How to Find an Artist to Paint a Family Portrait

Portrait painting makes a great gift for a special family occasion such as anniversary, graduation, birthday, wedding or Christmas. What makes a portrait an extraordinary gift? Why is this gift so special? Maybe because it is personal, it shows that the person giving the gift really cares about us. Everyone likes to receive gifts that have been made especially for them. And portrait fits perfectly.

So, you decided to commission a portrait. Where do you start looking for a portrait artist to create a portrait for you? You will have to spend some time finding the best artist for the job.

First, don't forget to ask your friends and relatives. They may have commissioned a portrait before. The best thing about your friends and relatives is that they are not trying to sell you anything. They will honestly share their opinions and experiences. They may be able to give you some advice and refer you to a portrait artist they already know. Some of your friends may even be artists themselves. Just remember that not all artists actually can draw or paint people, you need to find a professional artist specializing in portraiture. Portrait artist has the unique ability to capture likeness and character of a person.

Many artists today have their own websites. You can view the examples of their work, read artist statements, biographies and find some other useful information. You can also get a pricing information, although some artists don't put it on the website, so you will have to contact the artist via e-mail or directly through the site. Many artists have their individual art blogs, so that they can connect with other artists and share their ideas. Artists like to show their works-in-progress on their blogs. Which is a great opportunity for you to find out more about them. It is always a good sign when artists share their artistic processes openly. That shows that artists care about their work and actively try to improve their skills. It is also a sign of being open minded, and being open minded is a prerequisite for being creative.

Another way of finding a portrait artist is to visit an online portrait artists directory. There are websites featuring regional, national and international portrait artists. You can browse artists' portfolios and select artists whose style you like the most. Often directories include the pricing information as well, it allows you to compare various artists by price and helps you to stay within your budget. Any good directory will also provide links to artists' websites, so that you can contact them for more information and request a quote.

One of those portrait artists directories is Portraity. You can find great portrait artists and find creative family portrait ideas there.

Original article

Gustav Klimt

Gustav Klimt is an Austrian artist born in 1862. He studied art at the Vienna School of Arts and Crafts and then began working as a team with his brother Ernst and his friend Franz Matsch, calling themselves the Company of Artists. Gustav Klimt was awarded the Golden Service Cross and the Emperor's Prize while working as part of the Company and became a sought-after painter of portraits. The three artists worked together completing public commissions decorating the interiors of buildings until 1892 when Ernst died and Gustav significantly changed his artistic style. Franz began to paint mainly portraits around this time.

Gustav Klimt's style changed from a more classicist style to one of symbolism and art nouveau. He took his last public commission in 1893, but didn't complete these paintings of Medicine, Philosophy and Jurisprudence, meant to hang on the ceiling of the Great Hall of the University of Vienna, until the early 1900s. Once completed, they were criticized as being too lewd and were not hung. These paintings were destroyed by the Nazis, and all that remains of them is black and white reproductions. Klimt's new style tended to be very erotic and usually featured the female form. However, he did also do a number of landscapes in the 1890s on the shores of Attersee during his family's summer holidays.

In 1897, Klimt joined the Vienna Secession, a group of artists that were against the Classicist movement. Klimt was the president of this group, which worked to help unconventional artists get their work displayed by holding exhibitions and producing a magazine showcasing the work of members of the group.

Gustav Klimt went through a phase where he used a lot of gold leaf in his paintings, starting around 1898 and ending around 1910. These paintings also often have a mosaic look to them. Other characteristics found in much of his work include phallic shapes and spirals and swirls. Klimt's primary subject was the female body,and his works are marked by a frank eroticism-nowhere is this more apparent than in his numerous drawings in pencil.

Klimt died in February 1918 after suffering from a stroke and pneumonia. His works are very popular and usually fetch high prices when they are sold. One of his works, Adele Bloch-Bauer I, a portrait he painted in 1907, sold in 2006 for the highest reported price ever paid for a painting, $135 million.

For more details about life and paintings of Gustav Kilimt, visit our website at

Original article

Inventor of the Colour Wheel - Found at Last?

In an earlier article, I described a tool artists can use to get colour right, first time and every time. This immensely useful tool is called The Colour Wheel. Who invented it, where and when, were questions I couldn't begin to answer - until now.

Back then, all I retained was mention in a British documentary film of an expert colourist who was engaged by a tapestry factory in 15th century Paris. Now, thanks to several informative articles on French history, found on the Web, I can share what seem to be the probable answers.

An atelier for tapestries was set up under the royal patronage of Francis 1. Handsome, athletic and adventurous, but not over-endowed intellectually, this king spent most of his life at war, protecting the established Catholic church from the rise of Protestantism. Dubbed by his admirers 'the most Christian of kings,' the irony of his rule lay in his choice of Lutherans and Muslims as allies. But the times were a-changing. Across Europe, the Renaissance turned the arts in exciting new directions. This drew the king's attention away from the battlefield and led him to encourage French artists to create objects of beauty to adorn the public buildings of France.

While getting ready for another war in 1547, Francis died and was succeeded by his son Henry 11. The new regime grew even more repressive against Protestants. Busying himself with the burning of suspected heretics, Henry also shared his father's enthusiasm for foreign wars. These twin obsessions soon had the nation close to bankruptcy, so relief must have been felt by the population when the king's short reign was ended by a fatal injury at a tournament.

One clue testifies to this king's interest in beauty and the arts. A famous set of tapestries, woven at the atelier his father patronised, now hangs at the Paris museum connected with the Gobelin name. Depicting the goddess Diana, it is often rumoured to be a likeness of Diane de Poitiers, mistress of Henry 11.

In 1602, Henry rented factory space for Flemish tapestry makers on the current location of the Gobelins Manufactory. He was the first monarch to decide that rather than considering the arts as questionable luxuries, the State should provide funding for them. In 1607, he set up the world's first tapestry factory owned and operated by the State.

However, not until the advent of Louis XIV was the anarchy of the scattered and diverse ateliers organised. The resulting group was named for the originating family, who were otherwise not connected to it. The new 'Gobelins' employed 250 tapestry-makers, along with painters, engravers, cabinetmakers, goldsmiths and silversmiths. All were charged by the king to work in co-operation for the glory of France.

As Louis saw it, he was France. He was five years old when crowned in 1643, so France was ruled by a regent until 1661, when Louis took full control. His idea of government was based on the theory of 'divine right of kings' and the absolute power it conferred on him. We all know where that led. The dust of revolution is long settled but the beauty created by the skill of tapestry-weavers and the vivid colours of the dye-makers remains.

