Showing posts with label Artist in Review. Show all posts
Showing posts with label Artist in Review. Show all posts

Tuesday, January 21, 2014

Fatima Tomaeva-Gabellini - Artist in Review

Thank you so much S Patton for finding the artist!

A while ago I posted this water color painting not knowing who the artist was - but thankfully one of the readers did!!!  It is truly lovely - isn't it!!



Well, now that I know the artist is Fatima Tomaeva-Gabellini, I was able to locate more of her work and a bit about her.

Osetinian artist Fatima Tomaeva-Gabellini was born on November 5, 1967 in the city of Vladikavkaz, Russia.
From 1986 to 1991 graduated from the Art School of Vladikavkaz, later she studied art in Italy.

 Since 1998 she lives and works in Italy.

 
 Multifaceted talent, ranging from fifteenth-century Russian Orthodox iconography to more modern shapes of the female body in the most diverse attitudes and plastic movements.
A vigorous and colourful brush stroke, which captures the delicacy as well as the balanced design of the anatomy of the body.

The artist positioning is to execute any mobile or static subject, which seems to fly freely in the space allotted in the canvas so as to evade impressive realism.

Thursday, June 7, 2012

James Lynwood Palmer

James Lynwood Palmer (1868-1941) Born at Market Rasen Lincolnshire, England, the third son of a parson who became Canon of Rochester Cathedral, Palmer ran away to Canada at a young age. There he was in charge of the horses in the Royal Canadian Mounted Police. Palmer then became a self-trained artist and earned a living as such in New York until he returned to England in 1899. There he secured commissions to paint horses of famous patrons, including the Duke of Portland, Edward VII and George V. Later Palmer became adviser to the Earl of Derby's stud. It is said that he trained a Grand National winner. Portrait of Marie Frances Lisette

Wednesday, May 9, 2012

Georgina Bowers (1836 - 1912)

By far the most important lady artist who ever worked for Punch was Miss Georgina Bowers (Mrs. Bowers-Edwards). It is not usual, to find a woman a professional humorist, though a colonial Punch is edited by a lady; but it is, an undoubted fact, that up to this year of grace no female caricaturist has yet appeared before man's vision. But Miss Bowers was a humorist, with very clear and happy notions as to what fun should be, and how it should be transferred to a picture.
Her long career began in 1866, and thenceforward, working with undiminished energy, she executed hundreds of initials and vignettes as well as "socials," devoting herself in chief part to hunting and flirting subjects. She was a facile designer, but her manner was chronically weak.
It was John Leech who set her on the track; Mark Lemon, to whom she took her drawings, encouraged her, and with help from Mr. Swain she progressed.

Friday, February 24, 2012

Danielle Demers

Meet Danielle Demers.

I love to get to know my blog readers .. but it is especially thrilling when one of them is as talented as Danielle..and I get to introduce her to you! Just one look at this creation..and you will understand why I wanted to feature her.

Here is the interview in Danielle's own words:

I started drawing horses at a very young age because I grew up around them. My parents owned two horses that they used mainly for trail riding. One of their horses, Gemini, was originally bought for my mom when I was 5 years old, but I also rode him quite a bit because my parents' other horse Jessie was a spitfire.

From the time I began riding Gemini, I sort of claimed him as my own. He was owned by young girls before my parents purchased him, and it seemed that he was destined to always be a little girl's horse. It was because of my love of Gemini and riding that I drew horses so often. I would draw horses on the backs of the paper place mats at restaurants, on scrap papers, on just about anything that I could draw on using anything that I could find to actually draw with--crayons, golf pencils, ball point pens from my mom's purse, etc.

Danielle showing Gemini.

I was introduced to watercolor painting by my high school art teacher who also works mainly in watercolor. In high school I took as many art classes as I could fit into my schedule. My teacher was wonderful--she really took the time to show me how to use watercolors in a variety of techniques. Instead of stressing realism and more technical based painting exercises, she encouraged her students to paint in a loose and stylistic manner when first learning how to use a new material.



