Hidden Treasure Art eMagazine is designed to promote and support artists in the UK and abroad. Through the Magazine, artists will be connected directly with potential buyers and more than 1500 British and another 500 European galleries.hiddentreasure Art eMagazine / Spring 2015 April How to Submit Images When Entering Online Art Competitions? A captain who adores the ocean An interview with Capt. Stjepko Mamic painterYou become better with age On the Cover Raymond QuennevilleAn Article by: Hilarie M. Sheets HT Art Magazine Publishing I April 2015
Georgia Szollosi Ellis - director and editorJurors:Georgia Szollosi Ellis Painter - director and editorMike P. Ellis - art collector and advisorZsolt Pinter - graphic designer and painterValeria Kovacs - co-editor and curator Cover: La Plage Raymond Quenneville oil on canvas 40 x 30 in 2014 Back: Niko by Kirsten Høst oil on canvas 57 x 74 cmHidden Treasure Art eMagazine / Spring 2015 Aprilis published by HT Art Magazine PublishingPromotion and Publication London, UKwww.ht-artmagazine.com [email protected] 2013-2015 by HT Art Magazine Publishing.All rights reserved. All artists featured in HiddenTreasure Art Magazine Yearbook 2015 retain thecopyright for each of their individual images. Allrights reserved. No part of this book may be repro-duced or translated in any form or by any means,electronic or mechanical, including photocopy-ing, recording or by any information storage andretrieval system without written permission from thecopyright owners.
The Arts Do Live...“...continuously, and they live literally by faith;their names and their shapes and their uses andtheir basic meanings survive unchanged in allthat matters through times of interruption, di-minishment, neglect; they outlive governmentsand creeds and the societies, even the verycivilization that produced them. They cannotbe destroyed altogether because they repre-sent the substance of faith and the only reality.They are what we find again when the ruins arecleared away.” - Katherine Anne PorterWith great pride and an even greater sense ofduty and responsibility we would like to pres-ent the first volume of the Hidden Treasure ArteMagazine / Spring 2015 April.Our mission is to connect and build a bridgebetween artists and art lovers by providing andpresenting a high quality source of visual artand design through our book, website, maga-zine and other publications. We are dedicatedto bringing happiness and recognition to theartists and joy, beauty and satisfaction to theart lovers let them be collectors, buyers, galler-ies, curators or others taking pleasure in art anddesign.We believe that Hidden Treasure Art eMaga-zine has much to offer both to the Artist and tothe Readers.Georgia Szollosi Ellisdirector, editor and curator
ArtistsDaniele..................................................16Danny Van der Elst...............................58David Sheldon......................................12Donnedieu De Vabres.........................46Francesco Sandrelli..............................32Gabi Domenig ................................ ....10Germán Guerra Gonzalez...................60GraehoundIgor Nelubovich....................................48Ivana Dollejs .................................... ......6Kirsten Høst....................................... ....14Lassere...................................................55Linda Rusco...........................................50MariaFerrara.........................................52Maysha S.................................................8Mike Decesare......................................72Moni Art.................................................38Pauline Silberman.................................24Portraits of Treasured Memories..........18R. Geoffrey Blackburn..........................30Raymond Quenneville.........................20Ryan Leitao...........................................66Wioletta Weselowski.............................68
Paintings DrawingsMixed Media
Ivana Dolejs She was born in 1961 in the Czech Republic. She lives and createsKings of the Bird Empire in Prague. Until thirty three yearsoil on canvas of age she was employed as a70 x 70 cm financial clerk. To paint she start-2010 ed when she was nearly thirty six years old. Together with her three years old daughter they created colour aquarelle abstracts, and at that time she experienced for the first time that strange, myste- rious force, which literally led her hand. Since then the painting became an unseparable part of her life, and the meaning of her life too. She works with her sub- conscious, intuition. With the use of imagination by music and of meditation she penetrates into the unconscious. contact: Ivana Dolejs [email protected] Eyes of the Truth oil on canvas 70 x 70 cm 20146 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
Snake’s Kissoil on canvas 90 x 100 cm 2012 Waterman oil on canvas 70 x 70 cm 2010 HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 7
Maysha S Lebensbeginn mixed media 70 x 70 cm 2014 Maysha S born as Maysha Franziska Sattelberg 1983 in Berlin, growing up in the Neth- erlands and Bremen, is an Art- ist and Illustrator, living and working now in Hamburg. She set her main focus on Acrylic painting in an abstract way. Surrealism elements can also be found in her paintings. The Colours Maysha S uses most- ly are very deep, strong and powerful. Wise mixed media 70 x 70 cm 20148 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
