Hyacinthe Kuller Baron Paintings

"Red Hooded Asparas"
Asparas are the essence of the female.
Hyacinthe Baron in this painting captures
the longing, the hope,
the expectation
and the "Beauty of the Female Spirit.

Acrylic, Oil on canvass
Metallic gold and silver

Cadmium red and Alizaron Crimson
3'x4'

Hyacinthe Kuller Baron Paintings

Three Women With Flowers
The good and the evil...
The three aspects of the female Captured in this painting by Hyacinthe Baron
in a symbiotic relationship.
Oil and Acrylic on canvas
Metallic gold and silver
3'x4'

Hyacinthe Kuller Baron Paintings

"Cassandra...Aspara Aspect"

There are four aspects of the Aspara. In this recent painting Hyacinthe Baron imparts the beauty of Cassandra. The Aspara aspect inspires the soul of the lover and the poet.
Oil on canvas
3'x4'
Mixed media, metallics
Marble Dust

SOME WATER COLOR WORKS

Ingrid Simons Works

Cynthia Dempsey

Its called"EARLY RISER"



Its called" HIDDEN RETREAT"



Its called "A PEACEFUL TIME"

Light on the Familiar: The Paintings of Scott Prior

The University Gallery of University of Massachusetts Amherst is honored to host Light on the Familiar: The Paintings of Scott Prior from January 29 through March 17, 2000. The exhibition is a retrospective selection of 45 of Prior's paintings completed between 1971 and 1999 and includes examples of his early surreal paintings and more recent paintings of the people, interiors, places and objects that are most familiar to him. Light on the Familiar was organized by the DeCordova Museum and Sculpture Park in Lincoln, Massachusetts where it was on view last fall. An opening reception for the exhibition's showing at the University Gallery will be held on Friday, January 28th from 5 to 7 p.m. and the artist will be present. Scott Prior will give a slide lecture about his work on Wednesday, February 9 at 7:30 p.m. in the University Gallery. (right: Barbeque in Winter, 1998, oil on linen, 28 x 22 inches, Collection of Leslie and Stephen Shatz)
Light on the Familiar is the first major exhibition of Prior's work to be presented in the Pioneer Valley, his home since 1967 when he came to Amherst to attend the University of Massachusetts. Prior is a 1971 graduate of the University's department of art from which he received a B.F.A in printmaking. After college he settled in the area and taught himself to paint, finding a supportive artistic community among the so-called "Valley Realists": Randall Deihl, Robin Freedenfeld, Gregory Gillespie, the late Frances Cohen Gillespie and Jane Lund. As the exhibition's curator Rachel Rosenfield Lafo suggests in her catalogue essay, the realist style has found great acceptance in the Valley, perhaps because the area is largely populated by writers, academics, small presses, book artists and illustrators who are naturally receptive to literary art. (left: Sand Box and Hollyhocks, 1980, oil on canvas, 54 x 42 inches, Collection of Robert and Esta Epstein)
Prior's early surreal paintings combine realistically painted passages with odd and often humorous objects. The real and invented images are rendered in minute detail, and show Prior's absorption of the techniques and style of Renaissance painting which he combines with contemporary subject matter. After 1980 Prior's interests turned to depicting natural phenomena - light as it bathes or illuminates places and things, time of day, and the change of seasons. Prior has said about his landscapes and still lifes painted in the 1980s and 1990s that he has been "...particularly interested in depicting solitude and light. Solitude because it can be illuminating. And light because it is like God's voice, the way it touches and plays over all things." Prior works from both photographs and life. After his marriage to Nanette Vonnegut in 1981 he began to incorporate portraits of real rather than invented people into his work. His family and their domestic surroundings have inspired a body of work that includes the interiors, still lifes and landscapes of his daily life. Prior captures the sense of intimacy and tranquility that exists in the space of the everyday lives of the people he loves.
The University Gallery, located on the lower level of the Fine Arts Center, is open to the public from Tuesday through Friday, 11 a.m. to 4:30 p.m., and Saturday and Sunday from 2 to 5 p.m. The Gallery is also open during evening performances held in the Concert Hall of the Fine Arts Center.

Giffin Art work

A few weeks ago we had our first snowfall of the season and it was absolutely beautiful. The way the landscape changed overnight was very dramatic. I latched onto my camera and went out to explore the area around the house. I had been attracted at once from the window of my studio to the snow on the bank on the other side of the river. I immediately went down and as the light began to permeate the cloud cover a soft yellow light began to shine through the alders on the opposite side of the river and wash across the water surface. I loved the interplay of reflection of the alders and the warming sunlight. It appeared as an impressionist painting. I shot a series of photos and immediately came up to my studio to address this image with it fresh in my mind’s eye. I had luckily stretched a canvas only a day or two earlier. The dimensions are 28″ x 42″ (seems to be a popular size for me as of late). I began painting with my eye set upon the still fresh image in my head and this painting fell from my brush.
Recently I was in Toronto removing my paintings from an exhibit that had been on of my work for a few weeks. While I was there I spoke with the artist that was setting up the next show. He commented to me that my paintings “looked as though I had breathed the paint onto the surface of the canvas.” I felt that was an appropriate statement because at times it feels that way when I am painting. It is a pleasure to do and a pleasure to share with you.