My art teacher also urged me to show my work. I sold my first horse drawing during my senior year of high school. Selling that piece inspired me to start my business. Luckily, I have a very supportive family! About one month after I told my mom that I wanted to start my own business selling equine artwork and clothing with my designs, I found myself actually selling my work at a local craft show.

Throughout my life, my passion for horses has played a huge role. I have created a business based on their beauty and spirit and my major hobby is riding.

As I mentioned, I began riding at five years old when my parents purchased Gemini. I rode western with (most likely very unrealistic) aspirations of becoming a barrel racer until I was 11 years old (Gemini was not very keen on becoming a barrel racer!). After being introduced to the english discipline at a summer horse camp, I saved up my allowance for about a year to purchase my own english saddle. I took lessons in hunt seat and jumping for the next two years, before finding my true passion: dressage. Since taking my first dressage lesson in 8th grade, I have never looked back. The longest break I took from riding was when I did not ride at all during my Freshman year of college. By my sophomore year, I had found the University Dressage Club, began taking lessons, and started showing on the Dressage Team.

Danielle warming up at one of the university dressage team "IDA" shows.

I currently own one horse and also ride my parents' paint gelding Boots. After Gemini passed away in the fall of 2010, my parents sent Boots up to a barn near me so that he would not be alone. I have a blast working with him over the past year. He is not the ideal dressage prospect, but he is such a sweet boy. Last week I adopted my first off-the-track Thoroughbred, Kidd, from the Kentucky branch of New Vocations Thoroughbred Adoption Program. He just arrived at the boarding barn yesterday, and he is such a laid back, handsome, and sweet gelding! He will be my dressage prospect. I am so excited to begin working with him!

I would also like to say, that I am very fortunate to have found a husband who is very understanding of my passion for horses and supports me in my business and my hobby 100% - that is so important to me :)

I specialize mainly in watercolor and ink paintings, but I have also worked in acrylics, oils, pastel, graphite, and charcoal. Creating silver jewelry has been my latest experiment. On my website, I sell prints of my artwork and the silver jewelry.

If you are interested in Danielle's art work, her web site is:
www.designsbydannie.com

Friday, February 10, 2012

Linda Owens

Almost every single person interested in American Saddlebred horses knows of Linda's work. I was thrilled to find a few of her new creations have included sidesaddle as the subject matter. I hope you enjoy her art and her story!

* * * * * * * * * * *

Linda Owens was born in Minneapolis Minnesota.
Her father was the athletic director for the entire school district,
and eventually became the first Chairman Of the President's Council on Physical Fitness.

Born an only child, to a beautiful blonde homemaker, Linda was never spoiled but held to a higher standard than many children her age.

Her interest in horses came at a very early age when she entered a pony naming contest sponsored by Pepsi-Cola. The name that Linda chose for the pony, was chosen by the company, and so suddenly a second grade girl owned her first horse. It was Shetland cross and didnt like her much..but it was hers!



She wound up having to find a place to board said pony, and came across an old saddlebred barn just outside the cities.Eventually the pony was sold and Linda entered her highschool years oblivious as to just how close she had winged her very destiny.

Eventually she wanted to ride again and wound up riding jumpers under the direction of Heir Von Blosher, a German Calvary man.


Time marched on, and Linda earned a scholorship to Stephens College.

While there she met Jim Simmons, the son of the Great Art Simmons.

Eventually she graduated with honors and making the Dean's list.

Linda spent many hours at the Simmons place working and jogging the horses there and becoming very close with Ollie Simmons, Jims mother.



After college, Linda moved back to Minneapolis and married, worked in commercial art,eventually landing in Colorado with her husband , where she gave birth to a daughter. Thereafter, she again, worked in commercial art.

While in Colorado, she began teaching riding to upwards of 200 students and the famed Gloraloma Ranch was born.

Her love for the American Saddlebred Horse,has only grown with time, and she has become a very successful horsewoman and equine artist.

She went on to have 2 more sons that have reflected her equine interest and are active within the Saddlebred industry to date.

Linda's Love for the breed is evident in her expressive , impressive art work, and her careful depictions cannot be matched.

