Category: Painting

Online Canadian Art Gallery Will Show Your Art No Charge

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SEO of the Art World

The process of getting a good page rank on Google, Yahoo & man is called search engine optimization and is really beat handled by the webmaster of your gallery page. It is that persons’ job to bring traffic to your page that is looking for your particular kind of art.

The great part about having your art shown on-line is, of course, that millions of people from all over the world have access to your artwork 24/7. All you, the artist, needs to do is get their photos, biography & description uploaded to their on-line gallery and then respond to customers requests to purchase prints, info or original artwork.

Most on-line galleries will charge the artist a monthly fee of anywhere between $10 & $hundreds, but once in awhile you will find a website offering to host your art gallery page for free. In the internet world, it is a good idea to have your artwork in many different locations as well as articles written about you and your work should be submitted to well know human edited article sites.

Artists, don’t waste any more days thinking about getting your original artwork out there. Get in touch with the on-line art gallery scene. It’s easy and it’s necessary to your career as an artist.

The news is good if you are a new artist with contemporary artwork but don’t know how to go about exhibiting or showing your art to the world. It’s sometimes free and very easy to post your work to on-line art galleries and even have your own art gallery page where you are the featured artist with a biography and art listings on exhibit and for sale.

The best gallery to choose is one that has a real person administering the site every day and also one that is known for a specific genre, region of origin or artist style/medium. Right now, if you are a Canadian artist, a great gallery choice would be one that specializes in Canadian artists. When an art buyer is searching on-line for Canadian art, they will get your Canadian artist page as a search result.

We will be happy to display your artwork on http://circleofconfusion.ca, just contact us via the Contact form on our site!

The Art Gallery of Ontario

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Toronto’s great gallery of art

The setting for the unrivaled and magnificent collection of Henry Moore sculptures dates from 1974 and was designed by the artist himself. Bronzes, plasters, and plaster maquettes are displayed in a large space with natural light entering the ceiling. The gallery’s collection of Henry Moore’s works contains several “Reclining Figures,” one of the sculptor’s favorite themes.

The European collections include many old masters, among them Brueghel the Younger, Tintoretto, Rembrandt, Frans Hals, de la Tour, and Poussin. The evolution of Canadian art can be followed, both in Quebec, with fine pictures by artists such as Joseph Legare and James Morrice, and most comprehensively of all, in English Canada, where there is a splendid selection of works by the Group of Seven and their associates.

Toronto’s great gallery of art, strong in Canadian and european art, has been enriched and extended many times since the early 20th century, when it inherited the splendid Georgian mansion, The Grange. It is at present undergoing a major expansion to house the Thomson Collection of about 2,000 works given to the gallery by Canadian millionaire and art collector, Kenneth Thomson.

Canadian Art

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Quebec master Maurice Galbraith Cullen

No fewer than 18 record prices were achieved with the outstanding work, “The Bird Shop, St Lawrence Street” by Quebec master Maurice Galbraith Cullen, selling for a hammer price of $1,300,000, over four times the top estimate. This was a record for the artist and a trend that was repeated throughout the sale which witnessed new peaks for, among others, JEH MacDonald, Tom Thomson, Franklin Carmichael, Paul – Emile Borduas and Kathleen Morris.

The latter is one of a clutch of Canadian female artists to have gained prominence in recent years and sits comfortably alongside painters of the calibre of Emily Carr and Helen McNicoll, both of whom sold pictures for the princely sum of $299,000 including premium.

I can’t honestly say that many entries in the November sale made my heart sing, and I would certainly liked to have seen a few more examples of Canadian portraiture, but this is an underappreciated and overlooked segment of the market and one that Heffel handle very well. Bidders emerged across Canada, in addition to the US, UK, Norway and Asia, so clearly my personal take on this genre is more than countered by savvy and cultured buyers elsewhere!

It is then that, while American art is regaled every which way by the cognoscenti, Canadian art has not traditionally received the same profile or attention. Heffel Fine Art Auction House, based in Vancouver, Toronto, Ottawa and Montreal, has really started to put it on the map.

Jack Humphrey – Canadian Artist

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Who Was Jack Humphrey?