Dorothy Gauvin is an internationally acclaimed Australian painter in oils who specialises in an epic theme of Australia's pioneers. See images of her 'Life-Story' portraits, an ABC of homemade tools for painters with arthritis, plus tips and advice for aspiring artists and collectors on her website at

Original article

The Artist Supplies Needed To Get Started

Preparing and Setting Up Your Creative Environment

Work Space/Studio: To get started, you have to create room for you to even be an artist or a writer. You need a studio or a room, half of the laundry room, a table, a corner in your bedroom- somewhere that is designated "arting" space where everyone knows it is used to create art and/or writing. Ideally, it is a space where you feel comfortable in and won't be disturbed. This is where you will be creating, where you will be keeping your ideas. It is the breeding zone of creativity so make it inviting, get excited when you enter into it.

Think of putting up art you like, photographs that inspire you, some affirmations, quotes, things that make you laugh, some flowers. Maybe even a CD or iPod player to listen to music. Pick out a set of painting clothes or a classy dress (whatever you prefer). It's important to have a daily routine: prepare yourself by putting on your painting clothes, putting your hair up, and preparing your environment. Keep your area organized and inviting!

Supplies/Materials: You'll need a desk or table and a chair to be your place of idea-making. The importance of actually spending a little money on artist supplies is like telling yourself "I'm investing you, we are going to take this seriously, you deserve some good materials because exploring creativity is important." It lifts your mood and builds excitement. As artists and writers, you need some pencils, pens, colors, and a sketchbook. This table will be where you start your day, sketching ideas or character plots, writing about things you saw, formulating what you want to create next.

Now, for our art materials list, there is a wide range of possibilities. For writers, you will need a laptop or type-writer. For artists, some of us are multimedia artists, photographers, illustrators, painters, sketch-artists, or a mix of them all. So obviously the materials list will change according to the type of art you do. What I will be giving is an art materials list in accordance with a painter/sketch-artist:

For Artists:
Pencils: art pencils can range from 6B to 6H giving artists a range of light to dark, though mechanical pencils are great for detailSharpener: I like the old fashioned ones- you never know what pencil shavings could add to an art pieceGrip Erasers: there is a wide variety of erasers, they always frustrate me, smearing instead of erasing, these are the bestNotebook: notebooks come in all sizes, all forms, I don't recommend a tiny one, give yourself lots of room on the pageGreat Pens: there is something different between normal pens and inkjet pens, high quality pens are important!Colored pencils/pens: colored pencils and pens are great to use for brainstorming, give yourself the luxury!Canvas/watercolor paper: there is so much to learn about types of paper and canvas making, these aren't bad deals to start withAcrylic/gouache paint/watercolor paint: you can choose what type of paint you'd like to start with, I use all three!Paintbrushes (small, normal, wide sizes): paintbrushes, like pens, are important, its important to have nice paintbrushesScratch Paper: good for sketching, planning, collage-ing with, leave it lying around so that when an idea hits you, there is paperEmpty jars for water: easy to come by, check your recycling or your cabinet for chipped mugsA plate (as a palette)/Palette Paper: palette paper is awesome, you can have one for watercolor, one for acrylic, one for oilPalette Knives: great for mixing, in fact some artists paint only with palette knives, or the backs of their paint brushesGlue Stick/Tape: handy for collage-ing and brainstormingPicture-taking device: useful for your daily journaling, for uploading photos if you start a blogArt Table: what an awesome contraption I just found on, plus little places to put your supplies...

For Writers:
Apple Laptop Air: I'm guessing you already have a laptop, if you do, create a specific folder entitled "Writing"Type-Writer: type-writers can be fun, especially if you need a break from computers or if you get blank faces in front of them

I recommend some basic artist supplies (the first six on the list above) to play with when brainstorming and for creative blocks.

Habit #1: Journaling

Good habits are important and it can be nice to see a track of our process, from the beginning. Find a way to document each day of what you created. Maybe it means keeping a journal, discussing the ideas that inspired you, things you liked, things you thought were crap, how you felt that day while you were painting/drawing. A photo journal can be fun, taking a picture of your studio area everyday after the mess of creating, taking pictures of your favorite artwork of the day, or a beautiful spill of paint on accident. Or, put up a large paper that you add a few minutes to every day and photograph its daily changes. One last idea: write one sentence to sum up that day's creative experience.

I want you to pick a habit, something you will do every time you create that you can collect to mark each day. They will be fun to look at later! And, they will teach you about exploring theme ideas. This is the start of your first collection, even if you think it's simple or uninteresting, do it every time, every day if you can. In fact, once your studio or work area is setup, (with your table, your materials, and your resources) take a picture of it or draw a small sketch and keep it on your wall. Take care of this space: it is the birth place of your creations. If you'd like to share your picture, I'd love to see what your creative space looks like!

Now go!

Original article

How to Oil Paint

Oil painting has been around for centuries but it has been notorious for the time it takes for it to dry. This has stopped many beginners from even trying to paint with oil paints. It's not for beginners but people need to start somewhere, don't they? The greatest artists painted with oil and it should be open to anyone who wants to try or start in this part of art. You first need a well ventilated place to start painting. Outside is the best option but if that's not available I would concentrate my work in a very well ventilated room with lots of windows. The downside of being outside is the wind and the insects but the downside of being inside is the toxic scents of the thinner. Adjust the easel that you are using to a good position so you won't have to bend down or be in an uncomfortable position for hours at a time. Try and paint at an arm's length from the easel. For some suggestions of oil paintings check out decorative flower paintings, original landscape paintings, original paintings for sale etc.

Cover the area you are working in with a cloth or newspaper. You don't want your paints dropping on the actual ground (very expensive). Put on some painting clothes. Oil painting gets very messy so make sure you wear something that you don't mind getting messy in. Things will get very messy with oil paints whether you like it or not so don't wear your church clothes when painting. Set up your paints with enough room for you to work. You need your palette, brushes and palette knife, solvent and solvent/oil containers, rags and paint tubes available. You need to have one container with just solvent, and the other with medium. A standard painting medium is 1 part oil to 2 parts solvent. You can also choose the kind of oil you'd like to paint with. Put the solvent in a closeable container either way.

