Discounted art has the perfect gift for that special someone. We have the best prices and our art is always on sale. Our custom picture framing and art gallery is perfect for special holiday's such as birthday, Christmas, Mothers Day, Fathers Day, Valentines Day, Anniversay, engagement, wedding gift, house warming and more. Our art gallery features such artists as Pablo Picasso, Picaso, Vincent Van Gogh, vangogh, Andy Warhol, Claude Monet, Ansel Adams, Kim Anderson, Kandinsky, Leonardo Da Vinci, Edvard Munch, Piet Mondrian, Gustav Klimtl, Henri Matisse, Joan Miro, Salvador Dali, M.C. Escher, Rene Magritte, Jackson Pollock, Paul Klee, Roy Lichtenstein, Rembrandt, Cezanne, Seurat, Degas, Manet, and Claude Manet.

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Edwards AFB california art gallery and custom picture framing
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Hacienda Heights california art gallery and custom picture framing
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Hayward california art gallery and custom picture framing
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Hollister california art gallery and custom picture framing
Hollywood california art gallery and custom picture framing
Homeland california art gallery and custom picture framing
Honcut california art gallery and custom picture framing
Humboldt california art gallery and custom picture framing
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Huntington Park california art gallery and custom picture framing
Idyllwild california art gallery and custom picture framing
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Independence california art gallery and custom picture framing
Indian Wells california art gallery and custom picture framing
Indio california art gallery and custom picture framing
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Ione california art gallery and custom picture framing
Irvine california art gallery and custom picture framing
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Jackson california art gallery and custom picture framing
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Jamul california art gallery and custom picture framing
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Julian california art gallery and custom picture framing
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La Canada california art gallery and custom picture framing
La Crescenta california art gallery and custom picture framing
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La Honda california art gallery and custom picture framing
La Jolla california art gallery and custom picture framing
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La Mirada california art gallery and custom picture framing
La Palma california art gallery and custom picture framing
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Lafayette california art gallery and custom picture framing
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Laguna Hills california art gallery and custom picture framing
Laguna Niguel california art gallery and custom picture framing
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Lakewood california art gallery and custom picture framing
Lamont california art gallery and custom picture framing
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Lathrop california art gallery and custom picture framing
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Lemoore california art gallery and custom picture framing
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Lodi california art gallery and custom picture framing
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Los Angeles california art gallery and custom picture framing
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Los Gatos california art gallery and custom picture framing
Los Osos california art gallery and custom picture framing
Lotus california art gallery and custom picture framing
Lower Lake california art gallery and custom picture framing
Magalia california art gallery and custom picture framing
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Mill Valley california art gallery and custom picture framing
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Mission Hills california art gallery and custom picture framing
Mission Viejo california art gallery and custom picture framing
Modesto california art gallery and custom picture framing
Moffett Field california art gallery and custom picture framing
Mojave california art gallery and custom picture framing
Monarch Beach california art gallery and custom picture framing
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Monrovia california art gallery and custom picture framing
Montague california art gallery and custom picture framing
Montara california art gallery and custom picture framing
Montclair california art gallery and custom picture framing
Monte Sereno california art gallery and custom picture framing
Montebello california art gallery and custom picture framing
Montecito california art gallery and custom picture framing
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Montrose california art gallery and custom picture framing
Moorpark california art gallery and custom picture framing
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Mount Wilson california art gallery and custom picture framing
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Napa california art gallery and custom picture framing
National City california art gallery and custom picture framing
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Newbury Park california art gallery and custom picture framing