www.maysha-s.comcontact: Maysha Franziska Sattelberg [email protected] Germany Firedance mixed media 70 x 70 cm 2014 She get her Inspiration for painting by travelling through Europe and Africa. Maysha S had already sev- eral international Exhibitions. Most of them in the United States and south- ern Europe. Colour is life that is what she says and Maysha means life, with her Art she want to show the beauty of life! Dancer mixed media 70 x 70 cm 2014 HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 9
Gabi Domenig www.domenigartdesign.at contact: Gabi Domenig [email protected] Austria Flower Meadow Dreams Down at the Water Lily Pond acrylic on canvas 140 x 100 cm 2015 Born in Lienz, Austria. Gabi Domenig was attracted to fine arts in an early age. Her love for painting encouraged her to take classes in nude painting, color theory, drawing and compo- sition. Following her first exhibition in 1999, where she presented 20 large pastel paintings, she started to paint with acrylics on canvas. Gabi is pri- marily concerned with the representa- tion of man and women which shows through her artworks. She tries to cap- ture moments and to build up emo- tional tensions. The viewer should feel something of her passion when she paints. For her art should be life-affirm- ing and beautiful, touching and con- necting. Her characters send out var- ied emotions such as pride, pain, love, sadness, loneliness, joy and longing.10 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
The figures are mostly located in a particular environment cutout. The ex- pression of the eyes should animate the viewer to enter in a deeper com- munication with the figures in the pic- ture. Flowers, plants, animals, patterns and landscape sections are decora- tive parts, but are usually situated in the background. Because of her intensive color palette and the figurative painting she is attributed to the Neo-Expression- ism. You can find her images in private collections, in international art books, art magazines and online art galleries.Queen of FashionTime Out in theFlamingo Parkacrylic on canvas140 x 100 cm2015 Birthday Garden Party Waiting for the Clown acrylic on canvas 140 x 100 cm 2015Image on thebottom leftSunday Walkon the Golden Beachacrylic on canvas140 x 100 cm2015 HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 11
David Sheldon www.davidsheldon.co.za contact: David Sheldon Horwitz [email protected] Switzerland X-Static Process mixed media 90 x 90 cm 2013 Influenced by graphic art and textile de- sign, the motif depends on calculative de- tail, sometimes dealing with traditional Af- rican themes. The main medium is acrylic, applied in several layers ultimately achiev- ing a bold, lustrous finish. Other materials in- clude oils and metallic leaf. The colour pal- ette is predominantly monochromatic with a prevalence using blue hues. Heavy pat- terning connecting the background and foreground emphasise equal importance while the overlapping of designs suggest our human complexities and different personas. Chaplin acrylic, and metallic leaf 70 x 100 cm 201512 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
Non-conformist and constantly evolving, David’s work demon- strates a tendency to re-invent style and technique influenced by pop culture and current trends focussing primarily on abstract expressionism and pop art. The contrasting nature of these gen- res depicts both sides of his perso- na. His abstract is organic, often muted in tones, emulating move- ment and resonance. Dramatic and iridescent, yet calming and dimensional, the process is often unpredictable, inspired by aquat- ic themes, the earth and space. The fundamental focus relies on the study of the chemical reac- tion using water and oil based materials, including enamels, varnishes, inks, oils and industrial paints. In comparison, his genre of figurative pop art, often iconic in subject matter is methodical and precise, involving projection and stencilling incorporating strong linear and geometric shapes. African Woman acrylic and metallic leaf 20 x 50 cm 2014HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 13
Kirsten Høstwww.hoestart.comcontact: Kirsten Hø[email protected] Getting the Harvest Home oil on canvas 50 x 50 cm 2013As Oneoil on canvas40 x 50 cm2014 Kirsten Høst is a Danish artist, now liv- ing in Denmark, who has embarked on a new phase of her life and work, after spending 30 years in London, UK. This new phase emanates from a confident and sure belief and trust, that there is a plan for each one of us, if we allow our true gifts to unfold naturally. This trust has allowed her to find a new vision and a new voice working with oil painting and watercolour/ink/collages.14 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
Kirstens work is strongly influenced by The Secondgeometry, which she sees reflected in Snow Queenall aspects of our universe. This theme oil on canvaswas reinforced by her meticulous studyand admiration of the great renais- 60 x 80 cmsance painters in the museums in Italy, 2015where she has spent longer periods oftime, especially in Firenze, Perugia andVenezia. Kirsten`s work frequently startswith a geometric shape and with anopen mind, and inspiration develops alife and vibration of its own.Her work has been exhibited in London,Paris, Edinburg, Copenhagen, Philadel-phia, and New York in the U.S.A, andwill be in 2015 exhibited in Palermo andFirenze in Italy, Paris in France and inBarcelona in Spain.Two Womenoil on canvas100 x 86 cm2013 HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 15
