Art muse
276 creative works found
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Oil on canvas tryptich. / The painting is a large oil on canvas diptych approx 2metres X 120cm and features three painters at the end of a table (Brett Whiteley, Jean-Michel Basquiat and Vincent Van Gogh). The table is also a barron Australian landscape with the foreground area being a resting spot for various art materials and a cup of coffee which has an actual handle petruding from the canvas (I dropped a cup one night whilst painting and collaged on the broken handle). There is a lot of text scratched into the paint (with the back of a brush) which I have reproduced below for readability. There is also a fair use of collaged material scattered about the painting. A letter from Australian artist George Gittoes, a CD of Miles Davis along with a notepad with some of the other music I have been listening to in recent months whilst painting this work. Jigsaw pieces, pencils, pencil shavings, a loaded paint brush, a matchbox and even a reproduced letter in Vincents pocket to his brother Theo (the original 1883 letter had a sketch included aptly titled “People in the Studio” More..). I have also included a reference to a letter from an artist friend in the US who used a Andy Warhol stamp on the envelope. Painted within the landscape are two small easels with two of my previous paintings on them (“Miles Davis” and “Pots” which hangs in my studio at present). More information plus reproduction of my own prose for this painting here: / http://www.leithomalley.com/artprize.html / - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - - - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – / Here is the full text which I scratched into the background of the painting featured here at Red Bubble titled “Talking to the Muses about Art”. / These are my own words and thoughts.. a tone poem if you will.. Paint on regardless. / Paint on through expression & meaning. Paint on through metaphor and symbolism. Paint on through elaboration & simplicity. Paint on through caffeine & turpentine. Paint on through the early hours. Paint on through imagination & mystery. Paint on through inspiration & interpretation. / Paint on through self doubt & apprehension. Paint on through solitude & crowded thought. Paint on through fashion & trend. Paint on through stumbling blocks & open doors. Paint on through dishonesty & distraction. Paint on through routine & boredom. Paint on through broken charcoal & broken spirit. / Just paint on. Paint on through broken rules & pushing boundries. Paint on through textured passage & scratched thought. Paint on through form versus content. Paint on through figuration & landscape. Paint on through reality & exageration. / Paint on through infatuation & interpretation . Paint on through motivation & passion. Paint on through responsibility & deadline. Paint on through key & contrast . / Paint on, Paint on, Paint on. Paint on through expectation & surprise. Paint on through 3AM & exhaustion . Paint on through exhilaration & dissapointment . Paint on through misunderstanding & enlightenment. Paint on through stereotype & label . Paint on through collage & memory. Paint on through spontaneity & laboured thought . / Paint on through ignorance & envy. Paint on through music & silence. Paint on through the sound of brushwork & the smell of linseed oil . Paint on through circus, canvas & colour . Paint on through age & beauty. Paint on through influence & originality. Paint on through Modigliani & Miles. / Paint on through blank canvas & empty palette. / Paint on through exhibition & inhibition. / Just paint on. -Leith O’Malley MORE INFORMATION: / Talking to the Muses about Art” is more a case of elaborating or building on all that I liked about a previous painting I did called the “Talking to Picasso..” . One thing I did start to develop however was turning the table top in the foreground into a landscape and yet retaining the idea of it being a tabletop at the same time. I have carried this through to more recent paintings and am enjoying mixing my love of figurative work with the landscape elements. / / The text in the background of Muses is a sort of tone poem. It is reproduced in full on my website and talks about the struggle to paint and the obsession with wanting to keep painting (“paint on through”) no matter what. / Sometimes I feel like the painting is telling me what it wants rather than the other way around. There is definitely a sort of love/hate relationship with some of my work and I often feel empty after a painting is completed. I scraped the text and thoughts into the paint with my fingers, stick and a brush handle mostly and they represent my thoughts and the imagined conversation with Whiteley, Basquiat and Vincent. / / The painting has a road running from the foreground which sweeps up and around to the central figure (Basquiat). There are several motifs along that road which deal with struggle and decision making (eg. The hurdles). There are also collaged pictures of paintings I have done along the way and references to the circus via the striped tents. My parents traveled Australia with Ashton Circus when I was young and I have recurring imagery about this time in several of my works (clowns and tents). / / There are also some collaged quotes scattered about the painting. One of my favourites is a line I reproduced from a Laura Viers song which reads “all the time