Anna Hyatt Huntington – The Sculptress

‘Diana’ [1932] by Anna Hyatt Huntington, Aluminum, gold plate and silver plate, 32 1/2 x 9 1/2 x 8 1/2 in.

Anna [Vaughn] Hyatt Huntington born 1876 shared her birthday of March 10th with her wealthy husband Archer Milton Huntington whom she married in 1923.

Relocating to New York City to enable her career to flourish in 1902, A.H. Huntington is one of the greatest representations of female empowerment within art.

Truly inspiring.

Her ‘Diana’ figure shown above was produced in varying sizes, cast materials and alternative compositions.  The New York Historical Society and NYC’s National Academy of Design have two larger versions of this cast.

The beauty of this sculpture is immediately eye-catching.

Okay, what does this sculpture reveal to us?

The bow points upwards signalling a contrary position to divinity.  Artemis, the Greek name of the latinised Diana, is posturing her own divine power.  An understanding of specific ancient texts regarding the usage of arrows in ancient culture as ‘signs’ is intimated in this piece.

Likely Anna Hyatt Huntington was aware of such understated references during her prior sculptural studies and research.

Art professionals know that Anna was particular about physiological designs in terms of historical, anatomical and cultural placement.  The ‘Diana’ figure has symbolised adoration of the female form for millenia.  From a military perspective the upward positioning of the bow could also represent ambition to further exceed in contested plans.

‘Here on Earth the answer is always a matter of the Height, the Breath and the Depth of things.’

The way Huntington has intended her Diana to pose alluringly beckons the viewer in a feminine way to support her cause.

The figure is both subjective and authoritive in design – a uniquely crafted balance.  This might help us to gain insight into Anna’s idea of marital harmony.  Anna is not forcing her artistic idea of ‘Diana’ upon you.

‘El Cid Campeador’ [1927] by Anna Hyatt Huntington, Bronze statue on stone at the New York Hispanic Society of America.  Photograph courtesy of the HSA – NYC.

Please click the photographs for further detailing:

‘El Cid Campeador’ by Anna Hyatt Huntington.
Photograph courtesy of http://xtremearttourists1.blogspot.co.uk/

‘El Cid Campeador’ in New York by Huntington, pictured twice above, is a highly useful study for fledgling sculptors to investigate.  If you’re studying art I would encourage you to do so.

Anna and her husband Archer enjoyed researching fine details.  Their vision of art is based upon facts, realism and visibly tangible elements.  Regardless of the subject matter Anna was always looking to create a faithfully unique sculpture of the subject wherever possible.

The process of learning about an intended commission preceded her clay studies as an integral part of the intellectual design long before the delivery or final unveiling.  Archer was a constant source of inspiration for Anna through his own scholarly interests.

Yet, Anna was already self-sufficient from her art career prior to their marriage.  From the 1910’s Anna earned a monumental amount of money per annum – $50,000.  This would be at least $1.2 million US dollars annually – adjusted for 2017!

‘The Torch Bearers’ [1954] by Anna Hyatt Huntington, Aluminium sculpture, 6m x 6m x 6.2m. At Ciudad Universitaria in Madrid, Spain. Photograph by JL De Diego.

There are versions of this Spanish sculptural installation by Anna called ‘The Torch Bearers’ (shown above) in Havana Cuba, South Carolina, New Jersey, Virginia and one each at Bridgeport & Redding in Connecticut.

‘The Torch Bearers’ is a truly moving piece of work, part-reminiscent of Michelangelo’s near-ineffable Sistine Chapel ceiling artwork.  If you can visit any of Anna’s intricate sculptures I’m sure you will enjoy the whole experience.

Anna Hyatt Huntington’s sculptures along with the ancient ‘Artemision Bronze’ at the National Archaeological Museum in Athens Greece can only be best appreciated visiting them in person.

As friends.

N.B. In keeping with todays article theme of female artistry please check out Marie Hammer’s art, hyperlink below.  Her husband, Rusty, writes the Xtreme Art Tourist blog aforementioned.