Choose your colors wisely; you don't want to waste your paints. With oils there is no room for mistake, so if you do create one just grab a rag and wipe it all off. It takes about 48 hours for it to completely dry off. Clean your brushes with the thinner!! Clean clean clean!! Leave room for your materials. I cannot reiterate this enough! Like I said it takes about 48 hours for the first coat to dry off enough for you to put on the next so leave your painting in a well ventilated room where there will be no insects roaming around; it should remain undisturbed. Also use a knife to blend all the 'good paint' together and cover it up with saran wrap or foil to allow it to not dry. Clean your brushes again running them under lukewarm water, let them out to dry (you can't paint with wet brushes). Leave the lid on the thinner! We don't want it to evaporate! Again for more great oil and acrylic paints check out original paintings, flower paintings, original abstract paintings. Buy Artwork Online and invest in Abstract Art.

Original article

MF Hussain - Bare Feet, Naked Eyes

"He was barefooted, and many young students thought that he was a poor man who cannot buy a pair of shoes, as the tall, slim and bony structure with pointed nose and snow-white hair entered the corridors of the art institution situated at the Mall, Lahore Pakistan."

These were the words of Dr Rahat Naveed Masud, who was charring a reference in memory of Maqbool Fida Hussain at the premises of the College of Art and Design, university of the Punjab.

Dr Shaukat Mahmood, Dr Anis Siddiqui, Mr. Habib Alam, Mr. Atif Ameer, Ms Sumera Jawad and Ms Naela Amir also shared their thoughts and views about the Indian maestro who was equally loved in Pakistan.

MF Hussain was a pure gem of the subcontinent with a unique vision and unparalleled way of expression. When he talked, he talked softly, when walked, he walked erectly and when he painted he painted vigorously! Many titled him as Picasso of India, but this adjective might not elaborate his artistic excellence; he earned for himself in the subcontinent. Many critics call him a non-artistic painter, especially when he came up with his paintings figuring few female actors like Madhuri Dixit and Madhu Bala.

In all this argument and approbation, he cultivated everything for himself as well as for his work; respect, admiration, fellowship, association and adoration.

Before the popularity of Madhuri Dixit, many of Husain's fans might not be aware of the stance of Maqbool Fida Husain in the subcontinent as an artist. It was, unfortunately, ignorance and lack of information that many came to know MF Husain through a star of Bollywood, who no doubt was a great actress, but the former was more than just a star.

MF Husain was one of those artists who cater for themselves by themselves only and who loved to keep their distinctive attitude all the way through their life. MF Husain would always remain an important painter in the omnibus of Indian contemporary artists.

Many western painters have also been involved in painting variety of characters like dancers, clowns, and singers. If Manet carried out the singers, Lautrec expressed the persona of singers, clowns and circus girls while Degas' brush has been always busy in rendering the twisted elegance of Balled Dancers. Although, these painters were personifying diverse characters, but their main emphasis was on capturing the art form associated to these characters.

MF Hussain was allegedly accused for embodying the artist rather than his art, the dancer rather than her dance or the heroine of a movie, rather than her acting.

Whatsoever the comment would be; the reality is that MF Husain has contributed in the contemporary Indian art with dynamism and heartiness that actually distinct him from the others, which never get to weaken throughout decades.

In 1940s, MF Hussain and his art was deeply influenced by the modern concepts and movements. He applied the techniques of Cezanne and Matisse to elaborate Mahabharta and Ramayna. Later, Hussain could be seen painting in a Post-Modern way when he was found painting his canvas, spread over the floors, with a long brush that looked more like a wand! Actually, his brush was not less than a magic wand with which; he produced almost 60,000 frames!

Life is very roguish; it has its own patterns. MF Hussain, after being accepted, loved and adored for his art, across the Indian soil, was forced to an exile, due to his art only. He was accused of putting Mother India (Bharat Mata) on canvas in a symbolic and personified way that ignited the fundamentalists to indict Hussain of blasphemy!

The bony hands, of a Santa Clause looking old man, lost the magic wand while the bare feet stopped walking when, in the mid of year 2011, MF Hussain breathed his last in London. A chapter of the contemporary South Asian art closed forever!

Original article

What Are Some Good Reasons to Buy Art?

Are you curious about what some good reasons might be to buy art? The truth of the matter is that there are many reasons to buy art, but some of the most common reasons involve the health benefits of art, the potential art has to inspire people, and the opportunities for investment that art can offer. Anyone can buy art, no matter their age or background, so if you are someone who loves art but has never bought art before, never fear because the market is open and opportunities are waiting for you, especially if you buy your art online.

There are numerous health benefits that are associated with owning and viewing art. If you buy fine art that you enjoy, and display it where you can see it often, scientific studies have shown that you will experience a positive change in your mood and a reduction in your stress and tension levels. This is because art is very relaxing to look at, and it works with the pleasure centers in our brains to produce chemicals that encourage happiness and relaxation.

Fine art is very inspirational, and all forms of art have the potential to inspire the people who see them. From painting to sculpture to sketches and so much more, if you buy art and have the opportunity to look at it every day you are almost certain to be inspired by it. If you are facing a looming deadline or have had a long hard day at work or at home and you look to your art for inspiration, you might be surprised at the uplifting feelings you will have. Many people have been able to take inspiration from the pieces they see when they are looking to buy art and use this in order to choose the art that is right for them.

If you want to buy art, you should also know that art can be a potential investment opportunity. Fine art is always in fashion, it is just a matter of finding a market for a particular piece of art. If you are mainly collecting art for yourself and want to make sure that it will at least maintain its value, there are several things that you can do. The first is to learn as much as you can about the artist and the piece before you buy anything, and the second thing is to make sure that you get a valid certificate of authenticity as this will be very important if you want to sell your art later on.

Art offers so many things to those who buy it and own it, including but not limited to increased health and well-being, creative and personal inspiration, and of course the possibility for appreciation in value if purchased as an investment. There are as many reasons to buy art as there are people to own it, and each person's reasons are unique to them. The main thing you should consider when you buy art is whether or not you will enjoy it for years to come!

Should you wish to buy art online, you must go to a web artwork market place such as Artweb to learn more. Wanting to buy art unless you have all of the facts could be tough, therefore become prepared with Artweb and thus save yourself lots of effort as well as money.

Original article

Textured Abstract Painting

Abstract art uses various elements like colors, shapes, light, and lines to bring a painting to life. When textures are added to this art form the painting becomes a magnificent piece of art that can never be recreated and is an original unto itself.

There are various ways to add texture to a painting including simulated texture and actual texture. Both of these forms can be intermingled or used on their own to create a desired effect.

Simulated texture

This is the simulation of texture when there really isn't any there. It is a visual effect created on a flat surface. You may have seen this type of simulated texture when viewing a painting that has a series of lines that look much like a ripple, or may have seen a painting where the lines seem to jump out at you.