Daniele Olive Trees in Chianti oil on canvas 50 x 60 cm 2005www.danieleatelier.itcontact: Daniele [email protected]: +39 5841921530ItalyDaniele Vannucci was born in Florence, where “breathes” the colors and forms ofthe beautiful city’s art. He lived a period in the Chianti countryside. The new enchant-ed destination take him by the hand and lead him through new paths, which givehim a clear impression of the pictorial expressions of that moment. Subsequently, hiswork leads him close to Rome, on the hills of Sabina, from which you can see Romeat a certain distance. The sea of olive trees from Fara in Sabina, that dominate theEternal City, the gentle hills that slope down towards the plain of the Tiber and the heart-breaking sunsets, so evidently, influence again his new works. He current- ly lives in Viareggio, where the city’s Carnival is able to give him a new artistic path where you can read the unique essence of life that flutters in Versilia. Sunset in Chianti oil on canvas 70 x 70 cm 201016 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
Already some effects are clearly visible in his works made in the early years of his stay in Riviera. His works are characterized by a careful study of the sub- ject, by careful observation of the relationship between light and shadow, enriched with intense colors and pic- torial traits not clearly de- fined, leaving the viewer the freedom to interpret the be- coming of the work. Carrara, Marble Quarry oil and acrylic on canvas 150 x 150 cm 2014 Rendezvousin via Veneto oil on canvas 60 x 50 cm 2014 HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 17
Portraits of Treasured Memories www.facebook.com/treasurethememories contact: Deborah Nicholas [email protected] United Kingdom Debbie Nicholas is a portrait artist based in Hampshire, U.K. She has always been a lov- er of art so about 6 years ago she decided to look into step by step books and teach herself how to draw realistically. She is most skilled at using graphite pencils but also uses colored pencils and pastels. Debbie strives to get a realistic portrait and works from pho- tos mainly. If you enjoy her artworks, feel free to pop over to her page and follow her at www.facebook.com/treasurethememories. It Wasn’t Me coloured pencils on Bristol Board Smooth paper A4 201418 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
Kyrie graphite pencils on Bristol Board Smooth paper A4 2012Bottom RightMarshmellowgraphite pencils onBristol Board Smooth paperA32015Bottom LeftShm All Mines Hidden Treasuregraphite pencils onBristol Board Smooth paperA42015 HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 19
Raymond Quenneville www.raymondquenneville.qc.ca contact: Raymond Quenneville [email protected] Canada Born in 1956 in Trois-Rivières, Quebec (Canada), Ray- mond Quenneville is a self-taught artist who has been painting for over 35 years. In 1992, after having explored a variety of media, he went back to oil painting, and decided to pursue his own unique style in expressing land- scape and light. By playing with complementary colours, Raymond Quenneville accentuates con- trasts and creates impressive luminous effects. In his landscape paintings, subtle val- ues variations almost make visible the fine consistency of the air itself and create an illusion of depth that is convincing to the eye. He likes to paint peaceful environ- ments, expressing serenity and equanimity of places where it is good to stop and just be for a moment. Raymond Quenneville has held many solo exhibitions and participated in numerous collective exhibitions and symposia. Winner of several awards he has received many special mentions from juries and the public. He is a member of the Institut des arts figuratifs (IAF), of the Society of Canadian Artists (SCA) and of the Mondial Art Aca- demia (MAA).20 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
Un Hiver Pas Comme Les Autresoil on canvas18 x 36 in2011 Sans Trop Réfléchir oil on canvas 30 x 40 in 2013On the LeftRetrouvaillesoil on canvas18 x 36 in2013 HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 21
Raymond Quenneville Les Blues I oil on canvas I 18 x 36 in I 201122 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
Good Newsfor those who wish to participate in Hidden Treasure Art Mag-azine Yearbook 2016. Artists can decide until the 30th of Oc-tober, 2015 if they like to be included in Hidden Treasure ArtMagazine Yearbook 2016.If you wish to participate in Hidden Treasure Art Magazine Year-book 2016, the same rules apply as for the Yearbook 2015 one.You can chose, whether you like to be part of our eMagazine(with two pages for 55.00 GBP) and later, if you decide to par-ticipate in the Yearbook 2016, you can be included withouthaving to be selected and you pay less, since the participa-tion fee for the eMagazine is part of the yearbook fees (TwoBooks with 1 page + Post&Packaging, Handling Fee and Bank-ing Transaction Fees)So, you will be part of the eMagazine with two full pages, theeBook (the electronic version of the Yearbook with one page)and the paperback format of Hidden Treasure Art MagazineYearbook 2016 (with one page) also you will receive a FreeMembership in our Online Art Gallery (with two artworks andlink to your website). HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 23
Pauline Silberman www.paulinesilbermanpaintings.com contact: Pauline L. Silberman [email protected] United States Armageddon Artifact: Spear charcoal on paper 24 x 30 in 1998 Pauline Silberman knew from a very young age that drawing and painting could not be sepa- rated from her life. She is a Faculty Emerita from the School of the Art Institute of Chicago where she taught almost 30 years in Continuing Studies and Special Programs. She presently belongs to the Women’s Caucus for Art, Chicago Society of Artists, Artist’s Breakfast Group, and a former Board Member of the Renaissance Society at the University of Chicago Pauline received her BA in English Literature at Wayne State University in Detroit, Michigan followed by an MAE at Concordia University in Lake Forest, Illinois in Interdisciplinary Arts. She is in private collections as well as Duke University Medical Center in Durham, NC and Co- lumbia College, Chicago, IL. Pauline and her husband, a professor at the University of Chicago have three adult children. Armageddon Artifact: Axehead charcoal on paper 24 x 30 in 199824 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