They both love art as much as Archer and Anna Huntington.  After reading about Archer’s Hispanic museum quest from his boyhood this takes some serious doing!

Marie’s website:

http://mariesegallery.blogspot.co.uk/

John Singer Sargent – Portrait Art’s Everything

‘Carnation, Lily, Lily, Rose’ [1885] by John Singer Sargent, Oil on canvas, 68.5 in × 60.5 in

The title for the above painting by John Singer Sargent ‘Carnation, Lily, Lily, Rose’ is from the song called ‘The Wreath‘ by eighteenth-century operatic composer Joseph Mazzinghi.

The two girls are the daughters of Frederick Barnard an illustrator by profession.

Dolly aged eleven is to our left and Polly aged seven is standing in front of her to our right.  Sargent found inspiration to include Chinese lanterns whilst sighting them during an earlier boating expedition on the Thames with American artist Edwin Austin Abbey.

This en plein air technique literally influenced by Monet to John Singer Sargent was completed over countless sessions whilst visiting Broadway, Worcestershire, England – The Cotswolds.

I promise you would find a visit to the Cotswolds oh so very pretty just like these two adorable girls painted herewith.  Therewith or herewith – its almost like going back in time.

The house of these very gardens was then owned by yet another friend of Sargent’s – American painter, writer and sculptor Frank Millet.  Sadly he died in the sinking of the RMS Titanic in 1912.

A 2016 auction of the beautiful “Poppies – A Study Of Poppies for ‘Carnation, Lily, Lily, Rose'” sold for £6,858,000 USD at Sotheby’s.

The history, its painted subjects, the luminous mastery and intricate technical derivation would make the original ‘Carnation, Lily, Lily, Rose’ a grand prize for any serious Art Collector.

What do you like most yourself about this painting?

The trodden grasses?  The girls’ concentrated facial expressions?

Warm Chinese lanterns incandescently glowing amidst arty white lillies?

I particularly love that Barnard’s daughters are thoroughly engaged, individually, in an unspeaking togetherness.  A shared purpose to delight each other and themselves equally.

John Singer Sargent gifts us with this painting for the ages.

‘Robert Louis Stevenson and His Wife’ [August 1885] by John Singer Sargent, Oil on canvas, 20 1/2 x 24 1/2 in

Rock and roll baby!

I thought of The Beatles when I first saw the painting ‘Robert Louis Stevenson and His Wife’.  Sgt Pepper’s Lonely Hearts Club Band and more specifically George Harrison.

Stylistic lyrical geniuses.

Robert Louis Stevenson is super cool.  Sargent captures Robert’s inherent quirkiness, his restlessness of thought.  Creatives can, at times, exhibit this characterisation without being aware of their indifferent juxtaposition.

Art takes over the mind.  It becomes the working of the hands.  The pacing of the feet by sheer conscious will.

Interestingly his wife appears almost ghostly and distant in this full-bodied reddened portrait.  Stevenson looks as if he wants to ‘get away’ to his writing even as Sargent’s brush strokes are being formed.

The opened door and positioning of our protaganist might seem incidental.  However, would you have chosen this composition over all other possible scenic angulations?

We have to say ‘Eureka!’

John Singer Sargent is a true portrait artisan.  The Rubens of his generation.  Sargent is as accomplished at Impressionist works as he is portrait Realism.

‘The talk of the town’..  Sargent probably knew someone’s ‘ears were burning’.

‘Miss Elsie Palmer’ [1889-90] by John Singer Sargent, Oil on canvas, 75 1/8 x 45 1/8 in

I found the pose of ‘Miss Elsie Palmer’ quaint and disciplined.  A pragmatic solution to posing for great lengths of time.  Her hair natural and the clothing fabrics a multitude of folding criss-crossing layers.

Miss Elsie Palmer’s eyes look rather mournful here.  This is a professional portrait revealing a practically perfect young lady in every way.  Modest and likeable.  Sargent’s use of light and dark is exemplary as expected.  Mood is, as Warhol commented in his own way, where Sargent’s genius shines.