Newhall california art gallery and custom picture framing
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Nice california art gallery and custom picture framing
Nipomo california art gallery and custom picture framing
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North Hollywood california art gallery and custom picture framing
North Manhattan Beach california art gallery and custom picture framing
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Oak Park california art gallery and custom picture framing
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Oakhurst california art gallery and custom picture framing
Oakland california art gallery and custom picture framing
Oakley california art gallery and custom picture framing
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Ojai california art gallery and custom picture framing
Ontario california art gallery and custom picture framing
Orange california art gallery and custom picture framing
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Palo Alto california art gallery and custom picture framing
Palo Cedro california art gallery and custom picture framing
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Petaluma california art gallery and custom picture framing
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Pinole california art gallery and custom picture framing
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Poway california art gallery and custom picture framing
Prather california art gallery and custom picture framing
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Ross california art gallery and custom picture framing
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Shafter california art gallery and custom picture framing
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Silverstrand Beach california art gallery and custom picture framing
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Taft california art gallery and custom picture framing
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Tiburon california art gallery and custom picture framing
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Tracy california art gallery and custom picture framing
Trinidad california art gallery and custom picture framing
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Tustin california art gallery and custom picture framing
Twain Harte california art gallery and custom picture framing
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Universal City california art gallery and custom picture framing
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Victor california art gallery and custom picture framing
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Vista california art gallery and custom picture framing
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Yucca Valley

Paul Gauguin was the only son of Clovis Gauguin, who was a radical republican journalist. In 1849 his father’s political activities forced the family to go into exile. The family headed to Peru, but Clovis Gauguin died en route. The rest of the family stayed in Lima for four years, a period that had a great impact on Paul. At the age of 17 he joined the French merchant navy, travelling around the world for six years. After the death of his mother in 1867, Gauguin settled down with his wealthy guardian, Gustave Arosa, who had a large art collection, including works by Delacroix. This period in time shaped Gauguin's interest in the Arts. He started collecting Impressionist paintings, and became himself an amateur painter. His transformation from a stockbroker to a full-time painter and artist came after the financial crash of 1882. With the help of Camille Pissaro he became part of the Impressionist movement. His use of broken rhythmical brushwork, and his interest in texture and colour, clearly relates to the work of the Impressionists. In 1887, Gouguin decide to leave France and set sail to Panama together with a painter friend, Charles Laval. To earn a living he worked as a labourer for the Panama Canal Company, but was laid off after two weeks. He soon left Panama to Martinique, where he gained a lot of experience in his development as an artist. In February 1888 he returned to Brittany, where, through the support of Theo van Gogh, he aquired a new sense of confidence in his work. His experience in Martinique broadened his vision and enabled him to develop original interpretations of Brittany scenes. His break with the Impressionist movement came when he started his painting ‘Vision after the Sermon’, where he was more concerned with the inner meaning of the subjects painted. This painting also marked the start of a new style in painting that became kown as Symbolism. Gauguin’s stay with Van Gogh was a traumatic but also fruitfull experience for both artists. The two artists learned a great deal from each other, but they were often at odds, culminating in Van Gogh cutting his own ear. In 1889 Gauguin met Daniel de Montfried, who was to play a significant role in the his career. Although this period had been highly productive for Gauguin, he was deeply depressed and in 1891 he left to Tahiti. He briefly stayed in the capital, Papeete, and then relocated to a remote part of the island. His first stay in Tahiti resulted in a vast artistic activity and a different style. He took every opportunity to study Tahitian old culture and tried to resurrect it in his paintings. Gauguin died at the age of 54 leaving a vast treasure of ‘primitive’ art which inspired a large number of artists.

