Creativity is an act of defiance. — Twyla Tharp
Creativity is an act of defiance.
“There is no comment on pictures but pictures, on music but music, on poems but poetry. If you do, you do. If you don’t, you don’t. And that’s all there is to that.” - William Carlos Williams
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ART HISTORY SERIES NUDE IN TUB (AFTER BONNARD) by Bob Kessel
ART HISTORY SERIES ABSINTHE (AFTER PICASSO) by Bob Kessel
ART HISTORY SERIES ZWEI NACKTES (AFTER KIRCHNER) by Bob Kessel
ART HISTORY SERIES 4 BATHERS (AFTER CEZANNE) by Bob Kessel
ART HISTORY SERIES GOLDFISH (AFTER MATISSE) by Bob Kessel
ART HISTORY SERIES I HAVE NO MOUTH BUT I MUST SCREAM (AFTER MUNCH) by Bob Kessel
ART HISTORY SERIES HUG (AFTER KLIMT) by Bob Kessel
ART HISTORY SERIES GIRL WITH TOWEL (AFTER DEGAS) by Bob Kessel
ART HISTORY SERIES ARISTIDE (AFTER LAUTREC) by Bob Kessel
ART HISTORY SERIES STE MARIES (AFTER VAN GOGH) by Bob Kessel
ART HISTORY SERIES HAYSTACKS IN A FIELD (AFTER MONET) by Bob Kessel
ART HISTORY SERIES WRESTLERS (AFTER MICHELANGELO) by Bob Kessel
ART HISTORY SERIES PEARL EARRING (AFTER VERMEER) by Bob Kessel
ART HISTORY SERIES TEMPTATION (AFTER GOLTZIUS) by Bob Kessel
ART HISTORY SERIES VENUS AND ADONIS (AFTER TITIAN) by Bob Kessel
ART HISTORY SERIES NARCISSUS (AFTER CARRAVAGGIO) by Bob Kessel
ART HISTORY SERIES YOUNG MAN (AFTER REMBRANDT) by Bob Kessel
ART HISTORY SERIES SOWER (AFTER MILLET) by Bob Kessel
ART HISTORY SERIES LLUVIA DE TOROS (AFTER GOYA) by Bob Kessel
ART HISTORY SERIES RED DRESS (AFTER GAUGUIN) by Bob Kessel
ART HISTORY SERIES CITY DANCE (AFTER RENOIR) by Bob Kessel
ART HISTORY SERIES UTA NO ONA (AFTER UTAMARO) by Bob Kessel
ART HISTORY SERIES TSUMAGO (AFTER HIROSHIGE) by Bob Kessel
ART HISTORY SERIES DEATH OF MARAT (AFTER DAVID) by Bob Kessel
ART HISTORY SERIES BIG RED ASS (AFTER CHAGALL) by Bob Kessel
ART HISTORY SERIES BOOGIE WOOGIE (AFTER MONDRIAN) by Bob Kessel
ART HISTORY SERIES COMPOSITION IN GRAY AND BLACK (AFTER WHISTLER) by Bob Kessel
ART HISTORY SERIES ROY’S GIRL (AFTER LICHTENSTEIN) by Bob Kessel
ART HISTORY SERIES TOM GIRL (AFTER WESSELMANN) by Bob Kessel
ART HISTORY SERIES MEL’S GIRL (AFTER RAMOS) by Bob Kessel
Michelangelo’s birthday is March 6. To celebrate this great artist, Bob Kessel has created a series of limited edition fine art prints based on Michelangelo’s art.
Michelangelo di Lodovico Buonarroti Simoni was born on 6, March 1475, commonly known as Michelangelo, was an Italian Renaissance sculptor, painter, architect, poet, and engineer who exerted an unparalleled influence on the development of Western art.