Early year as a developing artist Born in St John, New Brunswick, 12 Jan 1901, Humphrey was a natural artist with a long desire from early childhood to become a good painter. I believe Humphrey found Hawthorne to be a good teacher as he took extra tuition at Hawthorne’s Cape Cod School of Art during the summer which spoke volumes to Humphrey’s commitment to become an excellent artist.

I came across Jack Humphrey’s work accidentally and was quite taken by his honest and rugged style. Jack Humphrey was a Canadian Artist who spent time in his early career to master the techniques of watercolour and draftsmanship.

At the end of his career Humphrey was widely recognized across Canada as one of the best painters of his time. He was a member of the Eastern Group of Painters, Contemporary Art Society, Canadian Group of Painters, Canadian Society of Painters in Watercolour, Canadian Society of Graphic Arts, and International Association of Plastic Arts.

Harbour

When the depression of the 1930s hit Humphrey was forced to return to his native St John due to personal financial concerns, returning back to Canada Unfortunately. Humphrey’s concerns about the artistic isolation of his hometown where now obsolete as a trained artist he was now a fully capable painter and it was St John that brought out the inspiration and affection that Humphrey needed to create some remarkable work.

National Recognition In 1933 Humphrey travelled across Canada to many cities including Vancouver, Montréal and Toronto exhibiting with the Canadian Group of Painters. Humphrey travelled extensively exhibiting and working internationally returning to Europe during the 1950s where his work took on more of a modernist abstract style.

Humphrey decided to use these scenes as inspiration for his work making a record of this difficult time in his beloved St John. In many of his portrait paintings Humphrey was very careful to express the inner emotion and character in his subjects. In many of his paintings Humphrey uses colour contrast putting the subject against a large dominant area of colour.

Life in Europe Driven by ambition Humphrey decided that after completing his formal studies in America he would travel to Europe to further his education as an artist. Humphrey eventually left France and travelled to Munich, where he spent 10 weeks studying modernist techniques under Hans Hofmann. Following his tuition Humphrey spent time travelling around Europe studying some of the old Masters in Italy, Netherlands and Belgium an artistic voyage which many artists have undertaken over history.

In addition to his character studies, Humphrey also did some incredible paintings of the local harbour, the streets and people around the city using a rugged honest approach to his work. Humphrey was invited to become a member of both of these groups.

Jack Humphrey died in St John, New Brunswick, 23 March 1967

After tracing Humphrey’s artistic development and journey, it was his work in the 1930s that struck me most profoundly. His raw depiction of his hometown was what really inspired me and made me think more deeply about the living people in St John during the depression.

Humphrey decided to use these scenes as inspiration for his work making a record of this difficult time in his beloved St John. In addition to his character studies, Humphrey also did some incredible paintings of the local harbour, the streets and people around the city using a rugged honest approach to his work. Humphrey travelled extensively exhibiting and working internationally returning to Europe during the 1950s where his work took on more of a modernist abstract style.

Early year as a developing artist Born in St John, New Brunswick, 12 Jan 1901, Humphrey was a natural artist with a long desire from early childhood to become a good painter. I believe Humphrey found Hawthorne to be a good teacher as he took extra tuition at Hawthorne’s Cape Cod School of Art during the summer which spoke volumes to Humphrey’s commitment to become an excellent artist.

National Gallery of Canada

Lawren Harris– Canadian Artist

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Lawren Harris

Lawren Harris was born on October 23, 1885, into a wealthy family of Brantford, Ontario, Canada. Lawren’s family co-owned the Massey-Ferguson Farm Machinery Company in Toronto and therefore, he did not have to struggle like other painters at the start of his career.

After returning from Europe, Lawren Harris worked as a magazine illustrator for a year and a half in Toronto. In the late 1920s, Harris’ work got more inclined towards Abstract and he painted more of landscapes surrounding the North & Arctic region. In 1940, Lawren Harris shifted to Vancouver, British Columbia and remained there for the rest of his life.

Harris initially attended St. Andrew’s College in Toronto, and from 1904 to 1907, he studied in Berlin. On January 20, 1910, Harris got married to Beatrice Phillips and together they had three children.

Inuit Tent, Pangnirtung

Lawren Harris was born on October 23, 1885, into a wealthy family of Brantford, Ontario, Canada. Harris initially attended St. Andrew’s College in Toronto, and from 1904 to 1907, he studied in Berlin. After returning from Europe, Lawren Harris worked as a magazine illustrator for a year and a half in Toronto. In 1940, Lawren Harris shifted to Vancouver, British Columbia and remained there for the rest of his life. For Lawren Harris, art was the prelude of his visions into the realm of eternal life, which intensified his experience of beauty.