Jasper Johns most famous paintings Cicada, Dancers on a Plane, Device, Fall, False Start, Flag, Flag above White with Collage, Flag on Orange Field, Fool's House, Green Angel, Green Target, Grey Alphabets, In the Studio, Map, Painted Bronze (Ballantine Ale), Painted Bronze (Savarin), Painting with Two Balls, Racing Thoughts, Scent, Souvenir 2, Spring, Summer, Target with Four Faces, Target with Plaster Casts, Three Flags, Untitled, Watchman, White Flag, Winter "Johns's marks articulate matter on a surface so that it becomes an objective correlative of sensations such as, say, looking without focusing, looking fixedly, looking out of windows, looking into darkness, seeing things grow, seeing them sicken, seeing the passing of a day, feeling threatened, feeling nothing, feeling elated, feeling tears prick the back of one's eyes. Marks of varying tempo, weight and direction caress and bruise and elaborate and disrupt and erode the familiar forms of everyday emblems - flags, letters, numbers, etc. - rather as in a Cezanne marks of varying tempo, weight and direction caress and bruise and elaborate and disrupt and erode the familiar forms of everyday objects - apples, ginger-jars, jugs, etc. "Johns and Cezanne both reconcile a free handling of often substantial paint, like Rembrandt's, with a use of severe, often geometric shapes, like Poussin's: it is not a common synthesis. If Johns reaches it, it is surely through consciously following Cezanne's example. He also reaches an elusive Cezannian synthesis unlikely to be attained by trying: the knack of conjoining solemnity and wit. And then the melancholy conveyed by his marks has the stoicism of Cezanne's. (Comparisons are sometimes made between Johns's marks and Guston's of the '50s, but there's a touch of sugar in Guston that makes them different.) Also, Johns's pictures, like Cezanne's, always hurt and unsettle before they can induce calm. And Kirk Varnedoe surely knew he could equally well have been talking about Cezanne when, meditating on the dialectic in Johns's art between creating and concealing, forming and burying, he said 'Johns is in love with conditions of irresolution'. At the same time, there's no irresolution in the risky games both artists play with the picture-plane trusting themselves not to end up losing it. 'Beginning with a flag that has no space around it, that has the same size as the painting, we see that it is not a painting of a flag. The roles are reversed: beginning with the flag, a painting was made. Beginning, that is, with structure, the division of the whole into parts corresponding to the parts of a flag, a painting was made which both obscures and clarifies the underlying structure. A precedent is in poetry, the sonnet: by means of language, caesurae, iambic pentameter, license and rhymes to obscure and clarify the grand division of the fourteen lines into eight and six.'"Thus John Cage. It was in one of the earliest versions, White Flag, 1955, that the metaphorical implications of simultaneously clarifying and obscuring were most richly realised: forming and melting, tightening and loosening, appearing and disappearing, flowering and decaying, brightness falling from the air. All participles but for one noun, and that's an ethereal one. In other words, I see the work as being about process, not about matter. I don't see the surface as signifying, say, skin or wood but as paint that composes an objective correlative for change. The change has two speeds. In the stars it's allegro vivace, agitated movement, flickering and exploding. In the stripes it's andante. "In 1957-58 Johns immersed himself in greyness in a series of encaustic paintings such as Grey Rectangles and The, where the surface is covered all over by slow, gentle, rather haphazard marks contrasting in tone only as far as they must be to be separable and looking as if they might have been made when half-asleep of half-awake or drugged. Their formlessness is corrected by the insertion into the surface of simple geometric shapes placed symmetrically or by a one-word inscription painted in capital letters of a classical mould. Both devices evoke the tomb, and this matches the elegiac atmosphere engendered by the grey. One of the pictures is inscribed and also entitled Tennyson. Several have a Tennysonian mood: The woods decay, the woods decay and fall, The vapours weep their burthen to the ground ... "When recording an interview with Johns in 1965 1 kept trying to attribute certain precise intentions and purposes to him and he wouldn't have it. 