Linda is one of a kind when it comes to her life, her children, and her art.

Her work truly is, a "Labor Of Love".

Wednesday, February 8, 2012

Kenneth D Rowe

Nooo - Kenneth does not ride aside! .. but I do think you will enjoy his biography and his art!
Kenneth D. Rowe, though born in New Brunswick, New Jersey in 1977, was raised in Appleton, Wisconsin by his Mother and Father with his two elder sisters. At age 19, after a relatively normal childhood punctuated with pursuits in music and sports, Kenneth left Appleton to attend the University of Wisconsin - La Crosse. Several years passed as Kenneth searched meaningful pursuits until he discovered a blacksmithing course in the art department that looked promising.

Having grown up in a home with a large workshop and an industrious Father, Kenneth found himself at home working with his hands and excelled in both his blacksmithing and jewelry class. During this time he also spent a year working with his professor, William Fiorini, at his private metals studio, Koka Metalsmiths, in Dakota, Minnesota.

In his final college years, Kenneth discovered the sculpting studio. Sculpting helped Kenneth move on to the next phase of his development by combining his design aesthetic in jewelry with his predilection for working with larger pieces in blacksmithing. Kenneth worked tirelessly in the studio, often working well into the night, until his graduation in 2004 with a Bachelor of Science in Fine Arts.

After moving to Fort Myers, Florida in 2006, Kenneth spent the next several years working in unrelated fields until the market crashed and he found himself in need of a new career. In late 2008, Kenneth founded Leviathan Arts, L.L.C. and began working as a full time sculptor. Since then, Kenneth has been building a new body of work and has been showing in several exhibitions, including his most recent solo show “Epiphany” held at Daas Gallery in 2012.

...Now here we have the 'horsey' connection. When I first started my blog, I had monthly give aways and one of them was for one of Kenneths tack hooks like this one.Each hook is hand forged and, once assembled, measures approximately 14" long by 10" wide, with a weight of about 3 lb. Upon completion, he hand stamps his studio signature into the piece before it is given several coats of oil. The resulting combination of heavy steel with an oil finish results in a hook that will outlast any other tack hook on the market today.

At the time I had my give away, Kenneth was embarking on a new project and could not make any more tack hooks. I am happy to say that he has stared to make them again. They cost just $79.00 USD + shipping each. Quite a bargain for such a piece of useable art! I have one and LOVE it.
www.leviathanarts.com

Tuesday, January 24, 2012

Linzay Marks

Linzay Marks is a portrait artist and does commissions. Here is the piece that caught my attention...can't imagine why!
When I contacted Linzay and asked her to tell us a little bit about herself, this is what she shared:

"I am 21 years old from Kentucky and I grew up on thoroughbred farms. I went to LSU and majored in Advertising and have a minor in Fine Art. I have drawn pretty much since I can remember. I have always preferred to draw horses. In high school there were times when I wasn't allowed to draw horses, because that was all I would draw, in the long run it was a good thing, but was miserable at the time. Drawing horses are my favorite, but I have started working on the figure quite a bit to help place believable people in pictures with the horses. I also enjoy drawing dogs and cattle. Polo is my favorite subject, but I am starting to get into fox hunting. I also like drawing/painting dressage and racing. Some artists I admire are Andre Pater, Melinda Brewer, Rosa Bonheur and Sir Alfred Munnings.

I have two horses, both thoroughbreds, The Cheat and Punch. I ride dressage, or attempt to. I have sort of tried my hand a everything since I was little: just riding, barrel racing, hunter jumpers, I was a polo groom for a summer. I don't have the hand eye coordination for polo, so I'll stick with drawing it. Both of my parents grew up around horses, my Dad used to play polo and my Mom's family had running quarter horses and a bush track in Louisiana.

Besides riding and art I like to read and I love LSU and Saints football.