This form of painting is actually giving the illusion of texture. This is accomplished using the principles and elements of design. You will probably feel like touching this contemporary painting that has been created this way to find out for yourself whether the surface is raised or smooth. That is how realistic one of these paintings can appear.

Actual texture

This type of abstract art painting uses real materials to create texture. Some artists may use layers of paint to build up this textures while others may use materials added to the canvas that are then painted over. The effect can be stunning when this type of textured feel is added to an abstract painting.

You are able to feel actual texture. The abstract art painting will be rough whereas, with a painting that uses implied texture, the surface will be smooth. They both have a completely different look and feel about them.

An artist using actual texture can use different mediums including clay and gels that are available from art stores to build up the canvas first before the painting begins. Mediums can also be added directly to the paint to make it thicker thus creating a textured feel. Some interesting mediums include sand, salt, and even shredded paper.

An artist can also create a painting and then add materials to the finished contemporary painting. As an example, a real ribbon may be added to a final layer of clear paint over a child's ponytail in a painting to add a new dimension to the work of art.

Each individual artist will use different variations of materials to add actual texture to their abstract art paintings. This is what makes textured art so very appealing. It can never be exactly duplicated and lends a uniqueness and style to the world of art of its own.

If you are looking for abstract art with a flair and texture visit my online gallery at I paint abstract happy houses and landscapes that can bring any room to life.

I am an abstract artist living in Great Toronto Area.
I share my experience and give advice how to create textured abstract paintings.
My work can best be described as contemporary abstract art painting with extended treatment of textural surfaces.

Original article

The Art of Documentation With Masterworks

Recently, I was browsing around one of the major reseller websites - well, the major reseller website - in their fine art category, when I happened across two individuals selling two masterworks: one selling "a long-lost" Van Gogh painting for $13,000,000.00; and, the other selling a Rembrandt painting for $100,000.00.

The Van Gogh is a beautiful landscape, painted between 1880-1889. "Painted during the final days of the artist's life and possibly even his last painting," as the seller says.

The Rembrandt is a beautiful oil, biblical genre, beautiful use of chiaroscuro, signed and dated Rembrandt 1631.

To the credit of both, the seller of the Van Gogh, goes on to say, the "painting is sold with authenticity guaranteed to the buyer's satisfaction" In other words the buyer has "seven days money back".

And the seller of the Rembrandt continues by saying, "the piece was being sold as "in the manner of, as it was not authenticated"; however, the seller did preface the above by writing, "worth...time to spend and trace to authentication as this is an original piece".

Wouldn't it be wonderful if one or the other (or both for that matter) turn out to be real. Discoveries in the art world do not happen all the time, but they do happen.

But let's put this in perspective, Van Gogh's Portrait of Dr. Gachet, painted in 1880, sold in 1990 for $82.5 million. (A record price for any painting at the time.)

In 2009, a Rembrandt painting, Portrait of a Man with Arms Akimbo, painted in 1658, sold at auction for $33.2 million.

Am I missing something? I do not think I am. On the contrary, it is the sellers who are missing something. What they are missing is simply, documentation in the cited literature or proof of authorship.

When you think about the asking price by both sellers, considering today's market value, that would be quite the windfall for the buyer.

So, what's the problem? Well, the problem is, quite simply, both pieces of art are not documented or cited in the literature. Without being included in a catalogue raisonne, which is an exhaustive study of an artist's oeuvre or body of work in a particular medium, authentication becomes harder to prove.

I am not saying that both masterworks are not representative of period pieces in the artists' oeuvre. Nor am I saying that they are not authentic. All I am saying is plain and simple: They are not documented. They are not cited in the literature. They are not included in a catalogue raisonne.

Therefore, with no proof of authorship, both pieces of art should be the problems of someone else and not yours.

In a former life, B. Mathew Are was a research director for a major retail gallery. It is here that he learned the importance of documentation with masterworks and the significance of Albrecht Durer in art history: that every artist whoever understood the importance of prints, owes their very existence to an artist who lived over five hundred years ago. Hence the name Durerpost. Please feel free to visit us at

Original article

The Art of Reproduction

It is a sight that has been common in the world's great art museums for centuries: younger painters sitting in front of the works of the masters, trying to reproduce the genius they see in front of them. It was done 100 years ago, and go to the Museum of Modern Art in New York today, and you will most certainly find artists there still doing it. It is also a common assignment among art students across continents and for good reason too. There is after all a reason these works became so famous, so worthy of praise and reproduction. Studying and reproducing these strokes of genius are naturally important in recognizing the techniques behind and developing on your own how to further expand no these discoveries.

Now, artists in countries like China and Thailand will make reproductions which are then sold to customers mainly in Europe and the US. The aim behind these reproductions is not for the artists to learn how to paint them. They already know that. Rather, it is to give western customers a chance to have a true real-life reproduction of a famous work on their wall. It is a growing business that is currently helping rekindle the interest in the classics and bring hand painted art to the masses.

However, there are of course differences in how difficult it is to reproduce a given artist. The difficulties come in two major forms - technique and materials. With regards to technique, some artists have more advanced strokes than others, and under all circumstances you would have to learn the particular artists' strokes. Van Gogh have his characteristic deep strokes, Renoir and Monet have their own light strokes and so on. These individual characteristic techniques have to be mastered in order to reproduce the works of that artist. However, for these artists it is still a matter of achieving mastery in that particular style. A much more complicated matter would be reproducing the works of Jackson Pollock would require a mastery of paint thrown in anger on a level that is hardly achievable. Alternatively, the lines of the painting would have to be reproduced in detail, which would be another almost impossible task. As such, a reproduction of "No. 5 1948" would require immense work to be anywhere close to similar to the original.

Along material difficulties, the problem with reproducing the original will often have as much to do with cost as with anything else. Reproducing "The Kiss" by Gustav Klimt would mean e.g. the extensive use of gold leaf. While many reproductions undoubtedly go around this requirement by using gold paint instead, it is not authentic and will lack some of the original structure. As such, material also becomes a block for the perfect reproduction.

However, even with both of these two potential stumbling blocks in place, reproductions are finding their way into more and more homes. Even though Da Vinci had other paintings below the Mona Lisa, we just want to see that last famous image and so the reproduction serves us well. Similarly, "The Kiss" with gold paint still looks marvelous and really makes the room. There are differences in functionality between original art and reproduced art. The later is truly for decorative purposes, while the former serves as historical milestones and technical achievements as well as works of art. The overseas production of reproductions will allow us to get the decorative use for ourselves. The artistic importance we can then grasp at the worlds museums, where they still challenge artists to reproduce them today.