'Intention involves such a small fragment of our consciousness and of our mind and of our life. I think a painting should include more experience than simply intended statement. I personally would like to keep the painting in a state of shunning statement, so that one is left with the fact that one can experience individually as one pleases; that is, not to focus the attention in one way, but to leave the situation as a kind of actual thing, so that the experience of it is variable.' I responded with yet another effort to make something stick: 'In other words, if your painting says something that could be pinned down, what it says is that nothing can be pinned down, that nothing is pure, that nothing is simple.' This false move did have the merit of inviting checkmate: 'I don't like saying that it says that. I would like it to be that.' "That distinction between saying something and being something corresponds precisely to Wittgenstein's distinction between what can be said and what shows itself, and the point about art is that it shows rather than says. Johns's sense of the distinction between saying and showing produced a memorable declaration: 'When you begin to work with the idea of suggesting, say, a particular psychological state of affairs, you have eliminated so much from the process of painting that you make an artificial statement which is, I think, not desirable. I think one has to work with everything and accept the kind of statement which results as unavoidable, or as a helpless situation. I think that most art which begins to make a statement fails to make a statement because the methods used are too schematic or too artificial. I think that one wants from painting a sense of life. The final suggestion, the final statement, has to be not a deliberate statement but a helpless statement.' "Shortly after the recording ended, he added: 'To be an artist you have to give up everything, including the desire to be a good artist.' "From the beginning Johns's art was concerned with concentrating attention on visual nuances much as Cage's music concentrates attention on aural nuances, and with Johns as with Cage that attentiveness generates a particular poignancy. Everything depended on the slightest inflections of the paint or wax or the pencil or charcoal or wash, which meant that the marks had to be on a smaller scale than those which were commonly current. Hence the affinity of the marks in the paintings to those of Cezanne, and of the marks in the drawings to those of Seurat and occasionally of Van Gogh's landscapes (as in Flag, 1958, in Leo Castelli's collection). Johns achieves something of Van Gogh's total translation of life into a script or a complex of scripts. "I said: 'I take it that when you're making art you're often saying to yourself 'It would be interesting to see that."' He answered: 'Or "it would be interesting to do that", which is not the same.' "Commands to himself to do something often occur in his sketchbook notes. ('Make something, a kind of object, which as it changes or falls apart (dies as it were) or increases in its parts (grows as it were) offers no clue as to what its state or form or nature was at any previous time.') He is one who has always been driven to do things by working on some surface or another with some tool or object or another and/or some medium or another. ('Take a skull. Cover it with paint. Rub it against canvas. Skull against canvas.') While a famously philosophic artist, whose work was a key point of departure for conceptual art, he is anything but a conceptual artist. Just look at a catalogue list of some of his drawings and see how many different techniques and media and original combinations of them are there. Johns is a maker. "It may be that focusing on the making diminishes thinking about what one intends the work to mean, leaves the unconscious with room in which to operate, allows meaning to accrue without interference. As Cezanne said: '. . . if I get at all distracted, if my concentration lapses, above all, if I do too much interpreting ... if I start thinking while I'm painting, if I intervene, then crash! bang! the whole damn thing falls apart.' "A recent book has made public the results of aggressive research into Johns's life from which it can be concluded that he had a lonely and painful childhood. John Cage's 1964 text included one deadpan biographical paragraph which made it clear without saying so that Johns had had a childhood of a sort that badly needs redeeming later. "Johns's recent work has made public certain documents relating to his childhood by incorporating into his pictures family photographs and the ground plan of his grandfather's house where he lived for some years. However, there is nothing in the pictures themselves that conveys the personal significance of such material. Johns's work has already contained from the outset far clearer references to his first years inasmuch as so many of his initial themes - flags, targets, numbers, letters, maps, rulers, and a later subject, the puzzle-picture - and then the use of certain techniques - such as rubbing, finger-painting and tracing - belong to the schoolroom and to the nursery; in the light of that paragraph of Cage's, John's activity as an artist has long seemed to have centred on retrieving and resolving his childhood. Nor does he deny it: in 1978 he told an interviewer: 'I certainly believe that everything I do is attached to my childhood . . .' And in 1963, asked why he had done paintings to which he affixed a wire with a fork clamped on, he answered: 'I heard as a child that a man had repaired an aeroplane with chewing gum.' "There's a recent work