One of our many goals at Ruben and The Bard Studio, is helping shop owners with vacant store fronts, come alive with a Pop Up Art Gallery. Inviting Artist and Musicians the opportunity to present their talents to a new audience.
You are free to use your imagination with your display. This year we’ll be brighten up the store front mentioned below:
This is off my beaten path of the arts, but follow me, it’ll touch your heart. Today I stopped by a local pet rescue organization, Meshoppen Cat Rescue. Most the locals around here know that they’ve moved into a new facility, so I want to help spread the word.
Meshoppen Cat Rescue has been around for about 8 plus years and is a non-kill, 501(c) nonprofit organization. Located on Route 6, near Kristi’s Kountry Kitchen . Walking in, the first thing I notice, was how I was greeted by these gentle, fuzzy, creators. The excitement of sitting on a warm lap or receiving a soft touch made me smile. Some of them have had a tough life and others were lucky enough to land on all fours at the rescue center. Judy Krafjack, founder and here small, volunteer staff are awesome. Just like most parents, over worked and out numbered, they just keep going. I asked for a Wish List and Judy was kind enough to share it with me. They are in desperate need of volunteers and homes for their babies.
To volunteer or drop packages off call: 570-877-9624 On with the Wish List:
Gift cards from Tractor Supply or Walmart for “4health Indoor Cat Food”
Today, a dozen museums across the UK are simultaneously opening “Leonardo da Vinci: A Life in Drawing,” an exhibition of the famed Renaissance artist’s work to mark the 500th anniversary his death, on May 2, 1519.
The coordinated British exhibitions—which are part of a larger worldwide celebration of the artist, inventor, architect, and all-around genius—draw from the UK’s Royal Collection Trust, which has sent a dozen drawings from Windsor Castle to each of the 12 participating institutions.
Leonardo made “more drawings than any artist of the period” and “more words in manuscripts than anyone from the period in any field,” Martin Clayton, the head of prints and drawings at the Royal Collection Trust, told The Art Newspaper. “You can grasp the whole Leonardo by looking at the drawings.”
To determine which drawings went to which museums, the trust organized 12 batches of works, each balanced to reflect Leonardo’s wide range of interests, and had the institutions choose the sets at random. Highlights include Leonardo’s “invisible ink” works, a skull cross-section featuring his signature “mirror” writing, and two drapery studies for Salvator Mundi, now the most expensive painting ever sold.
Queen Elizabeth II inherited an impressive set of more than 500 of the artist’s drawings, originally contained in a bound album and compiled by sculptor Pompeo Leoni after Leonardo’s death. It was later purchased by King Charles II.
Following the current exhibitions, an additional 200 drawings will go on view at the Queen’s Gallery in London in May. The UK’s year of Leonardo will wrap up at the Holyroodhouse in Edinburgh, with a show of another 80 drawings opening in November. The trust hopes that audiences across the country will be able to enjoy these historic works—some 34 million people, or about half the nation, live within an hour of one of the venues.
Altogether, it’s the biggest Leonardo drawings show since a Royal Academy of Arts exhibition in 1952, which marked the 500th anniversary of the artist’s birth.
Other exhibitions around the world will also mark the momentous anniversary. In New York, the Metropolitan Museum of Art launched a modest display of four drawings by Leonardo this week. In France, at the Château de Clos Lucé, where Leonardo died, a tapestry copy of The Last Supper will be on loan from the Vatican Museums starting in June. (Later in the year, it will travel to the Palazzo Reale in Milan.)
The French region will also host a 500th anniversary show at the Château du Chambord (Leonardo may have been its architect) with works by the artist borrowed from the Louvre, the British Museum, and the Uffizi Gallery in Florence.
Milan, where Leonardo created The Last Supper, is getting in on the action with “Leonardo and His School in the Ambrosiana’s Collections,” a quartet of exhibitions that will run consecutively at the Pinacoteca Ambrosiana through January 2020. And the city’s Castello Sforzesco will host “Leonardo and the Sala delle Asse between Nature, Art and Science,” another drawings exhibition, starting in May. The museum’s Sala delle Asse, sumptuously decorated with Leonardo’s nature-themed wall paintings, also reopens to the public on the anniversary of his death, even as restoration is ongoing.
Elsewhere in Italy, Leonardo’s longtime home, Florence, will host an exhibition about the artist and his books at the Museo Galileo in April, while the Palazzo Strozzi presents “Verrocchio, Master of Leonardo.”