Michelangelo was considered the greatest living artist in his lifetime, and ever since then he has been held to be one of the greatest artists of all time. His output in every field during his long life was prodigious; when the sheer volume of correspondence, sketches, and reminiscences that survive is also taken into account, he is the best-documented artist of the 16th century. Two of his best-known works, the Pietà and David, were sculpted before he turned thirty. Despite his low opinion of painting, Michelangelo also created two of the most influential works in fresco in the history of Western art: the scenes from Genesis on the ceiling and The Last Judgment on the altar wall of the Sistine Chapel in Rome. As an architect, Michelangelo pioneered the Mannerist style at the Laurentian Library. At 74 he succeeded Antonio da Sangallo the Younger as the architect of St. Peter’s Basilica. Michelangelo transformed the plan, the western end being finished to Michelangelo’s design, the dome being completed after his death on 18, February 1564.
MICHELANGELO PIETA by Bob Kessel
TORSO by Bob Kessel
MICHELANGELO IGNUDI by Bob Kessel
MICHELANGELO IGNUDI BACK by Bob Kessel
MICHELANGELO DELPHIC by Bob Kessel
MICHELANGELO SNAKE by Bob Kessel
MICHELANGELO WRESTLERS by Bob Kessel
Pierre-Auguste Renoir by Bob Kessel
See more ARTISTS ON ART quotes here
Pierre-Auguste Renoir was born February 25, 1841 in Limoges, Haute-Vienne, France.
Renoir’s paintings are notable for their vibrant light and saturated color, most often focusing on people in intimate and candid compositions. The female nude was one of his primary subjects. In characteristic Impressionist style, Renoir suggested the details of a scene through freely brushed touches of color, so that his figures softly fuse with one another and their surroundings.
In the late 1860s, through the practice of painting light and water en plein air (in the open air), he and his friend Claude Monet discovered that the color of shadows is not brown or black, but the reflected color of the objects surrounding them, an effect today known as diffuse reflection. Several pairs of paintings exist in which Renoir and Monet, working side-by-side, depicted the same scenes (La Grenouillère, 1869).
In 1890, he married Aline Victorine Charigot, who, along with a number of the artist’s friends, had already served as a model for Le Déjeuner des canotiers (Luncheon of the Boating Party, 1881), and with whom he already had a child, Pierre, in 1885. After his marriage, Renoir painted many scenes of his wife and daily family life, including their children and their nurse, Aline’s cousin Gabrielle Renard. The Renoirs had three sons, one of whom, Jean, became a filmmaker of note and another, Pierre, became a stage and film actor. He died December 3, 1919 at the age of 78.
A prolific artist, he made several thousand paintings. The warm sensuality of Renoir’s style made his paintings some of the most well-known and frequently-reproduced works in the history of art.
WINSLOW HOMER QUOTE by Bob Kessel
Winslow Homer was born February 24, 1836. He was an American landscape painter and printmaker, best known for his marine subjects. He is considered one of the foremost painters in 19th century America and a preeminent figure in American art.
Largely self-taught, Homer began his career working as a commercial illustrator. He subsequently took up oil painting and produced major studio works characterized by the weight and density he exploited from the medium. He also worked extensively in watercolor, creating a fluid and prolific oeuvre, primarily chronicling his working vacations.
Homer’s career as an illustrator lasted nearly twenty years. He contributed to magazines such as Ballou’s Pictorial and Harper’s Weekly, at a time when the market for illustrations was growing rapidly, and when fads and fashions were changing quickly. His early works, mostly commercial engravings of urban and country social scenes, are characterized by clean outlines, simplified forms, dramatic contrast of light and dark, and lively figure groupings — qualities that remained important throughout his career. His quick success was mostly due to this strong understanding of graphic design and also to the adaptability of his designs to wood engraving.
Homer died in 1910 at the age of 74 in his Prout’s Neck studio and was interred in the Mount Auburn Cemetery in Cambridge, Massachusetts. His painting, Shooting the Rapids, Saguenay River, remains unfinished.