that goes farther into the past: a series - perhaps a triptych - of untitled paintings each with roughly the same composition and a monochromatic field: from left to right, an oil with a purple ground of 1991-94, an oil with a white ground of 1991; an encaustic with an ochre ground of 1991. The ground is almost bare, with a few emblems scattered around a picture of a picture attached with trompe l'eoil nails. It is a found image, a drawing by a schizophrenic orphaned young girl published by Bruno Bettelheim as The Baby Drinking the Mother's Milk from the Breast. Seeing the triptych (or series) several times without knowing or guessing anything about the drawing, I constantly perceived the bland and immaculate white ground as an ideal image of food - a miraculously smooth and succulent area of icing or ice-cream which was waiting to be licked and licked away. The orphan's drawing and the edible whiteness add up to a symbol of the sucking infant's longing for perfect nourishment; the surrounding emblems include a mouth and two eyes that are also breasts with prominent nipples. Each breast is fenced off by a set of nails with their points outwards. "Assuming that Johns's Flag, 1954, was a classic case of a work of art as epigram, and given that an epigram has to be surprising, simple, witty, subversive, elegant and at best deeply serious, it might be amusing to list some of its predecessors in the first half of the century. Matisse's The Red Studio, 1911, Duchamp's Bicycle Wheel, 1913, Picasso's Absinthe Glass, 1914, Malevich's White on White, 1918, Man Ray's Gift, 1921, Magritte's The Treachery of Images, 1929, Meret Oppenheim's Fur Breakfast, 1936, Picasso's Bull's Head, 1942, Duchamp's Female Fig Leaf, 1950, "As we would expect: first, most of the works are three-dimensional; second, most of them are dada or surrealist. The only pieces which are neither are The Red Studio, White on White and Flag. Each of these is a conceit on the attributes of painting. The inclusion of a structure as complex as the Matisse may be thought questionable if an epigram has to be simple. But the conceit is simple. "The conceit in Flag is to represent an object in such a way that its edges coincide with the edges of the canvas. The space between the object and the spectator is squeezed out of existence. To some extent this gambit was anticipated by Magritte, an artist much admired by Johns, in his Representation of 1937 - and it was certainly a case of anticipation rather than influence because by 1954 the picture had neither been exhibited outside Brussels nor been reproduced. It is a close-up of a woman's pelvis which was presented on a rectangular canvas until Magritte took a pair of scissors and shaped the canvas to follow the outline of the pelvis and then had a frame made to fit. In the realisation, Magritte aimed at illusion and therefore made his paint invisible so that it could look like flesh and skin, whereas Johns, of course, makes the paint more or less as visible as the image. "The story is 'I dreamt one night that I painted the flag of America. The next day I did it.' This sounds like an episode in the life of a biblical prophet. At least one great painter of our time, Francis Bacon, seems to have seen himself as that: 'I don't think I'm gifted; I just think I'm receptive ... I think I have this peculiar kind of sensibility as a painter where things are handed to me and I just use them . . . I suppose I'm lucky in that images just drop in as if they were handed down to me.' Johns might well have felt that images were being handed down to him not only when he first did the flag in 1954 but also when he first did targets and the figure 5 in 1955 and alphabets in 1956 and numbers and all-over grey brushstrokes in 1957 and sculpmetal bulbs and flashlights in 1958 and 0 through 9 and polychromatic explosions with superimposed stencilled words in 1959 and painted ale cans in 1960 and the map of the USA in 1961 and the Skin drawings in 1962. It was as if for those nine years Johns was in a perpetual state of grace. And as if a voice from above then said: 'Jasper, we've done enough for you; you're on your own now.' Suddenly the boy genius had to become a man. Hitherto the struggle had been confined to the realisation of the image; from now on Johns was going to have to hunt the image down. It is true that the legendary passing encounters while out on drives with the prototypes of the pavingstones and the cross-hatching are about finds rather than hunts - but they were still finds, not revelations. (By the way, it was in 1963 that Johns first consented to give a serious interview, as if he were now responsible for what he did.)"The crisis in Johns's history came during the realisation of the Diver drawing measuring about seven feet by six - his biggest and best work on paper. He started it in 1962 and before completing it the following year interrupted work on it to execute in November-December the Diver painting. This too was his biggest piece in its medium yet. The format here is horizontal, slightly higher than the drawing and more than twice as