Megiddo Artifacts was inspired by Armageddon Artifact:a trip to the historical site in Israel Double Axeheadthat we call Armageddon. There I charcoal on papercontemplated relics in situ of long- 24 x 30 inago lives affected by war. The first 1998series, in oils, depicts vessel shards;the second, in charcoal and pas-tels, other fragments of antiquity:weapons, tools, and jewelry. Theartifacts embody our humannessas well as that of those who madethem and used them: despitethe passage of time, they remain,forming a bond between us andthose of the millennia past.ArmageddonArtifact:Jewelry Box Coverpastel on paper30 x 50 in2012 HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 25
You Become who have enjoyed gallery and muse-Better with Age um shows over the last year include Wayne Thiebaud (92) at Acquavella,At what age do people hit their stride Robert Irwin (84) at Pace, Anthonyprofessionally? Categorically speaking, Caro (89) at the Yale Center for Britishathletes, engineers, politicians, televi- Art, Malcolm Morley (81) at the Par-sion writers, salesmen, and actresses rish Art Museum, Yayoi Kusama (84) atall have varying norms and shelf lives, the Whitney Museum, Alex Katz (85) atsometimes affected by physical attrib- the Yale School of Art, John Baldessa-utes or societal expectations. Seeming- ri (81) at Marian Goodman, and Philiply immune to ageist perceptions and Pearlstein (turning 89 in May) at Bettytraditional notions of retirement are art- Cuningham. Thornton Dial (85) had aists. A historical look reveals that a strik- retrospective that traveled to severaling number have been highly produc- American museums, the San Franciscotive and turned out some of their best Museum of Modern Art mounted a sur-work late into old age, including Bell- vey of Jasper Johns (who turns 83 onini (who died at 86), Michelangelo (d. May 15), Betye Saar (86) filled a room89), Titian (d. between 86 and 103, de- of the National Academy Museumpending on your source), Ingres (d. 86), with her birdcage sculptures, and anMonet (d. 86), Matisse (d. 84), Picasso exhibition of Claes Oldenburg’s (84)(d. 91), O’Keeffe (d. 98), and Bourgeois work is currently on view at the Muse-(d. 98). um of Modern Art in New York.“All the case histories point in “Being an artist is a way of life”one direction - the extraordi-nary flowering of artistic genius says 82-year-old Faith Ringgold, whoin old age” has a solo show opening in June at the National Museum of Women in the ArtsThomas Dormandy wrote in his book in Washington, D.C. and just closedOld Masters: Great Artists in Old Age. one at ACA Galleries. “It’s not aboutWhile Dormandy rejected the attrac- ‘I’m going to major in this and get mytive idea of creativity as an antidote to degree, and then I’ll go to work, andphysical or mental decline - “it is con- then I’ll retire.’ It is something one hastradicted by the facts” - he explored a passion for, does, and then becomesthe powerful inner shifts in old age that - and can do it literally until they passpropelled many artists to new heights, away. It’s an old-age thing. You be-whether it’s Monet painting his “Water come better with age.” Ringgold isLilies” when he was almost blind after currently creating an online museumcataract surgery, or Matisse inventing of her work since 1948 that will providehis paper cutouts in his last years when games for people to create their ownconfined to his bed and a wheelchair. art - an entirely new venture for her.The numerous recent exhibitions ofactively working artists age 80 and up “I do think some young peo-would bear out this anecdotal corre- ple have the mistaken notion,lation between longevity and crea- especially today, that they’retive production. New “Old Masters” supposed to be successful right away”26 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
says Ringgold, adding that many wom- that you didn’t have in your earli-en artists don’t receive acclaim before er years,” Stuart says. “You’ve made60, especially women of color. “There’s more things, you’ve honed your craft,a great deal of racism and sexism in the you’ve experienced more books,art world. If you’re going to drop out you’ve experienced more criticism orearly, you’re going to miss the whole praise. You don’t need to worry aboutthing.” Cuban-born painter Carmen what people think. There’s that kind ofHerrera, for instance, spent decades freedom.”working unwaveringly on her hard-edge abstractions before selling her Joan Semmel, 80, feels relief in not hav-first canvas in 2004, at age 89, to the ing to hustle and put herself out therecollector Ella Fontanals-Cisneros. Since in the same way she did when she wasthen, Herrera, who turns 98 this month, younger. “In the work itself, you knowhas experienced a flurry of interest in who you are as an artist,” she says.her work and shows at Lisson Gallery. She’s gratified by the current interest in her work, with an exhibition of her“I admire long-term careers” self-portraits from the last decade up through June 9 at the Bronx Museumsays Duane Michals, 81, who just had a of the Arts and a show of her most re-show at DC Moore Gallery of 19th-cen- cent nudes juxtaposed with very ear-tury tintypes that he playfully embel- ly figurative paintings up through Maylished with various styles of modernist 25 at Alexander Gray in New York.painting. He had painted on photo- “You’re not struggling with finding yourgraphs during the 1980s but cycled voice and doubting everything you doback to it a couple years ago in an en- in quite the same way as when you’retirely new way. “Anyone can be the fla- younger. It’s all part of self-accept-vor of the month or the year,” he says. ance.”