PROUT’S NECK by Bob Kessel after Winslow Homer
PROUT’S NECK by Winslow Homer
TAHITIANS APRES GAUGUIN by Bob Kessel
VAN GOGH BY GAUGUIN by Bob Kessel
ET L’OR DE LEUR CORPS by Bob Kessel after Gauguin
“I close my eyes so I can see.” - Paul Gauguin
Bob Kessel has created an art series based on Paul Gauguin. The “GAUGUIN” series can be purchased as signed and numbered limited edition fine art prints and originals. Contact Bob Kessel for prices and availability.
Eugène Henri Paul Gauguin, born June 7, 1848 was a leading Post-Impressionist painter. His bold experimentation with coloring led directly to the Synthetist style of modern art while his expression of the inherent meaning of the subjects in his paintings, under the influence of the cloisonnist style, paved the way to Primitivism and the return to the pastoral. He was also an influential proponent of wood engraving and woodcuts as art forms.
Like his friend Vincent Van Gogh, with whom in 1888 he spent nine weeks painting in Arles, Paul Gauguin experienced bouts of depression and at one time attempted suicide. Disappointed with Impressionism, he felt that traditional European painting had become too imitative and lacked symbolic depth. By contrast, the art of Africa and Asia seemed to him full of mystic symbolism and vigour. There was a vogue in Europe at the time for the art of other cultures, especially that of Japan (Japonism).
Japonism, or Japonisme, the original French term, which is also used in English, is a term for the influence of the arts of Japan on those of the West. The word was first used by Jules Claretie in his book L’Art Francais en 1872 published in that year. Works arising from the direct transfer of principles of Japanese art on Western, especially by French artists, are called japonesque.
From the 1860s, ukiyo-e, Japanese wood-block prints, became a source of inspiration for many European impressionist painters in France and the rest of the West, and eventually for Art Nouveau and Cubism. Artists were especially affected by the lack of perspective and shadow, the flat areas of strong colour, the compositional freedom in placing the subject off-centre, with mostly low diagonal axes to the background.
Under the influence of folk art and Japanese prints, Gauguin evolved towards Cloisonnism, a style given its name by the critic Édouard Dujardin in response to Emile Bernard’s cloisonne enamelling technique. Gauguin was very appreciative of Bernard’s art and of his daring with the employment of a style which suited Gauguin in his quest to express the essence of the objects in his art. In The Yellow Christ (1889), often cited as a quintessential Cloisonnist work, the image was reduced to areas of pure colour separated by heavy black outlines. In such works Gauguin paid little attention to classical perspective and boldly eliminated subtle gradations of colour, thereby dispensing with the two most characteristic principles of post-Renaissance painting. His painting later evolved towards Synthetism in which neither form nor colour predominate but each has an equal role.
In 1891, Gauguin, frustrated by lack of recognition at home and financially destitute, sailed to the tropics to escape European civilization and “everything that is artificial and conventional.” (Before this he had made several attempts to find a tropical paradise where he could ‘live on fish and fruit’ and paint in his increasingly primitive style, including short stays in Martinique and as a labourer on the Panama Canal construction, however he was dismissed from his job after only two weeks). Living in Mataiea Village in Tahiti, he painted “Fatata te Miti” (“By the Sea”), “Ia Orana Maria” (Ave Maria) and other depictions of Tahitian life. He moved to Punaauia in 1897, where he created the masterpiece painting “Where Do We Come From” and then lived the rest of his life in the Marquesas Islands, returning to France only once, when he painted at Pont-Aven. His works of that period are full of quasi-religious symbolism and an exoticized view of the inhabitants of Polynesia. In Polynesia he sided with the native peoples, clashing often with the colonial authorities and with the Catholic Church. During this period he also wrote the book Avant et après (before and after), a fragmented collection of observations about life in Polynesia, memories from his life and comments on literature and paintings. In 1903, due to a problem with the church and the government, he was sentenced to three months in prison, and charged a fine. At that time he was being supported by the art dealer Ambroise Vollard. He died of syphilis before he could start the prison sentence. His body had been weakened by alcohol and a dissipated life. He was 54 years old.