Here are just a few more of Linzay's works of art:


You can find Linzay on Facebook or if you would like to contact her about doing a commissioned work of your horse, you can contact her at linzay.marks@gmail.com

Monday, November 14, 2011

Randolph Caldecott

Randolph Caldecott (22 March 1846 – 12 February 1886) was a British artist and illustrator, born in Chester. The Caldecott Medal was named in his honor. He exercised his art chiefly in book illustrations. His abilities as an artist were promptly and generously recognized by the Royal Academy. Caldecott greatly influenced illustration of children's books during the nineteenth century. Two books illustrated by him, priced at a shilling each, were published every Christmas for eight years.



Caldecott's output, however, ranged wider than this: he illustrated novels and accounts of foreign travel, made humorous drawings depicting hunting and fashionable life, drew cartoons and he made sketches of the Houses of Parliament inside and out, and exhibited sculptures and paintings in oil and watercolour in the Royal Academy and galleries.

Caldecott was born at 150 Bridge Street, Chester, where his father, John Caldecott, was a Chester accountant, twice married with 13 children. Caldecott was his third child by his first wife Mary Dinah (née Brookes). In 1848 the family moved to Challoner House, Crook Street and in 1860 to 23 Richmond Place at Boughton just outside Chester. He spent the last five years of his schooling at The King's School which, in those days, was in the cathedral precinct in the centre of the city. In his early childhood Caldecott drew and modelled, mostly animals, and he continued drawing for the rest of his life.



On leaving school at the age of fifteen, Caldecott went to work at the Whitchurch branch of the Whitchurch & Ellesmere Bank and took lodgings at Wirswall, a village near the town. In his spare time and when he was out visiting clients he was often to be seen walking and riding around the countryside; many of his later illustrations incorporate buildings and scenery of that part of Cheshire. His love of riding led him to take up hunting and his experiences in the hunting field and his love of animals bore fruit over the years in the masses of drawings and sketches of hunting scenes, many of them humorous. In the year that he left school, 1861, he first had a drawing published: it was a sketch of a disastrous fire at the Queens Railway Hotel in Chester and it appeared in the Illustrated London News together with his account of the blaze.

After six years at Whitchurch, Caldecott moved to the head office in Manchester of the Manchester & Salford Bank. He lodged variously in Aberdeen Street, Rusholme Grove and at Bowdon. He took the opportunity to study at night school at the Manchester School of Art and practised continually, with success in local papers and some London publications. It was a habit of his at this time, which he maintained all his life, to decorate his letters, papers and documents of all descriptions with marginal sketches to illustrate the content or provide amusement. A number of his letters have been reprinted with their illustrations in Yours Pictorially, a book edited by Michael Hutchings. In 1870, through a friend in London, the painter Thomas Armstrong, Randolph was put in touch with Henry Blackburn the editor of London Society, who published a number of his drawings in several issues of the monthly magazine.



Encouraged by this evidence of his ability to support himself by his art, Caldecott decided to quit his job and move to London; this he did in 1872 at the age of 26. Within two years he had become a successful magazine illustrator working on commission. His work included individual sketches, illustrations of other articles and a series of illustrations of a holiday which he and Henry Blackburn took in the Harz Mountains in Germany. The latter became the first of a number of such series.

He remained in London for seven years, spending most of them in lodgings at 46 Great Russell Street just opposite the British Museum, in the heart of Bloomsbury. While there he met and made friends (as he did very readily) with many artistic and literary people, among them Dante Gabriel Rossetti, George du Maurier (who was a fellow contributor to Punch), John Everett Millais and Frederic Leighton. His friendship with Frederic (later Lord) Leighton led to a commission to design peacock capitals for four columns in the Arab room at Leighton's rather exotic home, Leighton House in Kensington. (Walter Crane designed a tiled peacock frieze for the same room.)

In 1869 Caldecott exhibited a picture in the Royal Manchester Institute. He had a picture exhibited in the Royal Academy for the first time in 1876. He was also a watercolourist and was elected to the Royal Institute of Watercolour Painting in 1872.