“I really admire people who evolve.What I’m doing now I wouldn’t have “Working becomes your ownimagined five years ago. I’d like to thinkthat five years from now I might be do- little Eden”ing something I can’t imagine now.” Thiebaud says, while acknowledg-“If you’ve lasted this long in the ing the challenge of overcoming thegame, you probably are mak- traps of what others think and say. “You make this little spot for yourself.ing a living” You don’t have to succeed. You don’t have to be famous. You don’t have tosays Michelle Stuart, who recently be obligated to anything except thatturned 80 and now proudly admits her development of the self.”age (she used to lie about it). In July,Stuart has a survey of paintings, sculp- Risk taking seems to be a common traitture, and photographic works from among these artists, not just in old age1968 to the present going on view at but throughout their lives. “Artists arethe Parrish Art Museum in Water Mill, like gamblers,” says Stuart. “Who elseNew York. She agrees with Ringgold would walk into life without a job, nothat experience counts. “Experience credit? You’ve got to have that littlecertainly gives you insights into things extra frisson of adventure.” HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 27
Morley has always eschewed working own naked body. “Early on, I was inter-in any one predictable style. Being an ested in a non-idealization of the body,artist is “a perpetual renewal, it’s always the body as one really experiences it,”for the first time,” says the artist, widely she says. “Age, then, was a natural partcredited with jump-starting bothpho- of the way I was working. I felt it wastorealism and Neo-Expressionism. “It’s important to focus on the changes inrather like my dog. When you throw the the way we look as a natural formationball, she runs for it as if she’s never run rather than something undesirable.”for it before, and it must be the millionthtime.” Over the last decade, Morley Semmel’s recent paintings, with layershas faced several health crises but has of shifting views of her face and body,rallied and come back, taking new di- are much more psychologically com-rections in his painting. “I seem to be plex than her earlier hard-edge can-a cat with nine lives,” he says, adding vases, which cropped out her face.that it’s impossible to know whether hisdevelopment would have been similar “These new paintings are real-if none of his mishaps had happened. ly concerned with the under- standing of the self in one’s totalFor Ellsworth Kelly, who turns 90 this humanity rather than in one’smonth, the connection between phys-ical and mental health has only be- sensuality”come stronger with age. “Recently, Ihave had some physical challenges she says.related to aging, though I accept it,and it has given me an added surge Other painters find the motivation tofor continuing to create new work,” he work every day in the legacy of paint-says. Kelly has two new sculptures in his ing itself. “I have to up the ante con-current exhibition at the Barnes Foun- tinuously,” says Morley. “I have a bigdation in Philadelphia. ambition to sit in the pantheon of the greats. Whether or not it occurs, of“Making art has always been a course, other people will have to de- cide.” Thiebaud feels sustained by hisnecessity” ongoing dialogue with the history of the medium. “It’s great to have the“I don’t know if being an artist is mak- community of that long tradition ofing me live longer,” says Semmel. “But painting, which, however small a partcertainly in terms of keeping me vital you have in it, is a comforting kind ofand interested and alive in the sense life,” he says. Currently, he’s workingof how I live my life, being an artist is on paintings of mountains, synthesiz-undoubtedly a very important part of ing memories and characteristics ofthat - even when I’m not well. Normally, various types of mountain formationsI work standing. If I can’t stand, I sit - but experienced in his youth. “I must say, II still work. That engagement is very im- don’t feel very successful,” he says.portant.” “I’m still trying to figure the damn thingsFor Semmel, aging has become a cen- out. This probably helps me to keep go-tral subject in the work itself. Since the ing - new problems, new sensibilities,1970s, she has painted pictures of her new challenges.”28 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