spent dreaming is never lost” and another unrelated quote “art is never finished, only abandoned” which also struck a chord with me. / / In the lower left of the foreground I have made reference to my love of graphic art with a painted colour chart and just below the bowl containing the collaged pencil shavings I have presented three pencils. One is real (glued on), one is painted realistically and the other is a photograph of a pencil. There is also a collaged article on Picasso’s use of collage in his work. / / Just writing this brings back so many good memories about the painting, and upon reflection it is very interesting to look back and think about the motivation behind the work. / / “Talking to the Muses about Art” was recently purchased by the Chairman of Country Arts SA (Adelaide) so I won’t get to see it for some time unfortunately. Photographic reproductions don’t really do it justice as there is quite a significant amount of texture, thick paint and glazed areas throughout the painting. / - – - – - – - – - – - – - – - – - – - – - – - – - – - – / - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – / - – - – - – - – - – - – - – - – - – - – - – - – - – - – - -
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A digital painting
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Muse
by Lui Grande -
Here’s another portrait of my favourite little muse…
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Buy it here ThomasDodd.com/Store “No Muse-poet grows conscious of the Muse except by experience of a woman in whom the Goddess is to some degree resident…. but the real, perpetually obsessed Muse-poet distinguishes between the Goddess as manifest in the supreme power, glory, wisdom and love of woman, and the individual woman whom the Goddess may make her instrument…” / (Robert Graves)
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He Called Me Princess
by JenniferBNSFW
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paris, france
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From the Black Butterfly series. Charcoal on mylar drafting film with white illustration board underlay, 24×30”. I started this 4 years ago, intending it to be an ink and watercolor wash piece. I never got up the nerve to finish it – it is quite large and I wasn’t very comfortable with watercolor. The references I used were photos of myself and my husband in our early 20’s. Symbolism: My husband is a musician, and the butterflies in the series are representative of the artist’s muse. All of the models for this series are artists from various disciplines (actress Marilyn Monroe is Aphrodite in one work). In this piece, the lilies and the intertwining branches are taken from works by Leonardo Da Vinci. The Celtic elements of triple spirals and knot work are symbolic of our three children, my Irish heritage, our intertwined lives and inspirations, and are also appropriate as a reminder of our journey to Ireland this past year.
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Birth
by Lynette K.This could be she, the birth of all, an idea, colour, creative movements…whatever you wish her to be. She is Muse. 9×12 / 2007 / pencil
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Oil on canvas / 50×60cm / / / / / / / / / / / / / / / / / / / The Top Ten – First Things The Muse challenge / The Top Ten – First Things – The Enchantress, Nympha challenge – 13 May 2009 / The Top Ten THE DIVINE FEMININE – ELEMENTAL GODDESS challenge – 14 May 2009 / Featured in “THE DIVINE FEMININE” group – 15 May 2009 / The Top Ten in “The Love of Eerie and Enchanting Artwork” “Muse” challenge – 16 May 2009 / Featured in “The Love of Eerie and Enchanting Artwork”-23 May 2009 / First place in The Top Ten – ! Hairstyles ! group-Painted Beauty challenge 4 June 2009 / Featured in Dimensions – 6 June 2009 / The Top Ten in Painted Ladies- Forrest Nymph challenge – 12 June 2009 / Featured in Solo Exhibition group
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CREDITS Model: Janna Prosvirina @ kuoma-stock If you like this you may like… /
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The muses of river Tagus (Tejo)...in Lisbon…that inspired so many poets….. Oil on canvas….81×65 cm
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Often, after browsing through my shop, people send me emails and ask, “However do you think of all those stories?” Well, I suppose it’s time for me to come clean: I don’t think of them at all. My Uncle Wentzel (yes, that’s his real name) has always been a collector. “He’s a pack rat is what he is” insists my Aunt Angie, with a belabored sigh. And given that he has saved the miniscule amount of mercury out of every lightbulb he has ever changed and kept it in an enormous jar that must weigh about 80 pounds, I can kind of see her point. But that seems a small price to pay for the cabinet of curiosities that is their attic. Oh, you could find absolutely anything up there, anything at all. I always find some pretext for rummaging around up there whenever I visit, and it was on one such visit that I found this very typewriter sitting in an open antique suitcase, surrounded by questionable specimen bottles and a dusty old microscope. It was the coolest thing I ever saw, I had to have it. “Oh for Pete’s sake, let her take it, Wentzel! She’s your goddaughter and you haven’t touched the damn thing in three decades”, scolded my Aunt. “But, but…that’s not any ordinary