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More details coming... 601 / 1857 sold -
More details coming... 602 / 1857 sold -
More details coming... 603 / 1857 sold -
More details coming... 604 / 1857 sold -
More details coming... 605 / 1857 sold -
More details coming... 606 / 1857 sold -
Carol Suarez or Jimenez? 607 / 1857 -
Carol Suarez or Jimenez? 608 / 1857 -
Carol Suarez or Jimenez? 609 / 1857 -
Carol Suarez or Jimenez? 610 / 1857 -
Carol Suarez or Jimenez? 611 / 1857 -
Carol Suarez or Jimenez? 612 / 1857 -
Carol Suarez or Jimenez? 613 / 1857 -
Carol Suarez or Jimenez? 614 / 1857 -
Carol Suarez or Jimenez? 615 / 1857 -
Carol Suarez or Jimenez? 616 / 1857 -
Excerpt: Strongly linked to the ancient Tree of Life is the crucified Christ on a cross. To quote Joseph Campbell, ". . . Christ restored to man immortality. His cross . . . was equated with the tree of immortal life, and the fruit of that tree was the crucified Savior himself." The Cross as Art Many Latin American folk artists' crosses depict the devotional representation known as the Arma Christi - the Arms of Christ or Instruments of the Passion (the ladder, dice, nails, robe, etc). A Franciscan devotion depicting the crucified Christ accompanied by the instruments of the Passion is also represented in House Blessings, Road Crosses and others. Road Crosses (Cruces del Camino) Wayside crosses, where the wayfarer could stop to rest or to pray, are common both in Europe and in the New World. They are used as guideposts and as sites for religious ceremonies in the Andean world. They are related to weathervanes, and there is speculation that the Pre-Christian peoples used them to determine wind direction. Sometimes road crosses mark the spot of a wayfarer's accidental death, such as the descansos in northern New Mexico. 617 / 1857 sold -
Excerpt: Strongly linked to the ancient Tree of Life is the crucified Christ on a cross. To quote Joseph Campbell, ". . . Christ restored to man immortality. His cross . . . was equated with the tree of immortal life, and the fruit of that tree was the crucified Savior himself." The Cross as Art Many Latin American folk artists' crosses depict the devotional representation known as the Arma Christi - the Arms of Christ or Instruments of the Passion (the ladder, dice, nails, robe, etc). A Franciscan devotion depicting the crucified Christ accompanied by the instruments of the Passion is also represented in House Blessings, Road Crosses and others. Road Crosses (Cruces del Camino) Wayside crosses, where the wayfarer could stop to rest or to pray, are common both in Europe and in the New World. They are used as guideposts and as sites for religious ceremonies in the Andean world. They are related to weathervanes, and there is speculation that the Pre-Christian peoples used them to determine wind direction. Sometimes road crosses mark the spot of a wayfarer's accidental death, such as the descansos in northern New Mexico. 618 / 1857 sold -
Excerpt: Strongly linked to the ancient Tree of Life is the crucified Christ on a cross. To quote Joseph Campbell, ". . . Christ restored to man immortality. His cross . . . was equated with the tree of immortal life, and the fruit of that tree was the crucified Savior himself." The Cross as Art Many Latin American folk artists' crosses depict the devotional representation known as the Arma Christi - the Arms of Christ or Instruments of the Passion (the ladder, dice, nails, robe, etc). A Franciscan devotion depicting the crucified Christ accompanied by the instruments of the Passion is also represented in House Blessings, Road Crosses and others. Road Crosses (Cruces del Camino) Wayside crosses, where the wayfarer could stop to rest or to pray, are common both in Europe and in the New World. They are used as guideposts and as sites for religious ceremonies in the Andean world. They are related to weathervanes, and there is speculation that the Pre-Christian peoples used them to determine wind direction. Sometimes road crosses mark the spot of a wayfarer's accidental death, such as the descansos in northern New Mexico. 619 / 1857 sold -