The best art reproductions of classic paintings with an online gallery showing all the great art from the ages including Van Gogh Paintings.

Original article

Paul Klee's Contemporary Paintings

Swiss art played an important role in the rise of contemporary art thanks to the paintings of its influential and innovative painter, Paul Klee. This article looks deeply into the career of this brilliant creative worker who was passionate and hard working as he went about affecting the course of early 20th century art. Few artists during his time could have expected contemporary to be quite as popular as it is today and it showed a great strength of character that people like Klee plus those close to him would persevere with their work at the bleeding edge of the art world, with no guarantee of success and public acceptance for their efforts.

The most important time of Paul Klee's career was whilst he was involved in the Bauhaus Movement, where theories of art were studied and researched, both by the students and the teachers alike. It was at the Bauhaus that Paul Klee met several key fellow members and they all exchanged ideas with each other, whilst remaining happy to learn and discuss new ideas, confident that what they had come up with so far on an individual basis could continue to be developed through new ideas from other people.

Although Paul Klee's paintings stretch across several different art movements they are all very much a part of the overall contemporary art movement which began to gain momentum around the early part of the 20th century and it was here that initially poorly organised pockets of artists began to join up together and start to produce art which fitted into clear sub-styles which enabled them to be taken more seriously and show that there was an overall movement forming which was tangible and was worth watching over coming years to see how it would develop.

There is a huge interest in contemporary art today and many occasional art fans will be entirely unaware that the contributions of a Swiss painter were to play such an important role some 70 years ago, where all of this was really at an infant stage and needed to start to build boundaries to help people understand just what exactly was involved with contemporary art and what exactly it's artists stood for and were motivated by. Please take the time to learn more about Paul Klee and those most related to him with in contemporary art as there are some truly impressive artists from this period, leading up to the 1940s.

You can read more on Paul Klee here.

There is also information on specific Paul Klee paintings here.

Original article

Angel Paintings - A Brief History of Symbolism in Angel Art

How can one draw out angelic symbolism in a painting? There is a wide variety of angel paintings out there, from traditional and historical, to modern and sensational, to sweet angel pictures designed for greeting cards and children, to even the strange and slightly sinister! Yet all these types of art share the same subject. And that's not all; though it varies through different paintings and artists, symbolism can play a significant role in these paintings of beings from tradition and legend. But how can you look beyond aesthetic appearance to read what the symbolism and style is really trying to tell you?

Although many angel paintings can be described as beautiful, there is a lot more going on than aesthetic taste. Everything within the painting, from the color choice, setting, clothing, pose and objects within angel paintings can be drawn from research of individual angels. In the early middle ages, angels were often painted on gold backgrounds. One painting of Gabriel shows her floating in a serene attitude that clearly indicates she is not part of this world. As the artistic style progressed into the Renaissance, the background changed to more realistic scenery. Angels were now connected to nature and the world of man. Fast forward a little farther into the Renaissance, and you see the angel Gabriel still winged and with a halo, but the emphasis on realistic painting so important in this period has a fully shaded angel kneeling on the floor of a building done in one point perspective. In modern times new angel art has emerged.

In the twentieth century soft renditions of women angels with sweet expressions has become the standard, indicating an idyllic heaven where pain is not known. But as art in general in this past century has become diverse, angel art is as well. Fantasy art shows angels in paintings that feel more dramatic in a variety of ways, whether due to strong contrast in shading, action taking place (such as the angels of light and dark at war), or a very emotional scene such as a crying or fallen angel. Surreal art has portrayed angels in a number of ways, from futuristic to dark and even in strange forms that barely resemble winged humans, (although their appearance is true to biblical interpretations, such as Metatron having numerous faces, wings, and eyes).

Again the question, how can one draw out angelic symbolism in a painting? How we perceive angels through culture influences how artists interpret and produce angel paintings. If artistic style continues to become more personal and individual, it can be assumed that angel art will continue to grow more personal in nature as well. You can incorporate not only literal descriptions in art, but legends and things that were associated symbolically with the individual angels. These are just a few examples of how angel paintings and other art are layered with symbolism, and how this artwork has evolved through history.

Arwen de Lyon is an emerging fantasy watercolor artist who has shown her work at a number of galleries in North Carolina, as well as both local and regional fantasy conventions. She has won several awards, including Philcon's "Best Aspiring Professional Artist" award.

You can view Arwen's angel paintings and additional fantasy art and connect with her online:

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Eight Reasons to Paint With Acrylics

Acrylic paint is its own medium with its own personality. For the artists that have mastered it, it is an exciting and bold medium, and, without a doubt, it is the most versatile vehicle of creative expression. However, some artist believe that oil paint is the last word in painting and they'll believe this until their dying day. They believe that acrylic paint is plastic which they would never touch. It is true, acrylics are a synthetic medium. However, if fear of a new medium stopped progress, we artists would still be drawing with charred sticks using cave walls as a substrate. Who knows what wonderful medium creations tomorrow may bring.

If you only had one medium to work with and you wanted to paint using different techniques and different textures, then acrylics should be your choice of mediums. Let us say that at first, you desired to paint using a wet-in-wet technique where the paint floats across the substrate and creates the beautiful fluidity of a masterful watercolor. Then, you select as your next project a thick impasto painting painted using a palette knife. It looks like a wild and loose oil painting when finished. This is not enough, however. No, you must continue to experiment, and you are prepared to go all out. You strongly desire to paint in the technique of egg tempera using small brushes, cross-hatching, and glazing to get that perfect and realistic look of all the great masters. It is a passion you have had for years. You just didn't want to break all those eggs. With acrylics and plenty of experimenting, practice, and patience, you can learn to mimic egg tempera, gouache, water color, and oil paintings.

If this isn't enough, then there is more. Although acrylics can mimic the aforementioned art methods, the wonderful advantage is that they offer a wide range of techniques that are good for them alone. The results of working with this medium are so varied. When used with other media and texture-making products, the possibilities are enumerable. A few of the texture-making products are:

Gel mediumGlass beadModeling pastePumice gel

Imagine experimenting with all of these, and don't forget what you can do with mixed media and collages. Acrylics work well with all other painting mediums. It is perfect to use watercolor to soften the sometimes hard edges. Pen and ink, pencil, charcoal, pastel paints, and even oil paint works well with acrylics when painting mixed media. When it comes to sticking pieces of handmade paper, newsprint, cloth, photographs, and similar items on to another flat surface, such as paper or board to create exciting collages, acrylics are the answer. One of the greatest advantage of working with this delightful media is the lack of rules.