typewriter!” he sputtered. “That’s a Fox typewriter from Grand Rapids, Michigan!” After 45 years of marriage, my Uncle could spot battles he was losing from a mile away. “Everybody talks about Underwoods – bah!” he said, taking me aside. “This one is the best. But be careful with it, it’s moody”, he added, mysteriously. / I lugged it home and found the perfect spot for it in my study. I had no real plans to use it, but I fed a sheet of paper into it for authenticity’s sake and admired its considerable retro charm. Then I went to bed. The next morning, I wandered in my study with my tea and found an entire story about one of my recent art pieces neatly typed out on the paper. Even under fierce interrogation, no one in the household would admit to writing it. I was awakened late that evening to the faint sound of typing coming from my study and tiptoed in to find the very lovely lady you see here hopping from key to key, giving a little shimmy and shake at the end of every sentence. She froze on one toe when she saw me and dove into an antique umbrella stand. She must have returned later to sign her work, though: Calliope Cookie. So Calliope is my muse, she writes all my stories, just as Winona Cookie inspires my art. Every once in a while she goes on strike and types “All work and no play makes Calliope a soggy cookie” over and over again on the blank sheet of paper I hopefully feed into the Fox now every time I finish a piece. When that happens, I know to leave her a shaker of dry martinis and a plate of olives and tapas, which generally results in a particularly colorful tale. So that’s the truth about my stories, and the best typewriter ever. Sometimes older technology has its advantages. This original artwork and story are copyright Ramona Szczerba 2009. Copyright to this material is in no way transferable with the sale of this item. The buyer is not entitled to any reproduction rights – neither image nor story can be reproduced without my express written permission. Thanks!
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The Graces In Greek mythology, the Charites were the Graces. / The Graces were the Goddesses of charm, beauty, nature, human creativity and fertility. They were great lovers of beauty and gave us humans our talents in the arts. Closely associated with the Muses, the Charites/Graces were also associated with the underworld – the fertile womb of Mother Earth. The river Cephissus near Delphi was said to be sacred to them. For many centuries we have not been listening to our Muses. Not trusting our own guidance. The Graces have been huddled together for warmth… waiting for the time when we would look to them (to our own Divinity) again for true guidance. Many men and women are now making the choice to enter into the flow of the river… into the pure creative flow of Universal Energy and connect to his or her Muse. Let your natural creativity guide you. / Live in Grace. This is a pencil, art marker, and chalk pastel on 80 lb. off-white pastel paper. I wanted the Graces to look cold – almost statues. They are turning their heads to us and hearing our combined voices for the first time in a long time. The flowers are starting to bloom at their feet and the faint hint of a sunrise is on the horizon.
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Acrylic and textural mediums on canvas Close up of ‘Family Reunion’ FEATURED in ‘Art and Dis(ease)’ September, 2009
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texture practice this morning as I’m home with bad cold and lost my voice. / Almost fresco like… stock / mjranum-stock.deviantart.com textures all made by me
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This is an interpretation of a Picasso painting called Le Rêve Its first title was “When Aretha Met Pablo” because I was listening to Aretha Franklin when I worked on it. But ultimately, I decided it was too descriptive and it doesn’t represent the original idea successfully, so I changed it to “iDream Therefore iAm”. It’s an artistic commentary on consumerist culture. At the time there were a lot of folks that were literary mad about iPods and the Internet was full with self portraits by people hugging, kissing and caressing those devices. I found it slightly irritating at first but then I tried to find a more rational explanation for this odd behavior. Those devices are designed an marketed as something sexy, special and intimate. Especially the iPhone and the iPod touch – half of the magic about them comes from the ability to hold them in your hand and make them do things using your fingertips… I don’t know about any other product in history who has such a potential to seduce your subconsciousness in such an aggressive, brutal manner. At the same time, Picasso’s painting was representing a yearning of a woman, probably obsessed with the thought of a man and that’s how I made the connection. It’s not about ridiculing iPods or anything else (I have two of them myself), it’s about translating an idea and moving it to another dimension – an approach I find extremely inspirational. Later, I attached it to a cycle of works called Destroying Thy Masterpieces
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Similar style to that of my other work “The Muse” http://mjranum-stock.deviantart.com/art/Drac-Bride-14-68645468 one texture / by / chulii-stock.deviantart.com all other textures made by me
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