Excerpt: Strongly linked to the ancient Tree of Life is the crucified Christ on a cross. To quote Joseph Campbell, ". . . Christ restored to man immortality. His cross . . . was equated with the tree of immortal life, and the fruit of that tree was the crucified Savior himself." The Cross as Art Many Latin American folk artists' crosses depict the devotional representation known as the Arma Christi - the Arms of Christ or Instruments of the Passion (the ladder, dice, nails, robe, etc). A Franciscan devotion depicting the crucified Christ accompanied by the instruments of the Passion is also represented in House Blessings, Road Crosses and others. Road Crosses (Cruces del Camino) Wayside crosses, where the wayfarer could stop to rest or to pray, are common both in Europe and in the New World. They are used as guideposts and as sites for religious ceremonies in the Andean world. They are related to weathervanes, and there is speculation that the Pre-Christian peoples used them to determine wind direction. Sometimes road crosses mark the spot of a wayfarer's accidental death, such as the descansos in northern New Mexico. 620 / 1857 sold -
Excerpt: Strongly linked to the ancient Tree of Life is the crucified Christ on a cross. To quote Joseph Campbell, ". . . Christ restored to man immortality. His cross . . . was equated with the tree of immortal life, and the fruit of that tree was the crucified Savior himself." The Cross as Art Many Latin American folk artists' crosses depict the devotional representation known as the Arma Christi - the Arms of Christ or Instruments of the Passion (the ladder, dice, nails, robe, etc). A Franciscan devotion depicting the crucified Christ accompanied by the instruments of the Passion is also represented in House Blessings, Road Crosses and others. Road Crosses (Cruces del Camino) Wayside crosses, where the wayfarer could stop to rest or to pray, are common both in Europe and in the New World. They are used as guideposts and as sites for religious ceremonies in the Andean world. They are related to weathervanes, and there is speculation that the Pre-Christian peoples used them to determine wind direction. Sometimes road crosses mark the spot of a wayfarer's accidental death, such as the descansos in northern New Mexico. 621 / 1857 sold -
Excerpt: Strongly linked to the ancient Tree of Life is the crucified Christ on a cross. To quote Joseph Campbell, ". . . Christ restored to man immortality. His cross . . . was equated with the tree of immortal life, and the fruit of that tree was the crucified Savior himself." The Cross as Art Many Latin American folk artists' crosses depict the devotional representation known as the Arma Christi - the Arms of Christ or Instruments of the Passion (the ladder, dice, nails, robe, etc). A Franciscan devotion depicting the crucified Christ accompanied by the instruments of the Passion is also represented in House Blessings, Road Crosses and others. Road Crosses (Cruces del Camino) Wayside crosses, where the wayfarer could stop to rest or to pray, are common both in Europe and in the New World. They are used as guideposts and as sites for religious ceremonies in the Andean world. They are related to weathervanes, and there is speculation that the Pre-Christian peoples used them to determine wind direction. Sometimes road crosses mark the spot of a wayfarer's accidental death, such as the descansos in northern New Mexico. 622 / 1857 sold -
Excerpt: Strongly linked to the ancient Tree of Life is the crucified Christ on a cross. To quote Joseph Campbell, ". . . Christ restored to man immortality. His cross . . . was equated with the tree of immortal life, and the fruit of that tree was the crucified Savior himself." The Cross as Art Many Latin American folk artists' crosses depict the devotional representation known as the Arma Christi - the Arms of Christ or Instruments of the Passion (the ladder, dice, nails, robe, etc). A Franciscan devotion depicting the crucified Christ accompanied by the instruments of the Passion is also represented in House Blessings, Road Crosses and others. Road Crosses (Cruces del Camino) Wayside crosses, where the wayfarer could stop to rest or to pray, are common both in Europe and in the New World. They are used as guideposts and as sites for religious ceremonies in the Andean world. They are related to weathervanes, and there is speculation that the Pre-Christian peoples used them to determine wind direction. Sometimes road crosses mark the spot of a wayfarer's accidental death, such as the descansos in northern New Mexico. 623 / 1857 sold -
Excerpt: Shaving stands were usually narrow, tall tables with mirrors on top that allowed the Victorian gentleman to take care of personal grooming easily. The tables often had a drawer or two and perhaps even doors to a narrow cabinet. The top was big enough to allow a mirror and shaving utensils to be placed on the top. Some mirrors were attached to the stand and in some cases the mirrors were attached so that they could be moved to facilitate shaving. 624 / 1857 sold -