“Whatever you feel is undone, “When you’re 28, you feel likeyou should do” you’ve got infinite time in front of you, which you just don’tsays Stuart, a piece of advice she have when you’re my age”gives to artists and nonartists alike. Forher, it meant creating an entirely pho- says Stuart. “You become more cir-tographic body of work, a medium cumspect about how you spend it.”she had previously only used for doc- Semmel agrees that time is an impor-umentation. Her recent large-scale tant factor in why and how she worksgrids of images, surreal and cinemat- today. “You know that your time is lim-ic ruminations on natural phenomena ited, so you don’t want to waste yourand human frailty, were shown last fall time doing work you don’t feel is im-at Leslie Tonkonow in New York. “It’s portant.” That means she gives herselfthat book I always wanted to write, the permission to take occasional days offstorytelling aspect of my psyche that if she doesn’t have something she real-needed to come out,” she adds. All of ly wants to do.these artists have maintained consist-ent, disciplined studio schedules. On the Picture: Oscar Eduardo Perén Chunai“You’ve got to do just like themusicians do, you’ve got to painterpractice every day” “When I was younger, I had toRinggold says. “I plan to do that for the work every day because I mightrest of my life, practice every day.” The not be an artist if I didn’t. - sheluck of the gene pool as well as stay- says. - Now I’m pretty sure.”ing fit support the stamina and coor-dination required to remain at the top Article by: Hilarie M. Sheetsof one’s game. Morley says he treatshimself like an athlete in terms of theseriousness with which he approacheshis physical therapy. Thiebaud playstennis three to four times a week,which he finds akin to the athleticismof painting. “This mind-body constructis a very important thing to recognize,”he says. “The plumb line in the bodygives us a sense of things like grace orawkwardness or tension. In tennis, af-ter all, you’re playing on a kind of sur-face like Mondrian where the param-eters and limitations are as importantas the spontaneity and freedom of thebody.”The shift in one’s sense of time thatcomes with aging also impacts the stu-dio routine. HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 29
R. Geoffrey Blackburn www.rgeoffreyblackburn.com contact: R. Geoffrey Blackburn [email protected] United States Canyon Jewel oil on linen 50 x 38 in 1982 Born in 1947, R. Geoffrey Blackburn began his professional fine arts career in 1970. He has taught art and worked in various art-related fields his entire professional life. While in England, in the early 1970’s, he was the principle artist for an international magazine.30 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
Red Canyons oil on linen 24 x 30 in 1979Although he has studied art both privately and at the University of Utah, he is essential-ly self-taught. His first recognition as an artist came at the age of eight when his workwon first prize at the annual exhibit at the Old Mission at San Juan Capistrano, CA.During the last uranium boom of the 1970’s, Blackburn co-owned and operated a min-ing and exploration company, North American Resources Corp. working out of Moab,UT, which was how he came to focus on red rock landscapes.Blackburn’s art has been widely exhibited, collected and has hung in the White Houseand appeared on national television. In 1987, he invented a new, user-interactive artform for which he received a US Patent in 1990. His work is frequently commissioned bycollectors.Twilight on the Colorado oil on panel 14 x 24 in 2013Desert Rulesoil on panel9 x 15.5 in2008 HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 31
R. Geoffrey Blackburn Indian Summer oil on linen 28 x 36 in 2012Road to Sedonaoil on panel6 x 21.25 in2007HIDDEN TREASURE ART eMAGAZINE / Spring 2015
Red Canyon, Lander oil on linen 26 x 36 in 2004 HIDDEN TREASURE ART eMAGAZINE / Spring 2015
Francesco Sandrelliwww.francescosandrelli.itcontact: Francesco [email protected] Donna Antica oil on canvas 270 x160 cm 2012 Francesco Sandrelli is a self-taught artist Out of Time from Castiglion Fiorentino, Tuscany. He oil on canvas had art exhibitions in France, Canada, UK and the United States. Although he 270 x 160 had a keen interest in drawing since ear- 2012 ly childhood, he began to paint in the eighties, attending a private school in Florence. After four years spent in school, he felt exhausted and went to hospital for art therapy in painting. From 1994, he paints again. His works during this period reflect a ‘grande’ love for his family.32 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
For a while he paints large canvases, especially in remem- Narcosisbrance of childhood memories, sensations and dreams: his oil on canvasvirtual storytelling mixes fairy tales with inner visions, combin-ing imperfection with sharpness and abstraction with figu- 270 x 160rative. Sometimes feeling everything farce around, Franc- 2012esco is striving to find sense in turmoil through painting.Cring Out of Beautyoil on canvas280 x 1602011 HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 35
Graehound Durner’s Chandelier mixed media on Rives Black 44 x 30 in 2014www.graehound.comcontact: [email protected] E Douglas Street #31361701 Bloomington, ILUnited StatesT: + (1) 3098382982 Suspension mixed media on Bristol 6.25 x 9 in 201434 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
Graehound currently works predominantly inmixed media to create illustrative pieces thatpromote nuanced discussion between thebroader concepts of disability and identity. Shehas an affinity for detail and enjoys the medi-tative quality of both creating and observinglayered imagery. She holds a BFA in Studio Artfrom Northern Illinois University with an empha-sis in Drawing and is currently enrolled in the In-terdisciplinary Studio Art Masters programme atGoddard College. Seep mixed media on Bristol 10.75 x 6 in 2014 Lacquerice mixed media on Bristol 15.75 x 11 in 2015 HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 37
Graehound Inside Voice mixed media on Bristol 13.75 x 11 in 2015 Perpetually interested in discov- ering new formes of expression, Graehound has been includ- ed in national and international exhibitions and publications re- garding her work in several dif- ferent media, particularly draw- ing and beadwork. Sakura mixed media on Bristol 13.75 x 10.25 in 201538 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