Looking through his vast body of work is hugely pleasurable for any art lover.  Blending of interactive foreground and background details.  His unique artistic quality incorporated from canvas to canvas.

Quite remarkable.

‘Lawrence Alexander “Peter” Harrison’ [c1905] by John Singer Sargent, Watercolor on paper, 50.16 x 33.02 cm

Immediately above is a relaxed Impressionist portrait of the artist ‘Lawrence Alexander “Peter” Harrison’ by his close friend John Singer Sargent.

Immediately pictured below please take a look at Sargent’s fellow artist Giovanni Boldini‘s (1845 -1931) likewise expert rendition ‘Portrait of the Artist Lawrence Alexander “Peter” Harrison’:

‘Portrait of Lawrence Alexander “Peter” Harrison’ [1902] by Giovanni Boldini,
Oil on canvas, 49 5/8 by 39 3/4 in

Boldini’s portrait is regal and dignifying in its own exquisite artistic right.

Whilst Sargent’s portrait clearly demonstrates his extreme skill at Impressionism.  The sense of body and movement in both artworks is outstanding.  Please remember that Sargent is strongly regarded as the epitome of classical high society portraiture.  True it is too.

Yet he is also very brave artistically with his career.

Impressionist works.  Perfected landscapes.  Architectural masterclasses.  Ordinary peoples, time-indefinitely painted during his various travels.

John Singer Sargent – Art at Everything.

Twombly and Distant Voices

Cy Twombly – Untitled – inscribed NYC, [1968]. Oil based house paint and wax crayon on canvas – 68 x 90 in

The value of art can be truly awe-inspiring.

‘Seismic Waves [first version]’ by Matt The Unfathomable Artist, Blue ink on A4 paper, artwork whereabouts unknown.

Tracey Emin is also renowned for art that is timeless and of the moment.

Spontaneous of inspiration.

All artists will speak of their essence, primality or inner conscious feelings overtaking their work.  Becoming a sort of seismic needle I suppose.  Reacting to inputs, impulses and vibrations somewhere out there in the ether.

I’m not sure whether I’d read about the particular earthquake earlier on that day or not.  We all read about these things so often these days.  I was moved in a humanly caring way to produce this on paper with ink pen.

There are artists and people generally speaking that are so organised.  If I had a spacious art studio I probably would stack everything in perfect order.

Probably.

A collaboration of famous rock musicians, lyrically brilliant songwriters wrote “I put the pen to the paper ’cause it’s all a part of me.”

I’ve always loved those lyrics for all their honest genius.  Beyoncé recently referenced historical symbology to her musical performances.  Art is an inspiration.  Of self and others.

Someone a few years ago wrote:

‘I want to change the world by keeping it the same and I want to change the world by making it different.’.  They wrote this to their dear Nan.  Electronically so to speak.

Is 50 years really so much time to wait?

Depends on how you view Time.

Joseph Mallord William Turner

Would you like to go on a journey with me?  Please think for a moment where I might take you.

We can cross oceans of time.  The fabrics of space.  I will open up the Universe with my hands for you.  Inversely of understanding.  A design from the outside.  Pulling at the edges like a canvas stretched across beams.  Atomic order.  Nucleic.  Archaeological charcoals and elementals masking the span for all its measurement.

‘Snow Storm – Steam-Boat off a Harbour’s Mouth’ by Joseph Mallord William Turner – Exhibited 1842 – Oil paint on canvas – 914 mm x 1219 mm

‘Snow Storm – Steam Boat off a Harbour’s Mouth’ by Joseph M W Turner is amongst my favourite of his works.  The human mind fills the void.  Forms its own imagination.  You perceive what you are able to comprehend.  Reality it is not.  A construct of perception as an idea.  The basis for an impressionistic viewpoint.

The above artwork by Turner is a cacophonic masterpiece.  You look at this and heard.. nothing.

Until now.