Excerpt: Shaving stands were usually narrow, tall tables with mirrors on top that allowed the Victorian gentleman to take care of personal grooming easily. The tables often had a drawer or two and perhaps even doors to a narrow cabinet. The top was big enough to allow a mirror and shaving utensils to be placed on the top. Some mirrors were attached to the stand and in some cases the mirrors were attached so that they could be moved to facilitate shaving. 625 / 1857 sold -
Excerpt: Shaving stands were usually narrow, tall tables with mirrors on top that allowed the Victorian gentleman to take care of personal grooming easily. The tables often had a drawer or two and perhaps even doors to a narrow cabinet. The top was big enough to allow a mirror and shaving utensils to be placed on the top. Some mirrors were attached to the stand and in some cases the mirrors were attached so that they could be moved to facilitate shaving. 626 / 1857 sold -
Excerpt: Shaving stands were usually narrow, tall tables with mirrors on top that allowed the Victorian gentleman to take care of personal grooming easily. The tables often had a drawer or two and perhaps even doors to a narrow cabinet. The top was big enough to allow a mirror and shaving utensils to be placed on the top. Some mirrors were attached to the stand and in some cases the mirrors were attached so that they could be moved to facilitate shaving. 627 / 1857 sold -
Excerpt: Shaving stands were usually narrow, tall tables with mirrors on top that allowed the Victorian gentleman to take care of personal grooming easily. The tables often had a drawer or two and perhaps even doors to a narrow cabinet. The top was big enough to allow a mirror and shaving utensils to be placed on the top. Some mirrors were attached to the stand and in some cases the mirrors were attached so that they could be moved to facilitate shaving. 628 / 1857 sold -
Excerpt: Shaving stands were usually narrow, tall tables with mirrors on top that allowed the Victorian gentleman to take care of personal grooming easily. The tables often had a drawer or two and perhaps even doors to a narrow cabinet. The top was big enough to allow a mirror and shaving utensils to be placed on the top. Some mirrors were attached to the stand and in some cases the mirrors were attached so that they could be moved to facilitate shaving. 629 / 1857 sold -
Excerpt: Shaving stands were usually narrow, tall tables with mirrors on top that allowed the Victorian gentleman to take care of personal grooming easily. The tables often had a drawer or two and perhaps even doors to a narrow cabinet. The top was big enough to allow a mirror and shaving utensils to be placed on the top. Some mirrors were attached to the stand and in some cases the mirrors were attached so that they could be moved to facilitate shaving. 630 / 1857 sold -
Excerpt: Shaving stands were usually narrow, tall tables with mirrors on top that allowed the Victorian gentleman to take care of personal grooming easily. The tables often had a drawer or two and perhaps even doors to a narrow cabinet. The top was big enough to allow a mirror and shaving utensils to be placed on the top. Some mirrors were attached to the stand and in some cases the mirrors were attached so that they could be moved to facilitate shaving. 631 / 1857 sold -
Excerpt: Shaving stands were usually narrow, tall tables with mirrors on top that allowed the Victorian gentleman to take care of personal grooming easily. The tables often had a drawer or two and perhaps even doors to a narrow cabinet. The top was big enough to allow a mirror and shaving utensils to be placed on the top. Some mirrors were attached to the stand and in some cases the mirrors were attached so that they could be moved to facilitate shaving. 632 / 1857 sold -
Engraved China on bottom side of Nesting dishes. 633 / 1857 sold -
Engraved China on bottom side of Nesting dishes. 634 / 1857 sold -
Engraved China on bottom side of Nesting dishes. 635 / 1857 sold -
Engraved China on bottom side of Nesting dishes. 636 / 1857 sold -
Engraved China on bottom side of Nesting dishes. 637 / 1857 sold -
Engraved China on bottom side of Nesting dishes. 638 / 1857 sold -
Engraved China on bottom side of Nesting dishes. 639 / 1857 sold -
Engraved China on bottom side of Nesting dishes. 640 / 1857 sold -
Engraved China on bottom side of Nesting dishes. 641 / 1857 sold -
Engraved China on bottom side of Nesting dishes. 642 / 1857 sold -