Art Website - Do you have one?If you are an artist, you must proactively market your creationsto the world to become acknowledged and appreciated inthis highly competitive industry. While there are a number ofways to market your artistry and unique eye including partici-pating in art shows, exhibits and contests, there is nothing moreeffective than creating an art website to market your skills andexceptional artwork. While beauty is in the eye of the behold-er, you will give your visitors the visual samples that will affecttheir impression on you as both a person and an artist.While it is true that artists today have many choices as far asonline art marketing is concerned the importance of having apresence via means of a personal website for your art is morevalid today than ever. If you desire to sell art online it is crucialto have your own presence if you desire to reap the rewardof your efforts. Having your own artist website is a key factortoward success if you desire to sell original art online withouthaving to split profit from eCommerce with others. HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 39
Moni Art Deceleration acrylic on canvas Monika Leonhardt was born near Ber- 40 x 40 cm lin. After a long 2014 illness, she had reor- iented herself and placed painting in the focus of her life. In self-paced de- velopments she first painted with oil andwatercolour. 2012 then she swappedto acrylic and mixed media, as well asshe makes experiments with abstractpainting. Her motto is “Every day isunique” and it is important for you oncapturing certain moods.www.monika-leonhardt.decontact: Monika [email protected] Evening acrylic on canvas 40 x 40 cm 201540 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
In The Morning Gray acrylic on canvas 40 x 40 cm 2015 Wilderness acrylic on canvas 40 x 30 cm 2012 HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 41
How to submit images when entering online art competitions “In this series, we will explore the importance of submitting quality images of your artwork when entering online art competitions. In the first part of these series I mentioned that artists need to pay attention to lighting when taking pictures of their artwork. In this edition of the series, I will stress the fact that submitted images should focus on the artwork itself - anything more is a distraction... and distractions rarely win online art competitions. Remember that online art competition jurors want to view an image of your art! Make sure that the image you submit is of the artwork - just the artwork. It should go without saying that an art competition submission should be of the artwork itself... nothing less, nothing more. Unfortunately, many artists fail to do this. I’ve worked with enough online art competition jurors to know that a ‘cluttered’ im- age stands little to no chance of being selected. Below I will offer some examples of what I mean by ‘cluttered’ images. Frames can distract from the strength of your submitted images It is not uncommon to find online art competition image submissions that include the frame around the artwork. The frame, in this context, takes away from the power of the artwork – it ‘clutters’ the image. The juror(s) must decide if the frame is considered part of the artwork itself. After all, most online art competitions re- quest an image of the artwork... NOT an image of framed artwork. Pointblank, including a frame in the image can cause confusion. Additionally, any designer can tell you that a bad framing choice can ‘take away’ from an otherwise strong work of art. The same can be said of images of framed artwork that you submit to an online art competition. You won’t benefit from the added distraction. Remember to crop the image if you must take an image of a framed work of art. Jurors want to see your artwork... NOT a studio view of your artwork: Another common problem with online art com- petition image submissions is the fact that some artists choose to take an image of their artwork on an easel or propped against a studio table. I have viewed online art competition image submissions that were ‘cluttered’ by coffee a mugs and42 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
packs of cigarettes placed in front of the artwork! Needless to say, a coffee mug(or any item for that matter) placed in front of the artwork is a HUGE distraction.Online art competition jurors don’t want to see your art studio clutter... they wantto view your art.Jurors don’t want to see youOver the years I have viewed hundreds of online art competition image submis-sions that involve the artist standing by his or her artwork, images that include thefingers and thumbs of someone holding the artwork up, and images that revealthe shadow of the person taking the photograph. These images - no matter howgreat the artwork is - always end up at the bottom of the pile. There is no reasonto be in the image unless the competition specifically requests that. As for finger,thumbs and shadows - there is no excuse for those additions. Period.In closing, online art competition jurors - even if the artwork itself is outstanding -will likely not select images that are cluttered by frames, art studio objects / items,or body parts. After all, they have to think of the professionalism of the competi-tion... and ‘cluttered’ images are simply not professional. Can you imagine howangry the other artists would be if an image of a painting blocked by a coffeemug ended up selected as Best of Show? Think about that when taking images ofyour artwork with online art competitions in mind. Focus on the art.” David Sheldon Mandela acrylic on canvas 100 x 100 cm 2013 HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 41