I merely lifted my canvas from its cardboard box to show him without commenting or referencing the title of my artwork – ‘Creative Mind’.  At that precise moment a professional creative told me and I quote his words pretty much verbatim here, ‘It makes my brain think all sorts of things’.. I knew it had achieved everything I wanted from the outset.  Perfectly.

Turner has immense influence to this day.  Everyone says this.  Let me give you an example.  If you would like to view Whitewall Galleries online (here in the UK) and look up Chris and Steve Rocks you will see this for sure.

As a side note in abstraction I also strongly recommend the work of Danielle O’Connor Akiyama.  With these recommendations I speak from personal interest in their quality.  This is not a reflection of other artists merely that their work was on show when I visited the gallery sometime ago.  Impressive and beautiful.

Turner’s masterpiece above shows layers of intricacy, a sheen of glazed light, depth of feeling and stormy chaos.  Truly iconic.

This brings us nicely to the value of his photographic realist paintings.  Consider viewing Turner’s next painting, immediately below, to Chopin’s Nocturne in E flat major Opus 9 No. 2 as I myself did.

‘Moonlight, a Study at Millbank’ by Joseph M W Turner – Exhibited 1797 – Oil on panel – 31.5 x 40.5 cm –
on display at the Tate Gallery, London, UK

‘Moonlight, a Study at Millbank’ has such eerie reality that it pulls us in as if by one of the ships ropes about our midriff.  Our faces feel the cold-still nightly breeze.  We can hear light winds through the sails.  Quietness and a gentle drifting along of taut wood bound together strong for the working.

Two curious sayings I share now that I have read of my Great great Uncle artist Mr FMR aforementioned in my previous blog.  ’12 horses on the strength’ and that he was ‘the cat’s whiskers’ to his Mother and Father.  I really would like to paint these two expressions after the preceding works already waiting in the theatrical wings of my mind.

The latter expressionistic idea would not only be construe from Mr FMR’s sayings herewith.  You see at ‘middle’ school our class was given a project to complete.  I was thirteen years of age and chose to write about wildlife.  I enjoyed drawing the faces of big cat’s, exceedingly I practised.  Yet my drawing ability by my own admission is mostly immature during my earlier years.

Do you know the violinist who really cannot play or the singer who is yet able to fully master singing?  For a fact both always exist and some latterly of their age, renowned.  I am one and the other.

It’s quite the strangest thing that some artistic things I could accomplish in painting and drawing with ease whilst other subjects I struggle/d at almost impossibly.  Art is learning.  Nobody on earth ever picked up paints, crayons or pencil and drew with expertise immediately.  No one.  Ever.

Again I shall digress, oh Mr L.S. Lowry I love you so very much my dear fellow.  For two exemplary reasons that my heart chases after like horses toward their hurdles for riding.

Turner’s work appears effortless.  Clearly though, as shown below, Turner’s learnedness at professional draughtsmanship produces finely exquisite angles and perspectives beyond stark portrayal.  For sure there is art in architecture.

Lines meet curves, leans and masses of concrete order.

‘Tintern Abbey: The Crossing and Chancel’ (looking towards the East window) by J. M. W. Turner – 1794 – Graphite & Watercolour on paper – 35.9 cm × 25 cm

Turner is rightly regarded as a British exemplary of artistic influence.  His classical self portrait is to appear on the Bank of England’s £20 note from 2020 following a public selection process.  Perhaps I waited wisely for the right time to make deserved commentary about Turner.  Without doubt a pleasure to write this blog article and in eager readiness for sometime now.

Loudly whispers ‘Constable! Constable!’, Edgar Degas and Sir Edward Coley Burne-Jones, 1st Baronet – someone, somewhere, somehow please an encore!’

For some within art Time really has no limitation whatsoever.  God, the Dove or the Dragon are unable to conquer unto destruction nor death.

‘The Living Artwork Eternal That Breatheth Not.’

It’s the journey of life.

Art by Definition

‘Art is works of creative skill, intellect and/or phenomenal occurrence relative to the perception and/or imagination of creatures biological or otherwise.’