Engraved China on bottom side of Nesting dishes. 643 / 1857 sold -
Engraved China on bottom side of Nesting dishes. 644 / 1857 sold -
Engraved China on bottom side of Nesting dishes. 645 / 1857 sold -
Engraved China on bottom side of Nesting dishes. 646 / 1857 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 647 / 1857 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 648 / 1857 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 649 / 1857 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 650 / 1857 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 651 / 1857 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 652 / 1857 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 653 / 1857 sold -
His Artist Statement from his Website: Key considerations in the completion of my artworks include: - Strong, vibrant colors are almost always positive elements. o Artworks typically evoke an initial emotional response. Many of us respond positively to color. And I simply like bright colors. - Three classic criteria for evaluating artwork are valid. o Craftsmanship: Does the artwork demonstrate technical skill by the artist? o Composition: Does the artwork provide “beauty†in some form? o Creativity: Is the artwork interesting? - Life experiences provide the best inspirations. o Visually interesting things are encountered pretty much everywhere. The task is to manipulate real world elements into something to be considered for its aesthetic value. - Environmental considerations are important. o All my original paintings are done on panels I fabricate from salvaged hollow-core doors, scrap lumber, and/or other recycled materials. o I use all water-based fluid media. - Artwork is typically meant to be enjoyed. o Both the artist and the viewer/collector are in it first and foremost to experience the joy of the creative process and the resulting product. 654 / 1857 sold -
His Artist Statement from his Website: Key considerations in the completion of my artworks include: - Strong, vibrant colors are almost always positive elements. o Artworks typically evoke an initial emotional response. Many of us respond positively to color. And I simply like bright colors. - Three classic criteria for evaluating artwork are valid. o Craftsmanship: Does the artwork demonstrate technical skill by the artist? o Composition: Does the artwork provide “beauty†in some form? o Creativity: Is the artwork interesting? - Life experiences provide the best inspirations. o Visually interesting things are encountered pretty much everywhere. The task is to manipulate real world elements into something to be considered for its aesthetic value. - Environmental considerations are important. o All my original paintings are done on panels I fabricate from salvaged hollow-core doors, scrap lumber, and/or other recycled materials. o I use all water-based fluid media. - Artwork is typically meant to be enjoyed. o Both the artist and the viewer/collector are in it first and foremost to experience the joy of the creative process and the resulting product. 655 / 1857 sold -
His Artist Statement from his Website: Key considerations in the completion of my artworks include: - Strong, vibrant colors are almost always positive elements. o Artworks typically evoke an initial emotional response. Many of us respond positively to color. And I simply like bright colors. - Three classic criteria for evaluating artwork are valid. o Craftsmanship: Does the artwork demonstrate technical skill by the artist? o Composition: Does the artwork provide “beauty†in some form? o Creativity: Is the artwork interesting? - Life experiences provide the best inspirations. o Visually interesting things are encountered pretty much everywhere. The task is to manipulate real world elements into something to be considered for its aesthetic value. - Environmental considerations are important. o All my original paintings are done on panels I fabricate from salvaged hollow-core doors, scrap lumber, and/or other recycled materials. o I use all water-based fluid media. - Artwork is typically meant to be enjoyed. o Both the artist and the viewer/collector are in it first and foremost to experience the joy of the creative process and the resulting product. 656 / 1857 sold -