For Lawren Harris, art was the prelude of his visions into the realm of eternal life, which intensified his experience of beauty. In 1970, at the age of 85, Harris took his last breath at Vancouver, British Columbia.

National Gallery of Canada

Inuit Art

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Traditional Culture and Values

While much Inuit art is “about” traditional culture and values, it is also very much an expression of the experiences, values and aesthetics of individual artists who have had to come to grips with rapid and profound change in the second half of the twentieth century. Inuit art is often “autobiographical;” even if specific events are not always depicted, and it reflects the life histories of its makers as well as their artistic talents.

The artists had no romantic notions about art-it was a way to survive, and they accepted the new vocation unquestioningly. The ones less fitted for making sculpture took other jobs whenever possible.

These visitors to the North introduced some new trade goods, especially rifles and tobacco, flour and tea, the nomadic lifestyle of the Inuit hunters remained fairly untouched by the intruders. In the late 1940s most Inuit still lived in small family camps, used dogsleds for travel, lived in igloos during the winter, and divided their time between trapping white fox and hunting.

Was it any wonder that people grabbed with such fervour the opportunity to make a living through carving? This was their way out of humiliating dependence, all the harder to bear since they had enjoyed total freedom and independence before.

Contemporary Inuit art has made its creators and their culture famous throughout the world. Memories of life on the land are still fresh, especially for older Inuit, and the past is very much alive in Inuit culture.

If we want to appreciate Inuit art from this period, we need to be conscious of its context. Here was a group of people dispossessed and displaced, out of their element, trapped in a small community with other Inuit groups with whom they had never before had occasion or desire to associate.

The astonishing fact is that this art, born out of economic necessity, has such evocative power. Its appeal lies in its honesty and stark simplicity. Having focused imaginations and minds not burdened with the redundant images that flood people living in an industrialized world-these were pre-television times-these self-taught artists created images of stunning visual power and archetypal significance-reason for celebration.

When James Houston, a young adventurous artist from Toronto, landed in Inukjuak in Arctic Quebec in 1948 he was presented with one of these whittlings and, with the eye of the artist, recognized its beauty. Tile stage or the enthusiastic reception of contemporary Inuit art was set.

By combining biographical and cultural elements with an appreciation of the communicative power and beauty of individual works, we may begin to truly understand and appreciate the complexity-and the miracle-of Inuit art.

The North has been Canada’s last frontier. Until the Second World War – it had remained largely ignored by the rest of Canada, except for the adventurous and very bold. Since the mid-1700s a succession of explorers looking for the Northwest Passage, of whalers looking for oil, Hudson’s Bay traders looking for fox pelts as well as missionaries looking for souls ventured into the North and met its inhabitants, the Inuit.

Against this background of rapid cultural change, contemporary Inuit art came into being. For two hundred years Inuit hunters had, whenever possible, bartered little souvenir items with any of the groups finding their way into the North.

For a variety of strategic and political reasons the federal government of Canada started to take an active interest in the welfare of its northern citizens. In 1939 a ruling of the Supreme Court had accorded Inuit the same rights to health, welfare, and education as Canadian Indians. In 1955 a selection of children were sent to Chesterfield Inlet to be taught by the Grey Nuns until, in 1959, federal day schools were built across the North.

Making art provided a solution. All the superb skills, honed over centuries in the struggle for survival-knowledge of Arctic animals, an astonishing visual memory, infinite patience and perseverance-could be applied to making a sculpture.

Making art also helped to survive emotionally. It was also a way of regaining control over their lives.

Against this background of rapid cultural change, contemporary Inuit art came into being. If we want to appreciate Inuit art from this period, we need to be conscious of its context. Contemporary Inuit art has made its creators and their culture famous throughout the world. Memories of life on the land are still fresh, especially for older Inuit, and the past is very much alive in Inuit culture. Given the spontaneous nature of the art, however, perhaps we may be forgiven if we are occasionally seduced into believing that Inuit continue to live the life that they portray, and often glorify, in their textiles, sculptures and graphics.