wide. Compositionally it's a five-part polyptych, and it's the centre panel that corresponds with the drawing. And whereas the drawing has the same marvellous fusion of the surprising and the inevitable as the flags and the targets and the alphabets and the maps, the painting seems inconclusive. It was the first of several large horizontal canvases on which Johns was manifestly reaching to become a different kind of artist: According to What, 1964, Studio, 1964, Untitled, 1964-65 (Stedelijk, Amsterdam), Eddingsville, 1965, Studio II, 1966, Harlem Light, 1967. What seem to me the totally resolved works among these were not included in Kirk Varnedoe's retrospective at the Modern - Harlem Light and the first Studio, its explosive trompe l'oeil sunburst of grey on grey next to that great white slanted door an affirmation that Johns, having worked until 1962 on the scale of de Kooning and Guston, also had it in him to perform on the scale of Pollock and Newman. However, he has not often seemed at home when working on fourteen-footers and upwards. "One arresting thing about the Diver is how the scrawls and scribbles lie on the smooth surface of the pair of abutting panels, creating a beautiful tension between the freedom of the artist's gestures and the resistance of that hard dense wooden ground - a ground which in reality is not wood at all but paper mounted on canvas. The band down the middle which is partly lighter in tone is certainly meant to be read as a wooden plank. It is also meant, from the footprints at the top, to represent a diving board. Matching circular vectors traversing the bottom corners indicate the sweep of the diver's arms. Starting at the foot of the vertical band a pair of stylised arms with hands at each end - they look like tribal ritual objects - rise at an angle such that the top pair of the hands is just outside the edges of the band. The lower pair of hands is clearly entering the water. The slightly outstretched upper pair of hands could be a reference to the position of the arms at the beginning of a dive but could also suggest someone in the water crying out for help; they have been interpreted as an allusion to one account of Hart Crane's suicidal dive into the sea. Taken in conjunction with that central vertical band, the arms also hint at a crucifixion. Speculation is encouraged by the work's glowing muted luminosity, and any mystery as to the iconography is far outweighed by the mystery and the drama of the golden and brown tenebroso lighting and the play of free, impassioned drawing within a stark structure. It's as if Rembrandt had been at work on a Barnett Newman. "In the retrospective the work was hung near another very freely handled piece similar in size, Watchman, the painting in oils with a wax-cast of a leg sitting on a real chair, inverted, attached in the top right corner. It was made in 1964, while the artist was in Japan, a sombre work that has always seemed to me the finest of those pieces Johns realised at around this time which, basically through long broad brushstrokes and dribbles of paint, evoke Rauschenberg. Whereas Diver, while expressly being about a descent, is also suggestive of contrary movement, Watchman is a conclusive image of descent. If Diver looks like a Newman done over by Rembrandt, Watchman looks like a Rembrandt done over by Rauschenberg. That is what it looks like; what it is is a Rembrandt done over by Johns. There are so many correspondences in the lighting and the composition - down to the way the chair replaces the Cross and the ladder - that Watchman is clearly, knowingly or not - Johns tells me not - a remake of the Descent from the Cross in the Hermitage. "It is not surprising that the standard critical assessment of Johns's career resembles that of de Chirico's - that each had a marvellous beginning which made him a major influence while he himself was declining well before he was forty. It is not surprising, because Johns had done everything to activate America's powerful drive to sacrifice her gods while the memory of their apotheosis is still fresh. He has played a double game. On the one hand he has toyed obsessively with the motifs that made him famous, and here he has been subject to the law of diminishing returns. A parade of his Flags, say, shows that those reallsed after the first ten years have mostly been less vibrant or coarser, and this has given good reason to perceive him as a typically fading lyric poet. At the same time he has constantly explored new thematic material. As I see it, these explorations have produced a continuing self-renewal, but the view is widely held that they have been arcane, cerebral and aethetically dry. They certainly tend to seem like that when first encountered, but there can be an efficacious remedy, which is to follow Wittgenstein's advice: 'Don't think. Look.' What is sure is that the very extent of John's bipartite production has not helped his cause. The more an artist makes, the more targets he erects. And even a faithful supporter may feel that there are many individual pieces for which it is difficult to see a raison