His Artist Statement from his Website: Key considerations in the completion of my artworks include: - Strong, vibrant colors are almost always positive elements. o Artworks typically evoke an initial emotional response. Many of us respond positively to color. And I simply like bright colors. - Three classic criteria for evaluating artwork are valid. o Craftsmanship: Does the artwork demonstrate technical skill by the artist? o Composition: Does the artwork provide “beauty†in some form? o Creativity: Is the artwork interesting? - Life experiences provide the best inspirations. o Visually interesting things are encountered pretty much everywhere. The task is to manipulate real world elements into something to be considered for its aesthetic value. - Environmental considerations are important. o All my original paintings are done on panels I fabricate from salvaged hollow-core doors, scrap lumber, and/or other recycled materials. o I use all water-based fluid media. - Artwork is typically meant to be enjoyed. o Both the artist and the viewer/collector are in it first and foremost to experience the joy of the creative process and the resulting product. 657 / 1857 sold -
His Artist Statement from his Website: Key considerations in the completion of my artworks include: - Strong, vibrant colors are almost always positive elements. o Artworks typically evoke an initial emotional response. Many of us respond positively to color. And I simply like bright colors. - Three classic criteria for evaluating artwork are valid. o Craftsmanship: Does the artwork demonstrate technical skill by the artist? o Composition: Does the artwork provide “beauty†in some form? o Creativity: Is the artwork interesting? - Life experiences provide the best inspirations. o Visually interesting things are encountered pretty much everywhere. The task is to manipulate real world elements into something to be considered for its aesthetic value. - Environmental considerations are important. o All my original paintings are done on panels I fabricate from salvaged hollow-core doors, scrap lumber, and/or other recycled materials. o I use all water-based fluid media. - Artwork is typically meant to be enjoyed. o Both the artist and the viewer/collector are in it first and foremost to experience the joy of the creative process and the resulting product. 658 / 1857 sold -
His Artist Statement from his Website: Key considerations in the completion of my artworks include: - Strong, vibrant colors are almost always positive elements. o Artworks typically evoke an initial emotional response. Many of us respond positively to color. And I simply like bright colors. - Three classic criteria for evaluating artwork are valid. o Craftsmanship: Does the artwork demonstrate technical skill by the artist? o Composition: Does the artwork provide “beauty†in some form? o Creativity: Is the artwork interesting? - Life experiences provide the best inspirations. o Visually interesting things are encountered pretty much everywhere. The task is to manipulate real world elements into something to be considered for its aesthetic value. - Environmental considerations are important. o All my original paintings are done on panels I fabricate from salvaged hollow-core doors, scrap lumber, and/or other recycled materials. o I use all water-based fluid media. - Artwork is typically meant to be enjoyed. o Both the artist and the viewer/collector are in it first and foremost to experience the joy of the creative process and the resulting product. 659 / 1857 sold -
His Artist Statement from his Website: Key considerations in the completion of my artworks include: - Strong, vibrant colors are almost always positive elements. o Artworks typically evoke an initial emotional response. Many of us respond positively to color. And I simply like bright colors. - Three classic criteria for evaluating artwork are valid. o Craftsmanship: Does the artwork demonstrate technical skill by the artist? o Composition: Does the artwork provide “beauty†in some form? o Creativity: Is the artwork interesting? - Life experiences provide the best inspirations. o Visually interesting things are encountered pretty much everywhere. The task is to manipulate real world elements into something to be considered for its aesthetic value. - Environmental considerations are important. o All my original paintings are done on panels I fabricate from salvaged hollow-core doors, scrap lumber, and/or other recycled materials. o I use all water-based fluid media. - Artwork is typically meant to be enjoyed. o Both the artist and the viewer/collector are in it first and foremost to experience the joy of the creative process and the resulting product. 660 / 1857 sold -
