An example of an artist that delivers such extraordinary aesthetics is Milen Tod who is currently celebrating the 12th birthday of his online gallery. There lies is a view of all his latest creations against a grey/black backdrop that draws you into the enticing colours of his collection. Unfortunately it appears as though the majority of his works have been sold to spectators that perhaps have snatched up the goods with a view to keeping their ideals regarding Christmas present giving.
Milen’s original artworks sell for as little as $298 and may be as deer as $19,000. He is commonly known for his interest in abstract cityscapes that are inspired by life’s journey. He uses an array of mediums to apply thick layers of built up colour so that the oil paint itself becomes intrinsic to the work rather than just the final aesthetic. The density of the medium on the canvas provides a 3D texture that makes his work an experience rather than just something to be observed - It delivers something that can be appreciated again and again beyond just the holiday period.
A gift that is unique, investment and reflects morality, family values and even religion lies within something that has either uniquely been commissioned for an individual or has been selected in the knowledge that those on the receiving end of the present will be getting something that exists as an anomaly among societies superficial abstract artwork that have been designed with obsolescence in mind to drive the holiday seasons products into almost immediate redundancy after the period is over. A painting is designed as something that is timeless and gains in value rather than depreciates throughout its existence; it is exclusive to the owner and has the ability to develop an instant rapport with its spectators unlike other fickle man-made creations. Above all, the sentimental value of the piece is something that will provide such a gift with more power than any expense incurred in its purchase, deflecting away from the season’s money hungry disposition.
There are many ways to impart texture (see the close up of this painting) to the surface of an art painting.
Substances such as compound, fillers, metal, mica and sand kand be added to oil or acrylic paint to build texture. But usualy I create the texture of my abstract paintings with heavy body paint only. Traditional techniques such as using gesso and clay plastering make the canvas too heavy. Experimenting with color variations and combinations of different textures result in a fascinating range of unique effects, The multitude of glazes and varnishes allows even the most delicate paintings to be sealed and preserved for long time.
shows a gradual evolution towards these ends. The early careers of the Impressionist painters reveal how their original paintings emerged in response to the influence of precursors such as Manet, Courbet and the artists associated with the Barbizon group, but also in relation to new ideas and experiences. The art of the Impressionists was as much a response to the new economic and cultural conditions of the modern world in which the artists worked and to changing ideas about the role of art itself in modern society, as it was to their artistic forebears. The massive transformations of France during the period in which they lived left its trace on what and how the painters painted. The emphasis on movement, contingency and flux in their paintings reflects the extent to which their art was shaped by the changing world they inhabited. The Treasures of the Impressionists examines the evolution of this rich and influential movement and the way the artistic development of the painters was conditioned by the social and artistic debates in which they worked, looking at all aspects of their work and the ideas that informed their technique and choice of subject matters.
The inclusion of facsimile documents, photographs and memorabilia, such as the catalogue of the first Impressionist show, the artists' correspondence and contemporary criticism and reviews, alongside illustrations of the Impressionists' paintings and drawings, creates a vivid context in which to understand their work. These documents bring us intimately into contact with their world.
The development of oil paint as the most common medium for oil paintings in Europe evolved slowly in the fifteenth century. Before this, a popular medium for painting on panel had been egg tempera, but it did not have the flexibility of pigments bound with a drying oil. Oil paint also had the capacity to be blended and manipulated on the surface of the abstract paintings, and its transparency allowed for a far greater range of tones and resonant colors.
The transition from egg tempera to oil paint in Northern Europe, and then in Italy toward the end of the fifteenth century, produced many examples of oil paintings in which the preliminary work was done in egg tempera, while later stages, such as thin transparent glazes, were applied in oil color. There are also examples of works in which egg and oil are contained in the same layer. Although the Dutch van Eyck brothers are popularly credited with the discovery of oil painting in the early fifteenth century — Jan van Eyck made progress developing the oil medium and using glazes — the use of oil-resin varnishes and drying oils is in fact quite well documented since the eighth century. Painters in Italy began to copy the Netherlandish way of modeling the underpainting in opaque colors, and then applying rich transparent glazes.
The progress of original paintings Fifteenth-century Italy saw artists such as Piero della Francesca whose early work is predominantly in egg tempera, coming to abstract painting with the new oil medium. In Venice, Giovanni Bellini began to exploit the depth and richness of tone and color that could be had with oil painting. He often worked first on an egg tempera underpainting, with its characteristic cross-hatched modeling, but the use of oil in the later stages of painting gave his figures an almost tangible existence. Perugino and Raphael were among other artists of the time working in both media. Raphael sustained the purity of the whites and blues in his skies by using the less yellowing walnut oil as a binding medium, rather than the linseed oil he used with other colors.
Today the Impressionists are among the most popular and admired artists throughout the world. Impressionist original paintings are widely reproduced and adorn the walls of major museums. The painters we most readily associate with Impressionism, such as Monet, Renoir, Degas, Pissarro, Sisley, Morisot and Cezanne are regarded as modern artists and masters.
Their vibrant paintings are imprinted on our imagination and we see nature reflected through their eyes. The art of the Impressionists evokes the pleasures of a day in the country or the city, of rippling reflections on the surface of a street or a city square and the sun-dappled play of light across verdant fields, of fashionable Parisians promenading along boulevards lined with cafes and cafe concerts.
The works of the Impressionists open a window onto this world of the nineteenth century that allows us to imagine those times vividly. For us, the world of the Impressionists seems a familiar one and even one that we take for granted.
In their own lifetime, however, Impressionist painting was a source of contention. The pictures, and the artistic principles on which the artworks were based, were regarded by many viewers as idiosyncratic and strange, and drew strong criticism from artists and critics who regarded the works as incompatible with the values of the French tradition. The Impressionists challenged the prevailing attitudes about "good composition", “fitting” subject matter and even the broader role of art within society. Breaking with the themes and subject matters favored by the French Academy, Impressionism embraced motifs within the common realm: everyday scenes that reflected the life, work and leisure of modern France, landscapes of the city, the suburbs and the countryside, portraiture and still lifes. They approached these subjects with a freer, more improvised and informal treatment that emphasized the artist's personal response to his or her motif, and which drew on contemporary research on perception and colour theory. In doing so, the painters developed styles of painting that questioned the ideas on which academic principles of composition were founded.
Original Paintings created before the 20th century were largely figurative — using artistic conventions such as perspective, they offered convincing pictures of the world as we knew it. Contemporary abstract paintings is often more emphasizing colors, shapes and textures, which results in more attention being focused on the picture surface itself. This has resulted in an extraordinary period of experimentation in which artists have used a huge range of materials to produce an exciting array of mixed media works.
By abstract painting artists have concentrated on generating a new awareness of surface and have succeeded by sale adding materials, by using impasto techniques, and by scraping and inscribing a surface to amplify the characteristics of each medium.