– Matt The Unfathomable Artist, Copyright © 1st December 2015.

By relativity I know there are still discoveries to be made from the papers of 1905 and 1921.  Scientific and worthwhile.

Mankind evolves, yes, by the very definition of the word itself.

Keep on climbing trees so as to see it.

This too is art from The Mind.

Banksy Is The Street Art Master.

‘Keep Off Our Worms’ (2014) – Banksy original spray paint artwork

In 2014 this original artwork, pictured above, appeared on a wall in Clacton-On-Sea, Essex, England one week prior to a UK Parliamentary by-election.

I see five grey looking pigeons and a bright-looking bird suspended upon a single ‘tight-rope’ perch.

What do you see?

 

‘Laugh Now, But One Day We’ll Be in Charge’ (2002) by Banksy – spray paint on canvas – 12in x 12in

I see a definitive quotation.  A statement referenced with a placard or a pinafore.

Is ‘Laugh Now, But One Day We’ll Be In Charge’, above, explaining animalistic human traits?  The fight for resources?  Or greed?

Should we imagine that brute force will gain authority over intellect?  Perhaps it touches upon equality, working conditions and slave labour?  How about the evolving cycle of Man vs Woman?  I’m not trying to provide a dominant argument here.

The beauty of a great artwork is personal opinion.  Provocation for thought and emotion.

The most recognisable street artist of our generation, Banksy, certainly makes international headlines time and again!  The exclamation felt quite natural to include.  ‘Read all about it, read all about it – Banksy has sprayed our walls and doors!’

People show strong appreciation when they know they are being loved.  Ideas challenged.  Behaviour scrutinised.

I personally chose the artwork images to display in this blog article.  Each original artwork has already been represented with worldwide coverage throughout the popular press.  Banksy creates street art that speaks influence and popularity.

 

‘This’ll Look Nice When It’s Framed’ by Banksy (2010, San Francisco, USA)

The above artwork – all photographs taken from the Banksy Website – appeared in the Mission District at Valencia and 20th Street, San Francisco, California, USA.

The artwork pensively references the historical viewpoint of ‘on-the-wall’ art pieces.

 

‘Mobile Lovers’ (2014) by Banksy

This depiction of a warm embrace, as pictured above, appeared on a doorway next to the Broad Plain Working With Young People club in April 2014.  It first sold for £403,000, which is a staggering price for any living artist to achieve.

With ‘Mobile Lovers’ Banksy is highlighting the disconcerting divide caused by our growing technological dependence offset against personable human interactions.  If unchecked this is a serious pandemic that is ‘sneaking up behind’ the human race in a multitude of ways.

It’s not difficult to observe people engrossed in their social media pages during get-togethers.  How can connecting be disconnecting at the same time?  What are the long-term effects?

Banksy uses his art and global appeal to help address this problem with a beautiful message.  Satirical and empathic, especially the choice of location – a youth centre.  A new technologically adept generation coming through.

Can modern relationships survive this technological minefield?

Much more than that, great artworks reverberate.  Their intrinsic value increases monetarily and intellectually from generation to generation.

Banksy is inspiring visionaries, a new stream of artists and The Public with his own carefully crafted style.  Challenging hard-line views with humour, stark remonstrations and perfectly executed art concepts.

Banksy is the ‘street art’ cool Andy Warhol of the people.

And we all know that there “Ain’t nobody cooler than that.” an artist said.

Pietro Annigoni Is Renaissance Man

If you love art then you really should enjoy getting to know the work of Pietro Annigoni.  Here is one of his wondrous self-portraits:

Self Portrait by Pietro Annigoni – 1946.
Oil on Canvas – 45 cm x 35.5 cm.

This article is discussing the “Realists’ Realist” – Pietro Annigoni.  Pietro was born 7th June 1910 in Milan and died 28th October 1988 in Florence, Italy – his beloved home and country of birth.

A master artist who could teach anyone how to paint the original bona fide Renaissance method of art making.