Eight reasons to paint with acrylics:

You mix and clean up acrylics with water. There are no toxic cleaners or thinners needed.They have a fast drying time. You don't have to wait so long to continue the painting.They will not yellow or go moldy or brittle.They become waterproof when dry. This allows you to add more paint without damaging the surface.They are very flexible. Use them as paint straight from the tube and create thick impasto painting like oil. You can also use them thin. When mixed with water, you can use it for washes on paper like watercolor.You can mix all colors in a manufacturing range without worry. They are fully compatible with each other.It is a very forgivable medium. If you make a mistake, you can white it out and start over, or just paint over it, or cut around the area and lift it off of the substrate.There are hardly any "don't" with acrylics. The only one that comes to mind, is don't let the paint dry on the brush.

In conclusion: All artists seek to find their creative self and strive to find a way to paint that belongs to them. It is regrettable, but most artists eventually settle by taking the least challenging road to travel. The reason is because they fear being different, so they paint with the medium and genre which is currently popular. Acrylic paint is used by both amateur and professional artist alike. However, the beginning painter should approach this medium with an open mind. Find out through experimentation what it will or will not do for them. As with all mediums, approach it with a patient attitude. You will learn to manipulate it with another and another of its characteristics.

Richard Burton was discouraged from pursuing a career in art by his artist father. He comes from a family of artists. His brother is also an artist. However, Richard studied business and became a successful sales manager. When he retired, he entered the art world with passion.

While working throughout his career he was an avid art student, sketching, drawing, and painting. With his background in promoting, he promotes his work and helps other artists when he can. For your online source of art information, go to

Original article

How To Be Safe And Secure When You Buy Art

There are as many places and ways to buy art these days as there are prices of art available on the market. Especially with the explosion of the internet and the ease with which people can buy and sell art online, there are more opportunities to buy fine art than ever before. Finding a reputable gallery, studio, or independent artist is one of the best things you can do when you are looking to buy abstract art for your collection, no matter where you are going to buy it.

How to be smart when you buy art

No matter if you are an experienced art buyer or a novice who is interested in getting into art collecting, there are some basic rules of thumb to follow when you buy fine art. It is possible to buy art online as well as from traditional galleries all over the world, so it can be a daunting task to find the art you want to buy, and then to make sure it is what you want. One of the most important things you can do before you buy purchase art is to verify everything you can. There is often a lot of information that goes along with the description for a piece of art, but how can you know that any of it is true? One of the ways to do this is to ask the artist or seller directly, but as they are likely the one who write the description to begin with, how can you trust what they say? If possible, use an independent source or expert of your choice to verify any information regarding a piece of art for sale. Also, be cautious about accepting an offer of a free appraisal before or after you buy art from anyone; as a general rule, buy your art in one place and then have it appraised somewhere else.

Be safe and secure when you buy art using these tips

It is important to be proactive when you want to buy art from someone; you are the one who needs to act in your best interests and make sure that you are protected when making a large purchase either online or elsewhere. One of the best ways to protect yourself when buying art is to get everything in writing; any information about the art, about the seller, and about their purchase and return policies and any other information needs to be in writing. In some cases emails will work well for this, but otherwise the traditional method of having a written / typed and signed document notarized will usually stand up in court should it be needed to prove your claims. It is also a good idea to get as much contact information about the seller and the artist as you can so in case you have any questions or need to contact them for any reason, you will be able to do so. And of course make sure to discuss the possibility that you might need to return the art, and what steps will be taken if you do need to return it and get your money back. One way to get much of the information you need in a single document is to consider a certificate of authenticity created / signed by the artist of the piece which includes details such as the exact title of the work, its medium, dimensions, subject, and the date it was created. If the person selling the art to you is not the original artist, their information can appear on the certificate as well. A legitimate certificate of authenticity can be identified by an original document versus a photocopy, and will have the identity and contact information for the party issuing the certificate mentioned plainly on the page.

You can be new to art collecting or you can have years of experience under your belt, but everyone is equal when it comes to the steps you need to take before you buy art either online or from a physical gallery. Getting all of the information you possibly can and having it verified by an independent source you choose is the best and safest way to be smart and protect yourself when you buy art. Do not let this caution keep you from enjoying the art buying experience, instead let it give you the satisfaction of knowing that the art you buy is well worth it!

If you would like to buy art online, you might want to go to an on-line art market place like for additional information! Attempting to buy art unless you have the many informational points you need can be complicated, for that reason get knowledgeable through and save yourself some effort and / or dollars!

Original article

Tips for Painting Reflections

Everyone knows what reflections are, but what are they really? Reflections are images bouncing off an object and reaching your eyes indirectly such as by bouncing from a shiny surface, mirror, water, or some other reflective object. If properly rendered, they add an interesting dimension to many realistic paintings. As an artist wishing to give your painting an extra measure of depth, you will want to understand thoroughly the proper use of reflections.

To paint them, reflections take a combination of accuracy and looseness, precision, yet a certain freedom of artistic energy. However, if painted incorrectly, they can destroy your painting. In other words, it doesn't take an art critic to spot it when it's wrong. One thing important, however, when painting reflections into a picture you need to decide upon which you will place the most emphasis, the reflection or the object. If you paint them equally, the picture may seem divided.

There are many different types of reflections, For the sake of brevity, however, I will concentrate only on water, and give tips that will help you when painting reflections as it pertains to water in a landscape.

First, water is not a mirror as some artist portray in their paintings. Only if you look across water at a very slight angle will it ever come close to approaching the reflectivity of a mirror. Some of the sun's rays bounce off the water causing reflection and some travel into it causing refraction. Because some of the light touching water penetrates into it rather than reflecting off of it, the colors of the reflected object are changed. For example, the reflection of a light-colored object such as that of a white boat, or house, will appear darker and must be painted as such or the viewer will be confused. It will not look real.

Wavelets on the water also have an effect. They tend to confuse the image by breaking up the reflection. The vertical lines are usually preserved, but the horizontal lines are distorted. As a result, the reflections off water always emphasizes vertical lines over the horizontal lines.

