byAlison Lambert AELIA 2014 monotypia /monotype Dimensions: Plate: 19.5 x 15 cm | 7 ½ x 5¾
“Alison Lambert (b. 1957 Kingston, UK) studied BA Fine Art Lanchester Polytechnic, Coventry (1981-84). Selected solo exhibitions include:Nicholas Metivier gallery, Toronto (2012/2010); Jill George Gallery, London (2008/05/02/99/97);Long & Ryle, London (1995/92/89). Selected group exhibitions:‘The Art of Drawing British Masters and methods since 1600, V&A Museum, London; Galerie Ulrike Behrends, Germany (2006); RA Summer Exhibition, London (2004); Discerning Eye, Mall Galleries, (1998/97/90). Public Collections: The British Museum; V&A Purchase Prize, Discerning Eye (2009); Coopers and Lybrand Deloitte, Birmingham Corporate Collection; Bank of America, Jersey. She lives and works in Coventry, UK. Nationality: British. She is represented by the Jill George Gallery, London; the Nicholas Metivier Gallery, Toronto; and Pratt Contemporary Art, Kent.
Her work is figurative and consists of large charcoal drawings, monotypes and colograph/etchings. "The monotype process suits my way of working as it is the ‘painterly’ version of what I do with charcoal on paper. The accidental elements, which are also present in my drawing process, can be both intriguing and frustrating. The small size of the monotype plates provides an intensity that isn’t available with my large scale drawings.”
byJess Bugler from the series Syria Aleppo 2013 reduction linocut /linoleikkaus 32 x 42 cm
“Jess Bugler (b. 1971, London, England) studying BA Fine Art at Bangor University, Wales.Selected group exhibitions include: FRESHLY PRESSED, The Printmakers Council, London, England (2014); Royal Cambrian Academy Open, Conwy, Wales (2014); Bangor Art Gallery Open, Bangor, Wales (2014); Galeri Open, Caernarfon, Wales (2013); Awards and commissions include:Winner of the People’s Choice award in FRESHLY PRESSED (2014); Highly commended in Royal Cambrian Academy Open (2014). She lives and works in Conwy, Wales. Nationality British.
My linocut prints are produced using the reduction method in very limited editions. They are intentionally intricate prints that aim to reveal the intensity and density of their subjects. My current work is based on the war in Syria. In my prints of “ALEPPO” and “HOMS” I want to convey the darkness and chaos of war, where the structures of the urban landscape are distorted by bombing and emptied of people. The destructive reality. In the modern world of 24 hour news, images of Syria flick past our eyes and may briefly rattle our consciences. However I hope it is when we stop and contemplate work in the space of an Art gallery that we can start to comprehend the brutality of what is occurring on a deeper level.
Circle of the Master of the Female Half Lengths, The Magdalen, Half-Length, at a Table in a Black Dress and an Embroidered Collar, Reading a Book and Holding a Gilt Cup. Oil on oak panel, 68.4 x 54.5 cm. Private Collection
Pierre-Auguste Renoir, who was born on this day in 1841, was a leading figure in the Impressionist movement. With its daubs of paint and bright colors, “The Grands Boulevards” is a classic example of the style. In this painting, the hustle and bustle of life in Paris is transmitted through Renoir’s visible paint strokes, allowing the viewer to perceive the scene as though it is passing by. See this painting in our European art galleries.
Aphrodite, Persephone, and Adonis relief 400-375 BCE. The J. Paul Getty Museum. Images from mharrsch on flickr and Getty Museum.
“This pair of terracotta altars depicts the death of Adonis, a God of vegetation, and the rituals that were celebrated in his honor. On the altar on the right, Adonis, looking weak, sits supported in the arms of his lover Aphrodite, the Goddess of love. Adonis was born of an incestuous love between the Assyrian king Theias and his daughter Myrrha; Aphrodite was smitten by the infant Adonis’s great beauty and hid him in a box (cista), which she entrusted to Persephone. When Persephone opened the box, she too fell in love with the beautiful infant and decided not to give him back to Aphrodite. Zeus interceded in the quarrel between the two Goddesses and ordered that Adonis should spend a third of the year with Aphrodite, a third with Persephone, and the last third wherever he liked— Adonis chose to devote that time to Aphrodite as well. The woman at bottom right, sitting on the box, is likely to be Persephone. On the left altar, three women rush to the scene, carrying musical instruments: a tympanum, or drum, and a xylophone.
Small terracotta altars such as these would have been used for private worship, perhaps to burn incense. This pair still bears traces of burning on its upper surfaces, as well as pigment used for decorating the relief figures. Stylistic features of the figures and their drapery, as well as the type of clay that was used, suggest that the altars were made in Medma, in Southern Italy.”
