelps White, and purchased water interests sufficient to control some four million acres of land in New Mexico east of the Pecos River between Fort Sumner and Roswell, on which he established the Bosque Grande Ranch. In 1883 he bought the site of the first windmill on the New Mexico plains at the Four Lakes north of Tatum and developed the Four Lakes Ranch with windmills and barbed wire to control access to water and permit upgrading of stock. His cattle after 1882 carried his LFD brand on their right side. In 1887 Littlefield began acquiring land in Mason County, which soon spread over some 120,000 acres in adjacent Kimble and Menard counties, a ranch he put under management of half-nephew John Will White. In the 1890s Littlefield assembled acreage that came to be known as the LFD Farm in Roswell, New Mexico, on which he established an apple grove, grew forage for cattle, recruited his horses prior to the spring round-up, and maintained the pure-bred bulls that he used to upgrade his herds. Littlefield climaxed his ranching operation in 1901 with the purchase for two dollars per acre of 235,858 acres of the Yellow House (southern) Division of the XIT Ranch in Lamb and Hockley counties. To reach the prevailing wind above the escarpment at the ranch headquarters, Littlefield put up a windmill 130 feet tall to the top of the fan, claimed at the time to be the world's tallest windmill. In 1912 he established the Littlefield Lands Company under Arthur Pope...