One of the reasons the Canadian government felt compelled to intervene was the receipt of reports from visitors to the North about the deteriorating conditions among the Inuit, partially caused by the fact that the price for white fox had plummeted on the world market. The main means for procuring cash had dried up for Inuit trippers.

Canadian First Nations Art

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Wild Man and the Wild Woman of the woods

Two of the more interesting characters from the Northwest coast Canadian First Nations art world include the Wild Man and the Wild Woman of the woods. These two are often portrayed in very dramatic looking masks carved by Northwest coast Canadian First Nations artists.

The Wild Man of the woods from Canadian First Nations art is called Bak’was and is a small human-like creature who lives in the forest. The Wild Man is also considered the chief of ghosts and spirits of people who drowned are often hovering near him. If one eats some of the Wild Man’s food, one will turn into a being just like him.

The Wild Man of the woods from Canadian First Nations art is called Bak’was and is a small human-like creature who lives in the forest. In contrast to the Wild Man, the Wild Woman of the woods or Dzunuk’wa as she is known, is a giant powerful and fearsome figure twice the size of humans. Interestingly enough, even though the Wild Woman represents the dangerous and dark side of the forests, she is also a bringer of wealth for some Northwest coast Canadian First Nations tribes.

She is not considered very bright and usually the children are able to outsmart her in escaping. Interestingly enough, even though the Wild Woman represents the dangerous and dark side of the forests, she is also a bringer of wealth for some Northwest coast Canadian First Nations tribes. A Wild Woman mask can be considered somewhat of a status symbol that only some rich and powerful Northwest coast Canadian First Nations families have.

In contrast to the Wild Man, the Wild Woman of the woods or Dzunuk’wa as she is known, is a giant powerful and fearsome figure twice the size of humans. Her almost blind eyes are sunken and also large like those of the Wild Man but sometimes they have a red glow. It is said that if children foolishly wander into the forest, the Wild Woman will capture them and eat them.

So Want To Paint Like a Professional Artist. Great!

Want To Paint Like a Professional Artist?

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So Want To Paint Like a Professional Artist.  Great!

You’ll need some loving support, because there’s something you can’t be expected to know at the start of this journey to professionalism.

Do treasure the memory of the day you commit to Art. It’s already true, you’ve only confirmed a fact you secretly knew.

No matter how long a career may be ahead for you, no matter how successful that career may be, days will come when you’ll feel self-doubt so strong it will tempt you to give up the struggle. Follow these 3 empowering habits of successful artists:

1. Don’t wait for Opportunity

The old adage says, ‘Opportunity only knocks once.’ You’ll make yourself ready to open the door by

getting a body of artwork done – drawings or paintings suitable for a portfolio to show gallery directors. You might keep some of your preparatory sketches, even notes on why you chose the medium and the subject matter you prefer. Keep updating your portfolio as your skills progress.

2. Don’t wait for Inspiration

Professional artists don’t wait around for inspiration to strike. Let me illustrate what that means …

A Composer walks along a busy city street. His ears are assailed by the screech of traffic, the blare of car horns, the buzz from shoppers and workers who crowd the sidewalk.

A Painter reads about the prodigal son who abandoned the family farm and his ageing parents, returning only after the inheritance was squandered. What the painter creates is an image of the Ideal of unfailing parental love and forgiveness.

A Poet sees an urn, a vase of stone, engraved with figures from ancient Greek mythology. What he writes is an Ode, a lyrical examination of how much can be represented by Art about the tragedy at the heart of humankind: the knowledge of our own mortality.

3. Work at least 2 hours every day

For perhaps a majority of people, ‘work’ is the proverbial four-letter word. Canadian author Margaret Atwood, on a recent visit to Australia, suggested we need a new word that combines work and play.

When I started out, most of what happened to further my career was a matter of trying this and that, failing at some points, stumbling upon the things that worked. I understand much of what you are facing now and I’m glad to have a chance to help ease your path.

No matter how long a career may be ahead for you, no matter how successful that career may be, days will come when you’ll feel self-doubt so strong it will tempt you to give up the struggle. Follow these 3 empowering habits of successful artists:

Professional artists don’t wait around for inspiration to strike. Canadian author Margaret Atwood, on a recent visit to Australia, suggested we need a new word that combines work and play. When I started out, most of what happened to further my career was a matter of trying this and that, failing at some points, stumbling upon the things that worked.