And yet, following Pietro’s teaching you would require personal talent, skill, creativity and an incredible working perseverance to please this giant of 20th century Italian painting.

Without question if Pietro Annigoni had lived through the 15th and 16th centuries alongside Michelangelo and Da Vinci they would have welcomed him with open arms as their artistic equal.

Quite simply Annigoni is their relative modern-day artistic exemplar.

To add value to this past Master simile we only need mention artists such as Ben F. Long IV and Zsuszi Roboz to his media acclaim.  The former artist worked as an apprentice for nearing eight years under Annigoni’s expert direction.  The latter artist, another apprentice of Annigoni, died July 2012 at 82 years of age.  Roboz’ work heavily influenced by her love of music, dancing and literary interests.

Ben Long’s (Ben F. Long IV) own family has artistic flair running through their veins.  In perceiving the influence of Annigoni please take a look at Long’s ‘Mussaba’ oil on linen and also his ‘Self Portrait in Black’ of 2012.  From these portraits you can appreciate just how intricately Ben F. Long IV had learned from his ‘old school’ master teacher.

Bona fide art begets bona fide art by influence.

Please trust me earnestly when I say that artists know exactly the things we are doing.. explaining multiple ideas, intrinsically inspiring, making personal commentaries through art reverent to our hearts.

We would all accept that Van Gogh possessed the most pleasingly mild of personalities.  Contrasted starkly against such meekness his artistic ambition was much like Annigoni, Long and Roboz with its all consuming fire.

Within Annigoni’s eyes there is comprehensible determination and knowing.  His preparation and manner shows the controlled movements of a perfectionist at work.  Proudly professional with hints at personal delight for his learned craft.

Artisan carpenters’ that craft expensive woods, master architects that seemingly bend heavy stones to their will..  Annigoni mixed his painting pigments the Renaissance way.  Egg tempera deliciously blended to create the finest ingredients befitting a master worker.

Our eyes become the palate.

Portrait of Benedetto Annigoni (1958), son of Pietro Annigoni.

Above we see the young Benedetto Annigoni who passed away December 2011, aged 72 years.  Astute and contemplative, expectant that his father was immensely serious about his work.  In celebration of this Benedetto is credited in the film of his father entitled ‘Annigoni: Portrait of an Artist’ (1995).

Portrait of Cinciarda (1945) by Pietro Annigoni.
Oil tempera on panel – 180 cm x 100 cm.

The best commentary to be made about Pietro Annigoni’s ‘Cinciarda’ portrait shown immediately above is by the painter himself.  By way of translation Pietro said:

"...that nearly every day he climbed the stairs to my studio, and after ringing the 
bell and stood there, waiting, in the same pose in which I portrait. We were 
immediately after the [war], and this character, so humanly tragic, hit me for the 
symbolic meanings that [he] could take on. He came out of the battered conflict and 
'Cinciarda', miserable, there on the edge of the stairs, seemed to express the 
uncertainty of our future. "

A master Artist will reach into your soul.  A master Artist invites you to ask pertinent questions about the human condition and life itself.  To move you with unrestrained artistic brevity.

To ask whether Pietro Annigoni accomplishes this is tantamount to asking whether an Italian Pope prays.

Annigoni understood much about the world around him with his keen intellect.  His truly honest portraits of John F Kennedy and a work entitled ‘La Strega’ demonstrate sheer excellence of perception.

Similarly Annigoni’s Princess Margaret and Queen Elizabeth II portraits (commissioned 1957 and 1954-55 respectively) provided glamour to the British monarchy during a burgeoning Hollywood era of media fervour.  Certainly in terms of the printing press and a growing televisual audience of international proportion.

I encourage you to look at all of these paintings by Pietro for their intellectually artistic qualities.

Pietro Annigoni Is Renaissance Man.. Personified.

[Images courtesy of the Museo Pietro Annigoni in Florence, Italy.]

‘Spirit Heal’ Chorus – First Verse

Find peace within ourselves. This is photographic composition #2 and verse 2 of my song 'Spirit Heal'.