Capt. Stjepko Mamic Interview Capt. Stjepko Mamic, both a painter and sea captain was born in 1958 in Dubrovnik, Croatia. His paintings are unique, bursting with color creat- ed with powerful strokes of the palette knife, full of light and positive en- ergy. He implements an array of media: oil, acrylic,combining them with glowing effects and golden leaves. He has perfected the techniques of contemporary painting at the Academy D’Arte Florence, Italy and Academy du Port Royal in Paris Stjepko is a member of The Croatian Association of Artists-Dubrovnik and ArtNation International Association. Triptych Sails acrylics over golden leaves on linen canvas 80 x 60 cm each 2014 St.Peters Sails acrylics on linen canvas 82 x 65 cm 201442 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
How and when did you start creating art?I remember, when I was only four years oldI painted with white chalk on the walls, andthat love and passion for arts holds me tilltoday and hope that will never disappear.What media and genres do you work in?I like to paint ocean, underwater, fishes, boats,sails and marine landscapes. Positive energy and strong coloursare the basis of my paintings. All my paintings have a very positiveimpact on the observer, some said that after looking into my paint-ings for only 10 minutes they felt relaxed, like somehow their bodiesbeen recharged and refreshed. I use oil paints, acrylic paints, goldand silver flakes and leaves, various pigments and paints for glasson canvas. I prefer to work with a palette knives. I like to explorenew techniques and abilities in painting.Who or what are your influences?I constantly improves techniques of contemporary art at the Acca-demia d’Arte in Florence and Academie de Port-Royal in Paris,butI do not belong to any artistic direction, any school, any group, Ipaint for pleasure, for spiritual needs.What are you working on currently?Now I’m working on a new series of paintings, colors of lights, whichwill be very interesting My goals are to continue to create imagesthat ordinary people will like, and to work on large/huge formatsWhere can people view/purchase your work?My paintings can be seen in my studio at Dubrovnik, at ArtitudeGallery / Paris, RO Gallery / New York (and I am looking for thegood gallerist in London :-) and on many Web sites, just Google myname. HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 45
www.artbystjepko.com www.raguza.net contact: Capt. Stjepko Mamic [email protected] Croatia Upcoming exhibitions, shows, publications? Next exhibition will be in London 03/05/2015 at the Royal Opera Arcade Gal- lery, Pall Mall, than Brussels, Paris, New York, Sao Paolo .. next publication, Hidden- Treasure Art eMagazine / Summer 2015.44 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
He has exhibited extensively in individually and with groups around theglobe, Paris, London, Oxford, Berlin, Sao Paolo, New York, Zurich, Basel,Shanghai, Rome, Palermo, Florence, Berlin, Catania e.t.c. His works arein the holdings of numerous galleries and private collections worldwide.He is awarded artist, for his work he received some of the most prestig-ious award, like: “The best Artist in the world for the stylistic value “ (EiffelTower, Paris), the first Audience award at European exhibition in Den-mark, “Pour le talent artistique” (European Biennial Paris), Raffaello San-zio Award (Lecce, Italy), Botticelli Award (Florence, Italy) e.t.c. In 2015he become Ambassador of culture in the world, for human right.Rush Hours - Detailtriptych, acrylics on linen canvas100 x 240 cm2015 HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 47
Donnedieu de Vabres www.lauredonnedieu.com contact: Donnedieu de Vabres [email protected] France Laure Donnedieu has discovered the bullfighting envi- ronment 30 years ago and is interested in it in different ways. After a first training in various painting workshops, she were specialized in the bullfighting painting under dif- ferent formats: traditional bullfighting, horse bullfighting, bulls at land at the beginning in a very figurative way. Then, step by step, she has moved to a more abstractive technique emphasizing on the moves and lights very typi- cal from the bullfighting culture. For the last 4 years, Laure has enlarged her scope of practice and is now painting cities like Paris or New York by using knife and acrylic tech- niques. She is also interest in street art. From High Line acrylic & knife 31,5 x 31,5 cm 2014 Cinco Dias 2 collages, acrylic and ink on canvas 12 x 36 in 201146 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
Bleu Marine acrylic & knife 31,5 x 31,5 cm 2014 Feu d’Artifice 2 acrylic & knife 31,5 x 31,5 cm 2015HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 49
Igor nelubovich H 401 acrylic on canvas 145 x 95 cm 2014 www.igornelubovich.com contact: Igor Nelubovich [email protected] Russia I have always been interested in art, spending hours drawing since early childhood. I went to Art College, but soon realized that the most important thing for me was to be able to develop my individual style, not focus on learning the specific things taught there. I work in oil or acrylic on canvas, and am inspired by the world around me. I create landscapes which sometimes verge on abstraction. I am continually searching for perfection, not worrying about particular subjects but rather on com- posing something that is ‘right’ in an inexplicable sense. SPB 02 acrylic and oil on canvas 70 x 112 cm 201350 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015
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