Vinci, where Leonardo was born, will explore how the local area influenced his work in a show opening at the Museo Leonardiano in April. Finally, the Gallerie dell’Accademia in Venice will break out the rarely exhibited but instantly recognizable drawing The Vitruvian Man.
The year will culminate with “Leonardo da Vinci” at the Louvre, which opens in October and has been ten years in the making. It is billed as the most comprehensive exhibition ever dedicated to the acclaimed artist. The museum already owns five of the 15 extant Leonardo paintings, including, of course, the Mona Lisa, and will augment its holdings with significant loans. Originally, that was due to includeSalvador Mundi from the Louvre Abu Dhabi, but that now seems unlikely to happen.
“Leonardo da Vinci: A Life in Drawing” is on view at the Ulster Museum, Belfast; the Birmingham Museum and Art Gallery; the Bristol Museum and Art Gallery; the National Museum Cardiff; the Derby Museum and Art Gallery; the Kelvingrove Art Gallery and Museum, Glasgow; the Leeds Art Gallery; the Walker Art Gallery, Liverpool; the Manchester Art Gallery; the Millennium Gallery, Sheffield; the Southampton City Art Gallery; and the Sunderland Museums and Winter Gardens, from February 1—May 6, 2019.
‘Everyone Should Have a Studio’: Artist Liz Magor on the Sanctuary Where She Translates Humble Objects Into Precious Artworks | artnet News
While working on a cast sculpture of a paper bag, Liz Magor describes her Vancouver studio as a place for pleasure as well as productivity. “If I’m not here,” says the artist, “I want to be here and I want to work.”
Magor maintains a quiet, elemental studio so that she is able to seek out “below the radar” systems embedded in the everyday objects and materials that inspire her. “It’s a way to keep myself on a single focus—on a single track—and there’s something pleasurable about that.” As she reflects on the potential health benefits of maintaining a studio, Magor is shown installing an earlier cast bag sculpture, Mademoiselle Raymonde (2014), at Peep-Hole in Milan, Italy.
Credits
Producer: Ian Forster & Wesley Miller. Consulting Producer: Nick Ravich. Interview: Pamela Mason Wagner. Editor: Morgan Riles. Camera: Greg Bartels. Sound: Jeff Carter. Artwork Courtesy: Liz Magor. Special Thanks: Peep-Hole & Contemporary Art Gallery.
This was speed painted class demo, done in about 90 minutes.
I usually don’t work this large in this time frame, but wanted to show the students that they need to just dive in
and start putting marks on the canvas – and the image will follow.
The Kitson Arts Alliance proudly presents its KAA Member Show 2019 – North Branch of Heaven – at four distinctive gallery spaces located in our North Branch Art Trail region.
The image below provides insight, with locations and times. Stop by and enjoy the sights and sounds of these great communities.
The last several months I haven’t had the desire to paint on a detailed scale.
(I LOVE detail!! I love every aspect of it! The architect of a building. How the stone or wood, that holds it’s heart together, feels. The reflections of the types of glass that was used during the construction. In general, I understand, that this is history placed in front of me and that there is beauty that I should scribed.)
I’ve been dabbling in varies mediums, pens, pencils etc., but to no avail. It just wouldn’t come to me. Of course, maybe I was trying to hard, maybe I was just burned out. I felt burned out*. (*Warning: the whining is about to proceed) Not from my art, but from the world outside my studio. I moved further out for varies reason, but the primary was to increase my productivity. It was going pretty well. Then it took a left at Albuquerque. I kept pushing the pen in the sketch book, but nothing. I was getting some ideas roaming around my brain, but none seemed reasonable. I rearranged my studio (it started with a sick Cichlid, who had to be pulled from the main tank. Then, I thought, because he was so social, maybe, just maybe, I had room in my studio for him. So, I started moving things around, tossing things out. Moved an empty tank in, called my partner and had it setup, ready to go. Yep, sure enough, moved him in and he died within two weeks. (Cuss, Cuss, Swear, Swear!) So, I took some fry out of the main tank and now they’re in the studio. The little brats. Assuring that they were settled in, I took the paintings stacked against the wall and hung them up. Not much for symmetry, but they’re up and that’s that.
Moving forward, I started taking those “reasonable” ideas and putting them on canvas. It felt like I was brushing away the cob webs in the corners of my brain. I don’t know where any of these concepts are going but, I’ll follow.
The Ruben and The Bard Studio 