In 1877 Edmund Evans, who was a leading colour printer using coloured woodblocks, lost the services of Walter Crane as his children's book illustrator and asked Caldecott to do illustrations for two books for Christmas. The results were The House that Jack Built and The Diverting History of John Gilpin, published in 1878. They were an immediate success; so much so that he produced two more each year until he died. The stories and rhymes were all of Caldecott's choosing and in some cases were written or added to by himself. In another milieu Caldecott followed The Harz Mountains with illustrations for two books by Washington Irving, three for Juliana Ewing, another of Henry Blackburn's, one for Captain Frederick Marryat and for other authors. Among well known admirers of his work were Gauguin and Van Gogh.



Randolph continued to travel, partly for the sake of his health, and to make drawings of the people and surroundings of the places he visited; these drawings were accompanied by humorous and witty captions and narrative.

In 1879 he moved to Wybornes, a house which he took (it is not known whether he bought or rented it) near Kemsing in Kent. It is there that he became engaged to Marian Brind, who lived at Chelsfield about seven miles away. They were married in 1880 and lived at Wybornes for the next two years. There were no children of the marriage. In the autumn of 1882 the Caldecotts left Kent and bought a house, Broomfield, at Frensham in Surrey; they also rented No 24 Holland Street, Kensington. By 1884, sales of Caldecott's Nursery Rhymes had reached 867,000 copies (of twelve books) and he was internationally famous.

However, his health was generally very poor and he suffered much from gastritis and a heart condition going back to an illness in his childhood. It was his health among other things which prompted his many winter trips to the Mediterranean and other warm climates. It was on such a tour in the United States of America in 1886 that he was taken ill again and succumbed. He and Marian had sailed to New York and travelled down the East Coast; they reached Florida in an unusually cold February; Randolph was taken ill and died at St. Augustine. He was not quite 40 years old. A headstone still marks his grave in the cemetery there.



Soon after his early death, his many friends contributed to a memorial to him which was designed by Sir Alfred Gilbert. It was placed in the crypt of St Paul's Cathedral, London.

Tuesday, October 25, 2011

BJ (Barbara) Redmond

I first found BJ's work on E-bay. After seeing more than one painting of a sidesaddle nature, I tried to contact her for a more personal interview. Since then, I have come to believe that she is more popular than I first realized, so I imagine she must get quite a few requests like mine. For that reason, I have instead copied and pasted her own biography off of her web site:
http://barbara-redmond.artistwebsites.com/

I am happy to share with you the art and biography of BJ Redmond in her own words:

I am a natural self-taught artist specializing in equine (horse) artwork. I especially enjoy doing acrylic and watercolor paintings. My work is original, clean fresh colors and although impressionistic, leans heavily on the realistic side. I am 69 years old and started painting and selling in 2006. I am delighted to learn I can do this. It is a wonderful outlet and lots of fun.


I am married, have 2 grown children and 4 cute grand kids. I raised horses for about 19 years, but now I live in the city and only paint them. I have 3 beautiful Maltese dogs which I love to paint and photograph.


My work is in private collections in several other countries, as well as all over the USA. I display a small gallery in a local doctor's office, a doggy training center, and have an ebay store. I also am gallery-represented by Ledge Craft Lane, Grand Ledge MI and The Walking Horse Art Gallery, Lansing MI. I don't profess to know anything about art, I simply paint what is in me with love and emotion...horses horses and more horses. To God be the glory, for any talent I exhibit.

Wednesday, September 21, 2011

Elizabeth Sharp

The following infomation about Elizabeth was found on Horse and Hound Art dot com.

Elizabeth trained in fine art at the Leicester College of Art and Technology in the 1960's, when modern art was all the rage. However, she was brought up in rural Lincolnshire (where she still lives) and her artistic interests have always been more with the country pursuits and animals around her. Although she paints all subjects, animals remain her favorite.

She has been a full member of the Society of Equestrian Artists for many years, and has served on its Executive Committee for several of these. She is also a full member of the Society of Women Artists, and exhibits regularly in London with both groups, as well as in other mixed exhibitions around the country. Elizabeth works mostly on commission for clients from all over the world; usually working in acrylics and oils, and occasionally pastels, she also produces sculptures, and has also worked on bone china and porcelain.