His Artist Statement from his Website: Key considerations in the completion of my artworks include: - Strong, vibrant colors are almost always positive elements. o Artworks typically evoke an initial emotional response. Many of us respond positively to color. And I simply like bright colors. - Three classic criteria for evaluating artwork are valid. o Craftsmanship: Does the artwork demonstrate technical skill by the artist? o Composition: Does the artwork provide “beauty†in some form? o Creativity: Is the artwork interesting? - Life experiences provide the best inspirations. o Visually interesting things are encountered pretty much everywhere. The task is to manipulate real world elements into something to be considered for its aesthetic value. - Environmental considerations are important. o All my original paintings are done on panels I fabricate from salvaged hollow-core doors, scrap lumber, and/or other recycled materials. o I use all water-based fluid media. - Artwork is typically meant to be enjoyed. o Both the artist and the viewer/collector are in it first and foremost to experience the joy of the creative process and the resulting product. 661 / 1857 sold -
His Artist Statement from his Website: Key considerations in the completion of my artworks include: - Strong, vibrant colors are almost always positive elements. o Artworks typically evoke an initial emotional response. Many of us respond positively to color. And I simply like bright colors. - Three classic criteria for evaluating artwork are valid. o Craftsmanship: Does the artwork demonstrate technical skill by the artist? o Composition: Does the artwork provide “beauty†in some form? o Creativity: Is the artwork interesting? - Life experiences provide the best inspirations. o Visually interesting things are encountered pretty much everywhere. The task is to manipulate real world elements into something to be considered for its aesthetic value. - Environmental considerations are important. o All my original paintings are done on panels I fabricate from salvaged hollow-core doors, scrap lumber, and/or other recycled materials. o I use all water-based fluid media. - Artwork is typically meant to be enjoyed. o Both the artist and the viewer/collector are in it first and foremost to experience the joy of the creative process and the resulting product. 662 / 1857 sold -
Modern papier-mâché was introduced into Mexico around the 17th century as a way to make objects for churches with its use most developed in central Mexico. In Celaya, the creation of these figures became a trade much the way metalwork and pottery did, with the work dominated by certain families. 663 / 1857 sold -
Modern papier-mâché was introduced into Mexico around the 17th century as a way to make objects for churches with its use most developed in central Mexico. In Celaya, the creation of these figures became a trade much the way metalwork and pottery did, with the work dominated by certain families. 664 / 1857 sold -
Modern papier-mâché was introduced into Mexico around the 17th century as a way to make objects for churches with its use most developed in central Mexico. In Celaya, the creation of these figures became a trade much the way metalwork and pottery did, with the work dominated by certain families. 665 / 1857 sold -
Modern papier-mâché was introduced into Mexico around the 17th century as a way to make objects for churches with its use most developed in central Mexico. In Celaya, the creation of these figures became a trade much the way metalwork and pottery did, with the work dominated by certain families. 666 / 1857 sold -
Modern papier-mâché was introduced into Mexico around the 17th century as a way to make objects for churches with its use most developed in central Mexico. In Celaya, the creation of these figures became a trade much the way metalwork and pottery did, with the work dominated by certain families. 667 / 1857 sold -
Modern papier-mâché was introduced into Mexico around the 17th century as a way to make objects for churches with its use most developed in central Mexico. In Celaya, the creation of these figures became a trade much the way metalwork and pottery did, with the work dominated by certain families. 668 / 1857 sold -
Modern papier-mâché was introduced into Mexico around the 17th century as a way to make objects for churches with its use most developed in central Mexico. In Celaya, the creation of these figures became a trade much the way metalwork and pottery did, with the work dominated by certain families. 669 / 1857 sold -
Modern papier-mâché was introduced into Mexico around the 17th century as a way to make objects for churches with its use most developed in central Mexico. In Celaya, the creation of these figures became a trade much the way metalwork and pottery did, with the work dominated by certain families. 670 / 1857 sold -