Here are some TIPS to remember:

The angle of incidence and the angle of the reflection are always the same.
Reflections on a smooth surface (such as a still lake) will be sharp-edged and clear, while objects on a rough surface (rippled water) will be blurry and broken.
The reflection of an object appears the way you see it if your eyes were on the surface of the water where the reflection is located.
The color of a reflection is influenced by the color of the water. If the water is shallow and the bottom shows beneath, this will also effect the color of the reflection.
If an object tilts toward you, it will seem shorter than its reflection.
If an object tilts away from you, it will create a shorter reflection.
If an object tilts left, the reflection tilts left. Consequently, if it tilts right, then the reflection tilts right.
A light subject against a dark background reflecting off a slightly moving water will elongate. Ripples are like small mirrors all at different angles sending reflections in different directions.
Caustic reflections are the reflected light by means of reflecting off waves on water. For example, spots, arcs, or bands of light glimmering off the side of a boat reflected from light hitting the waves.
Specular reflections bounce off a shiny surface. For example, the face of a man fishing reflected in the contour of a chrome boat railing.

In conclusion: Study the tips I've suggested. Practice them with your next painting until they are ingrained into your style. It will help you make some sense of a sometimes confusing problem. Hopefully, it will make your next painting one with more interest and depth. The important thing is to keep painting and trying new things.

Richard Burton came from a family of artists. His father was an artist. His brother is also an artist. However, Richard studied business and became a successful sales manager. When he retired, he entered the art world with passion.

While working throughout his career he was an avid art student, sketching, drawing, and painting. With his background in promoting, he promotes his work and helps other artists when he can. For your online source of art information, go to

Original article

Mona Lisa - Leonardo's Greatest Love of All?

Many of Leonardo's latter-day biographers have questioned the orientation of his sexuality, even whether he had any. He would not be the first towering genius to sublimate physical gratification to the demands of his life's work. Or perhaps his reputation has kept his secret better than we know.

The first time I visited the Louvre, I was too scared to approach the Mona Lisa. The fabled portrait looked surprising small. It should not have come as such a surprise to someone who, since childhood, was aware of the panel's dimensions - a modest 77 cm × 53 cm (30 in × 21 in.)

Inside its bullet-proof glass coffin, the four-centuries-old painting was protected from the admirers who surged, three ranks deep, around it. In their enthusiasm to capture a memento of this classic attraction, they jostled each other for camera space before elbowing their way out of the crowd and on to the gallery's next draw card. On that long-ago day, these visitors were all Japanese tourists, no bigger than myself, yet I couldn't help fearing for my arthritis-damaged joints amid that boisterous throng.

As always, though, the setback held a hidden opportunity. Hanging back from the press around the priceless portrait, I spent the interval in studying the other Da Vinci paintings lining the walls. Most of them were familiar from plates in various books about the famous artist. But now, seeing several of his paintings side by side, I became aware of something I'd never noticed before.

All shared a common factor: an overwhelming similarity between the faces of this Michael, that Madonna. Whether Virgin mother or awesome Angel, the faces in these paintings were all the same face. Since then, researchers much cleverer than I and with access to resources few of us can summon, have made discoveries yielding proof that my untutored surmise was on track.

Leonardo was known to conduct a life-long search for what might be termed 'the perfect face.' He took meticulous measurements of the proportions of the human body, especially of the components of the head and the face.

From his obsessive investigations, he evolved the theory known to artists as the Divine Proportion. This means that in an Ideal Face, the width of a large component - for instance, the forehead - will be approximately 1.6 times that of a smaller component - for instance, the mouth.

Mathematicians know this as the Golden Ratio. The equation is written as: 'the ratio of the sum of two quantities is to the larger quantity is as the ratio of the larger quantity is to the smaller one.'

Recent investigations draw an almost indisputable conclusion about two of the most famous works by Leonardo Da Vinci - the Salvatore Mundi ( Jesus as Saviour of the World ) and the Mona Lisa ( supposedly a portrait of the young wife of a Florentine merchant. ) Both faces are self-portraits by Leonardo. Even more startling is the new evidence pointing to the face on the Turin Shroud as another Da Vinci self-portrait.

Humanity owes a great debt of gratitude to this enigmatic genius for his contributions to Art, Science and Philosophy. I wonder if this causes us to treat the man's every endeavour with an excess of gravitas, losing sight of his purely human nature. Perhaps the riddle has the simplest answer of all: was Leonardo in love with The Man in the Mirror?

Dorothy Gauvin is an internationally acclaimed Australian painter in oils who specialises in an epic theme of Australia's pioneers. See images of her 'Life-Story' portraits, an ABC of homemade tools for painters with arthritis, plus tips and advice for aspiring artists and collectors on her website at

Original article

Figurative Expression - Painting and Sculpture by Antoni Miro

It is certainly a considerable privilege to have the opportunity to visit the house and studio of an accomplished artist with an international reputation. When the visit is to Antoni Miró's finca, in Ibi, near Alicante, Spain, then the experience is substantially more than mere privilege: it is nothing less than enlightening delight.

Antoni Miró's work is extensive and challenging, but it is also direct and immediately communicative. It has a fundamental humanity, its subject matter largely drawn from impressions experienced by the artist and not, primarily and crucially, within him. He may have internalised responses to his subjects, but via his art he wants to share those raw responses with his viewers, not to impose his views on them. A phrase that he has used in relation to his work is "a chronicle of reality," and it is the reality of our modern world, with all its complicated social, economic, political and personal relationships that inhabits his art.

Antoni Miró was born in Alcoi in 1944. He confesses to an inner drive that demanded he became an artist, a compulsion that saw him reject a role in the family business in favour of a pursuit of his personal goal. His first solo exhibition came as early as 1965, the year when he founded the group Alcoiart, which functioned until 1972.

Throughout his career he has explored what he calls figurative expression as a tool to create visual communication. His art is thus immediate, never quite photo-realistic, since it liberally employs artistic licence of light, shade, focus and colour to highlight the core of a work. But the images are direct, often drawn from everyday experience and they are presented to evoke and provoke reaction in the viewer.

Beggars in the street figure regularly, often alongside the portrayed reactions offered by those they confront. Everyday objects abound - taxis, excavators, ships, bicycles, buildings and industrial scenes. Beside a multitude of passers-by, anonymous people encountered for just seconds in a day's encounters, there are also portraits of well-known characters, historical figures, politicians, scientists, philosophers and many fellow artists. And there is also the figurative reworking of familiar themes, such as reinterpretations of Velasquez, which appear frequently in his work.

A particular theme which recurs many times in Antoni Miró's work, however, is the process of looking at images. It's almost a process of self-analysis. There are many gallery scenes, where onlookers, some interested, some less so, scrutinise, discuss, ignore, glance at or walk by well-known artworks. The Famous Giaconda looks out at us while the assembled unknown onlookers are potentially all identifiable, with names, families and lives of their own. The lady in the picture is immortalised by time, but is anonymous, despite being instantly recognisable. She can't tell us about herself, whereas all the anonymous onlookers are real individuals destined to remain unknown.