Having bred Morgan horses and hunted for many years, with the Belvoir Hunt, both these elements feature strongly in her portfolio, which includes many paintings based on racing, eventing, polo, showing, dressage and driving. Apart from horses she loves to paint all kind of animals, and dogs come a close second in her affections. Six dachshunds of her own have helped shaped these affections, but she has portrayed many other breeds over the years!

With commissions forming such an important part of her artwork, portraits inevitably form the largest part of her range, and over the years she has developed a particular ability to reveal that character of each of her subjects which makes each animal a true individual (and recognized by his or her owner as such!).

Elizabeth also produces sculptures - mostly portraits of historical people and places, and a number of these have featured in city centre developments from Nottingham to Sydney Australia! She regularly produces presentation paintings and sculptures, as well as bone china and porcelain items for private individuals, companies, sports bodies and societies.

***Sadly, I was unable to find a photo of the artist herself, nor any further information as to when she was born, if she is still living or still creating great works of art.

Thursday, September 15, 2011

John Ferneley

John E. Ferneley (18 May 1782 Thrussington, Leicestershire - 1860 Melton Mowbray, Leicestershire), was an English painter who specialised in portraying sporting horses and hunting scenes. Although his rendition of horses was stylised, he is regarded as one of the great British equine artists, second perhaps only to George Stubbs.


At first apprenticed until 1801 to his father, who was a master wheelwright, he was encouraged to take up painting by John Manners, 5th Duke of Rutland. Accordingly he moved to London and studied under the sporting artist Benjamin Marshall. While training with Marshall he joined the Royal Academy School. His work was exhibited between 1806 and 1853 at the Royal Academy. He traveled extensively in Ireland from 1806 to 1809, but returned to England to marry, and started working from Melton Mowbray. Here he built his studio and later a house, Elgin Lodge, on the Sleaford Rd. Melton Mowbray was fast becoming a watering hole for the sporting fraternity and the place where modern fox-hunting developed in the late eighteenth century. Hugo Meynell, a wealthy local, bred his hounds to keep up with the horses and riders in their pursuit over hedges and ditches. At this time riders began wearing the scarlet jackets which were to become traditional.



Ferneley's paintings depicted hunting when it was extremely fashionable. (Enlarge this picture to get the funny details!


Good horses sold quite readily for 200 guineas and most riders had at least ten in their stables. His work became much sought after, his patrons including many Royals and personalities such as Beau Brummel and the Count d'Orsay. Ferneley routinely was commissioned to paint the famous Quorn, Belvoir, and Cottesmore hunts. The members all contributed to the painter's fee and then drew lots to determine the winner.


Ferneley specialised in painting "scurries", panoramic paintings showing a sequence of events. He befriended Sir Francis Grant and helped him with the painting of horses while Grant in return helped with figure painting. In this way they collaborated on a number of paintings. Ferneley's signature was done very delicately with a pin head in the wet paint and often hidden on a fence, stable door or in an unexpected corner of the painting. His signature is easily differentiated from that of his son, John Junior, who normally signed heavily in black.

Between 1810 and 1812 he visited Ireland twice more, carrying out a great number of commissioned paintings for wealthy Irish patrons. He produced six children with his first wife (who died in 1836) - three of his children later became painters.

Tuesday, July 19, 2011

Philip Eustace Stretton

Philip Stretton (1865–1919) was an animal and sporting painter working actively between 1882 and 1919. He predominantly painted in oil and water-colour and he exhibited at the Royal Academy between 1884 and 1904 and latterly at the Suffolk Street Galleries in London.


Most notably known for his canine portraits..

..I love this one entitled "Left in Charge".

Stretton was working in a convention cultivated and refined by Sir Edwin Landseer, whose remarkable animal paintings had an enormous impact on Stretton, both in terms of style and subject matter. In particular, it was his approach to the subject which caught the attention of the newly wealthy Victorian middle-class.


Inspired by Landseer, Stretton's work remains popular today, both because of his success in capturing light and colour and because of his selection of sentimental animal scenes as the focal point of much of his work.