Christopher Terry: Recent Paintings

Terry Rodgers.... The Apotheosis Of Pleasure

Terry Rodgers is a realist known for his contemporary character studies. While his earlier paintings often contemplated personal and family relationships in brightly lit outdoor settings wrought with pale, intense, high-keyed colors, his recent paintings conjure up aVague Inferencesvision of the private nightlife of America’s privileged youth.

Van Gogh's Cypress and Wheatfield

In 1888, when city life and living with his brother proved too much, Van Gogh left Paris and went to Arles, Bouches-du-Rhône, France. He was impressed with the local landscape and hoped to found an art colony. He decorated a "yellow house" and created a celebrated series of yellow sunflower paintings for this purpose. Only Paul Gauguin, whose simplified colour schemes and forms (known as synthetism) attracted van Gogh, followed his invitation. The admiration was mutual, and Gauguin painted van Gogh painting sunflowers. However their encounter ended in a quarrel. Van Gogh suffered a mental breakdown and cut off part of his left ear, which he gave to a startled prostitute friend. Gauguin left in December 1888.
One of Vincent's famous paintings, the Bedroom in Arles of 1888, uses bright yellow and unusual perspective effects in depicting the interior of his bedroom. The boldly vanishing lines are sometimes attributed to his changing mental condition. The only painting he sold during his lifetime, The Red Vineyard, was created in 1888. It is now on display in the Pushkin Museum in Moscow, Russia.
Van Gogh now exchanged painting dots for small stripes. He suffered from depression, and in 1889 on his own request Van Gogh was admitted to the psychiatric center at Monastery Saint-Paul de Mausole in Saint Remy de Provence, Bouches-du-Rhône, France. During his stay here the clinic and its garden became his main subject. Pencil strokes changed again, now into swirls.
In May 1890 Vincent left the clinic and went to the physician Paul Gachet, in Auvers-sur-Oise near Paris, where he was closer to his brother Theo, who had recently married. Gachet had been recommended to him by Pissarro; he had treated several artists before. Here van Gogh created his only etching: a portrait of the melancholic doctor Gachet. His depression aggravated, and on July 27 of the same year, at the age of 37, after a fit of painting activity, van Gogh shot himself in the chest. He died two days later, with Theo at his side, who reported his last words as "La tristesse durera toujours" (French: "The sadness will last forever"). He was buried at the cemetery of Auvers-sur-Oise; Theo, unable to come to terms with his brother's death, died 6 months later and, at his wife's request, was buried next to Vincent.
It would not take long before Vincent's fame grew higher and higher. Large exhibitions were organized soon: Paris 1901, Amsterdam 1905, Cologne 1912, New York 1913 and Berlin 1914.
Van Gogh's life forms the basis for Irving Stone's biographical novel Lust for Life.
Notable Works
•(1885) The Potato Eaters
•(1888) Bedroom in Arles
•(1888) Cafe Terrace at Night
•(1888) The Red Vineyard
•(1889) The Starry Night
•(1889) Irises
•(1889) Still Life: Vase with Twelve Sunflowers
•(1889) Portrait de l'artiste sans barbe
•(1890) Portrait of Doctor Gachet

vincent van goghs painting

Painting Title: Cafe Terrace at Night 1888
Oil on Canvas, 81 x 65.5cm - 31 x 26 Inches (approx)
Vincent van Gogh
Famous Dutch artist - Post Impressionist painter

About the Cafe Terrace at Night Painting
Vincent van Gogh painted several night scenes and became fascinated with depicting the stars (most famously with his Starry Night paintings) and the light effects of the night. Van Gogh has achieved an effect of luminosity with the use of contrasting colors and tones. The darks compliment the lights, the blues intensify the oranges, and the purples bring out the yellows.

Van Gogh wrote about the Cafe Terrace at Night painting in a letter to his sister, saying "Here you have a night painting without black, with nothing but beautiful blue and violet and green and in this surrounding the illuminated area colors itself sulfur pale yellow and citron green. It amuses me enormously to paint the night right on the spot. Normally, one draws and paints the painting during the daytime after the sketch. But I like to paint the thing immediately.
It is true that in the darkness I can take a blue for a green, a blue lilac for a pink lilac, since it is hard to distinguish the quality of the tone. But it is the only way to get away from our conventional night with poor pale whitish light, while even a simple candle already provides us with the richest of yellows and oranges."

The cafe still exists today and is a popular destination for those following the footsteps of Vincent van Gogh.