Modern papier-mâché was introduced into Mexico around the 17th century as a way to make objects for churches with its use most developed in central Mexico. In Celaya, the creation of these figures became a trade much the way metalwork and pottery did, with the work dominated by certain families. 671 / 1857 sold -
Comes with card that has Artist info. 672 / 1857 sold -
Comes with card that has Artist info. 673 / 1857 sold -
Comes with card that has Artist info. 674 / 1857 sold -
Comes with card that has Artist info. 675 / 1857 sold -
Comes with card that has Artist info. 676 / 1857 sold -
Comes with card that has Artist info. 677 / 1857 sold -
Comes with card that has Artist info. 678 / 1857 sold -
Comes with card that has Artist info. 679 / 1857 sold -
Comes with card that has Artist info. 680 / 1857 sold -
Comes with card that has Artist info. 681 / 1857 sold -
Comes with card that has Artist info. 682 / 1857 sold -
Comes with card that has Artist info. 683 / 1857 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 684 / 1857 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 685 / 1857 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 686 / 1857 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 687 / 1857 sold -
Barbara was a Professional Artist that exuded talent. She taught at the School of the Art Institute of Chicago and also at Front Range. She exhibited all over the United States. A collection of her work will be listed in the auctions we are hosting. She worked in and mastered several different mediums. Find a piece that you enjoy and get one of Barbara's artworks for your own collection. This excerpt is from Art Lab Fort Collins : In Barbara’s own words: I always like to experiment with and change how I express myself in my art. This process involves not only which medium I choose but also how I use it, andI often select more than one medium at a time. Whether I paint on paper or canvas, draw, etch, or collage photographs depends upon the idea or energy of my particular prevailing muse. My drawing is always a pivotal point for me, especially when I am working from the human figure. Regardless of the sujet, though, I use life experiences that have both emotionally and visually impacted me. I am always tempted to mix abstract thought with quasi identifiable subject matter. As I am writing this statement I am looking closely at the mountain that is directly across from my house, and as I watch, I see a jet aircraft’s white contrail moving far above the peak through the clear sky. I know it’s going hundreds of miles an hour, but the cottony contrail seems to be developing so very slowly. If I were to draw or paing this scene, I would need to make many decisions, starting with the desire not to render it only as I see it now but also to represent it as an experience that shows how t his kinetic and emotional vision has affected me. A major question would be, “Which medium (or media) should I use in order to express and communicate this experience?†The artists whom I have admired and learned from throughout history are those who get inside themselves and allow their thoughts and emotions to dominate their works. I believe it necessary that in order to create honesty, one needs to show how presenting the mess of things that constitute our lives can be seen in art that is essentially stable, coherent and believe it or not, realistic. 688 / 1857 sold -
Has some damage around ends/fringe, good condition otherwise 689 / 1857 sold -
Has some damage around ends/fringe, good condition otherwise 690 / 1857 sold -
Has some damage around ends/fringe, good condition otherwise 691 / 1857 sold -
Has some damage around ends/fringe, good condition otherwise 692 / 1857 sold -
Has some damage around ends/fringe, good condition otherwise 693 / 1857 sold -
Has some damage around ends/fringe, good condition otherwise 694 / 1857 sold -
Has some damage around ends/fringe, good condition otherwise 695 / 1857 sold -
Has some damage around ends/fringe, good condition otherwise 696 / 1857 sold -
Has some damage around ends/fringe, good condition otherwise 697 / 1857 sold -
Has some damage around ends/fringe, good condition otherwise 698 / 1857 sold -
Has some damage around ends/fringe, good condition otherwise 699 / 1857 sold -
Has some damage around ends/fringe, good condition otherwise 700 / 1857 sold
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