A video posted by Matt (@duannishenmi) on Jan 12, 2016 at 2:42am PST

https://drive.google.com/open?id=0B_1g4lrULQoBSHhnWWFVRGNULXM

 

 

 

Atlas Dares to Move Jupiter and Hercules Fights a Lion

‘Hercules Fight With The Nemean Lion’ by Peter Paul Rubens

 

Mahmoud Said, That’s Who.

Untitled 1938 by Mahmoud Said, oil on board – 11.22 inches x 19.60 inches

Born in Alexandria, Egypt (1897-1964) the son of Muhammad Said Pasha who himself was a Prime Minister of Egypt, Mahmoud Said devoted his life to art.  Following on from his law school degree for his career as a judge, Mahmoud continued to perfect his art skills during the 1920’s.  Into his 50’s Mahmoud’s pursuit of creative painting enveloped his very being.

Absolutely unequivocally I would love to own a Mahmoud Said painting.

The untitled painting 1938, above, is a masterpiece.  All his works are masterpieces.  The pathway to winning is the completing of the craft.

“Would you love your child less that they babbled from their beginning to talk?  Or that they stumbled to walk?”  With effort and toil you grow seed.  Nurture.  Guide.  Protect.  Watch them grow.  Blossom fruits and ripen.

The white donkey painted above is repeated by Mahmoud in at least one other composition of his work.  An interesting choice.  Here it is side-profiled and central.  As gloriously painted in its own rare beauty as the regal women and the girl foremost in modesty portrayed.  A fine custom of the peoples.

Mahmoud uses canvas texture and brush work to make paintings come alive.

Every accomplished artist uses their skill in ways that Mahmoud magnificently displays.  I admit that what pleases me about my own work is how light dances throughout the day on my completed canvases.  I laugh to myself with glee whenever I see this effect occurring.  Mostly with landscapes and impressionist scenes.

Textures within Mahmoud’s paintings must be seen to be believed.  Here, we see with digital replication as best we can.  Where technological resolution advances are highly desirable. 

‘A Girl Sitting On The Floor’ (1950) by Mahmoud Said,
signed and dated ‘M.SAID 1950’ –
24 inches x 19¾ inches

With ‘A Girl Sitting On The Floor’ shown above I cannot help think of two-tone Van Gogh backgrounds and Rothko abstracts.  Really, to my mind, this is as interesting as the ‘Mona Lisa’ by Da Vinci for expression.

Perhaps the woman has found childbirth difficult?  Maybe she is tired or sad?  I think she has been working very hard.  Does this elude to her situation?  Please kindly inspect the handling of the yellow wall for its quality.  Goodness me, incredible.

‘Sunset On The Nile At Luxor’ (1945) by Mahmoud Said – oil on canvas, signed and dated ‘M. SAID 1945’ – 25 1/8 inches x 31 3/8 inches

Mahmoud Said – time and again – he incorporates stylistic genius in his compositions.  ‘Sunset On the Nile At Luxor’ is exceptional.  Flowing water, heavily laden boats, a majestic figure and hints at the sun’s light.

Today is art happiness to me having new acquaintance with this exhilarating artwork.  Albeit of digital construct.

Artistic commentaries have poured from my soul in this year of 2015.  I’ve shared my poems new and old, creative stories of fiction contrived, lyrics and sayings renewed alive.  Oil painting on canvas has been difficult for me this year.  A troublesome year for paint art to arrive into my spirit.

The energy required for good art painting is all consuming and almost exclusive within me.  Trying to articulate this the best way.  Sometimes energy ascends to many places as needed.  This takes concerted effort and thought.  Art is everywhere.

It’s the reason I’ve purposed this year for writings rather than painting.

Mahmoud Said’s all encompassing desire to create great art should be inspiring to all artists.  A treasure to behold generation after generation.

The world is often stormy and this year it has been exceeding so.  As I conclude this blog article I think I know the next painting that I shall post.  Hopefully without too much commentary.

Please continue your journey with me.