There are also responses to issues in Antoni Miró's work. His burka polyptich is reminiscent of Andy Warhol. But whereas the subjects of Warhol's coloured variants were iconic and instantly recognisable, the women in the burkas remain hidden from view, eternally unknown by choice. There is New York City portrayed as a graveyard, the obelisks presenting a necropolis of a culture, perhaps.

A trip through the grounds of Antoni's Ibi finca - perhaps by Land Rover, on a wet afternoon! - reveals an extensive sculpture garden. There are many works in a multiplicity of media. Again much is drawn from everyday life, using everyday materials, objects and images. There is a striking series exploring the erotic. It is, after all, part of life and experience, so it forms an essential part of Antoni Miró's art.

Antoni Miró explains how dictatorship in Spain stifled freedom. It was an era when he fought for the voice of the individual. The current era, where the market and capital are the new dictators, presents its own issues. In some ways, it was easier to cope with the more obvious contradictions of the past. Today's oppression is more nebulous, but real all the same. He has thus used his art to campaign on behalf of social justice. He advocates a socialist, anti-capitalist stance where environmental, social and political themes dominate, alongside the essential ingredient for him, which is Catalan identity.

His art involves the viewer as it searches for a more fully human world. Its neo-figurative technique is direct, making its subjects both instantly recognisable and communicable. Its inspiration is the stuff of life, itself, in whatever manifestation that might appear. But in order to recognise, in order to understand, in order to react, any of us has first to be able to see, to observe and to notice. Antoni Miró's art is primarily about learning to see, to look and then to realise our relation with life, our own lives, and those of others with whom we interact, with whom we share experience, but rarely know.

Philip Spires
Author of Mission and A Fool's Knot, African novels set in Kenya
Migwani is a small town in Kitui District, eastern Kenya. My books examine how social and economic change impact on the lives of ordinary people. They portray characters whose identity is bound up with their home area, but whose futures are determined by the globaised world in which they live.

Original article

Fantasy Art Online Galleries

Over the last decade, Fantasy Art has gained popularity in parallel with cinema and music of the fantasy genre. This kind of art predates science fiction art in the digital media, although the genres are often interchangeably used to describe the works of the other. Contemporary fantasy art has its origins in the work of authors such as J.R.R. Tolkien, William Morris, Robert E. Howard Lewis Carroll and C.S. Lewis. It combines themes from Biblical themes, Jewish demonology, Egyptian, Roman and Greek mythology, Vampirism, Satanism, Wicca, and fairy tales. The growth of this kind of art has closely followed the development of fantasy literature and today, is a lucrative field for thousands of visual artists.

Almost all art, of this kind, is characterized by otherworldly beings and locations with physical and magical properties that exaggerate or defy the rules and aesthetic limitations of the world we live in. High fantasy, low fantasy, and 'Sword & Sorcery' are the most popular sub-genres of fantasy that have pioneered the visual aspect of fantasy art. The first decade of the twenty-first century has seen the adaptation of several works of classic fantasy literature.

Just like modern art and realistic art that are usually displayed in galleries, fantasy art is also housed in galleries. These galleries can either be brick galleries or click galleries. Brick galleries are your usual brick and mortar physical galleries whereas click galleries are virtual galleries hosted on World Wide Web.

The concept of virtual galleries came into being to make the art available to every fan of the genre. Now visiting online art galleries is not the privilege of a selected few but any ordinary individual can praise the beauty of art. Moreover, online art galleries are also a great platform for novices and amateurs to bring their product in the market. Several prominent artists such as Boris Valejo, Gerald Brom and Luis Royo have online galleries where a visitor may view their work.

Many fantasy artists, instead of joining some other online gallery, create their own. This not only personalizes the gallery but also maximizes their profit. Before making any purchase from a fantasy art online gallery, be cautious enough to check for the authenticity. Always read the reviews of previous buyers and look for referrals, do not trust any site blindly. Truly genuine sites sometimes even display the copyright certificate. A safe option is to trust the reputed and well-know sites. Once the authenticity of a fantasy art online gallery is verified, you can enjoy your shopping experience.

You can find more resources about fantasy art in various online places including

Original article

Why I Became a Mural Artist

Growing up my parents thought that being an artist was unconventional and more likely to leave me without a job but as I grew older and my skills slowly developed I began to make my parents believe that art can become a satisfying career that anyone with the passion can become successful in.

After graduating from high school I was not decided in what field of art I was interested in yet but I did know that art was my calling and so I want to school to earn my BFA. I studies drawing, painting, jewelry, ceramics, welding and when I took my first sculpture class I fell in love with the idea of creating art in the round. I knew that sculpture obtained all the fundamentals of art, in one. Before I created in 3D I had to develop a sketch, create models, make my product then complete it with a finish whether it be paint, oxides, lacquer, or raw finish I knew that I had to study sculpture even further.

I graduated with a degree in Fine Arts with a Concentration in Sculpture but the worries my parents had became a reality. I had a family by the time I completed school and I needed income to support my family and I couldn't become your usual "starving artist". I went back to school, as many artists do, and became an elementary school teacher that never had the time, energy, space to create sculptures.

Frustrated with my situation, I began visiting my local library and book stores to purchase or check out books art because although I hadn't created at in two years my self yearned to learn and see art. I painted the walls of my classroom, began teaching my first graders about Leonardo and Picasso and I slowly became inspired by any art I saw on wall, street signs and streets. Some people called this art graffiti but I called it art. Art that people create when they have no other outlet.

I began buying books on street art, photographing interesting things I would see, and coming home and creating small collages of street art style in my sketch book. I began practicing drawing like graffiti art in my sketch book and slowly I began practicing on my walls. Then one day an old friend of mine asked me to see his art opening and his work had graffiti style images. We began to talk about work and such and I come to learn that this friend of mine didn't have your typical 8 to 5 job. He worked for himself! He was an artist! He supported his wife and daughter doing what he loved doing and that was making art!

He began as a mural artist for small businesses and slowly became known by many businesses that frequently hire him for jobs. For a while I thought I had lost my dream but the reality of it was that I didn't lose my dream I simply wasn't looking. Art is all around us and I am an artist. I have been, ever since I was young. Although I felt like life was taking me one way, it was my choice to either let life tell me where to go or my choice to say I will take the road I know best.

Original article