d'ecirctre transcending Johns's compulsion to experiment. "On the other hand, the retrospective showed a rare absence of those fallow periods - fallow in quality - that normally appear in retrospectives, even of major masters. The nearest thing to such a period here was the second half of the Sixties, but these years still produced Voice and Voice 2. Here for once was a retrospective that did not diminish the artist, though I wonder whether the selection could not have done more to convert unbelievers by being less inclusive. The message for me after a dozen visits was that in the pantheon of painters of the second half of the century it could be Johns who sitteth on the right hand of Newman the Father Almighty. If he does, the iconography is rather apt: Newman's art is immaculate and in charge; Johns's bears the scars of recurrent self-crucifixion. "In the latter part of the retrospective Varnedoe confronted the visitor with a wall bearing a juxtaposition of two 1982 encaustic paintings, one of upright, one of landscape format, both with hanging casts of forearms coloured in harlequin patches - one, In the Studio, a dazzling image of daylight; the other, Perilous Night, the most turgid thing Johns has ever done, its left side more crazed than the wildest excesses of Albert Pinkham Ryder. They complement each other as if they ought never to be separated. In both of them the forearms convey conflicting intimations of inert objects hanging useless and of living forms lightly touching the wall with their fingertips - in Perilous Night so living that as I look I sometimes experience the hallucination that those three arms hanging side by side have detached themselves from the wall and started behaving like mythical snakes. "Johns's tellingly emotive use of casts from parts of the body above all, here and in the assorted fragments pinned to criss-crossing lengths of wood in the sixteen-foot-wide Untitled, 1972, at the Ludwig Museum, Cologne - shows how resourcefully he exploits the fact that low relief is the most poignant form of visual art there is. There's a further dimension in the polychromed fragments in Untitled, 1972, fragments that look as if they've been torn away from bodies. They have the lacerating impact that late medieval German polychromed sculpture can have. They are so scary that the wing-nuts and bolts in the carpentry suddenly seem to be thumb-screws. I say this because the atmosphere of the scene suggests that the damage to a body has been inflicted in a martyrdom rather than a battle. This harrowing image is made Johnsian, redeemed from Expressionism, through the alienating visual conceits by which the islands of torn-out flesh are echoed in the flagstones of the two middle panels and both the flagstones and the criss-crossed pieces of wood are echoed in the patches of cross-hatching in the left-hand panel. "In the Studio is curiously Beuysian in atmosphere (see Show your Wound, for example), what with its use of varied repetition and its haunting sparseness. What is especially Johnsian about it is how it concentrates attention on nuances in what we are looking at - for example, the differences in their angles to the wall of the yardstick, the cast of a forearm and the pinned sheet of paper bearing a life-size drawing of a forearm. The other variation presented, in the upper and lower versions of a cross-hatch picture pinned to the wall, is between an intact work and one melting away as we look. That melting process appears again in the work which for me is Johns's most amazing piece of the late Eighties, The Bath, 1988. 1 do not know why this picture moves me so profoundly. Perhaps it is about making Beauty and the Beast coalesce. It brings together two of the most gruesome of Johns's reiterated quotations, in the background a monstrous detail from Grumnewald's Temptation of St Anthony, and pinned to the wall Picasso's grotesque Woman in Straw Hat of 1936, treating them in a palette which could have been borrowed from Velazquez's Rokeby Venus. And then it incorporates the melting process that makes the Picasso head look as if its nose is dissolving into snot. At the same time, it has the lovely melancholy lyricism of a Medardo Rosso wax head of a child. "Is it because Duchamp has been very fashionable in America while Braque has been underestimated that Johns's affinities to Duchamp have been magnified while those to Braque have gone unnoticed? Of course Duchamp inspired him in the Sixties even more than he did most of the leading artists of Johns's generation. And of course Duchamp and Johns became rather friendly: they both lived mainly in New York, Duchamp was a mythical figure yet not difficult to meet kindly and courteously accessible to younger people who had a real interest in knowing him - and it would have been astonishing if he and Johns had not got on extremely well, seeing that both of them had a brilliant, elegant, mordant intelligence and liked to laugh. But it is not certain that Johns learned a lot from Duchamp that he would not have learned from Cage, and they were very different characters despite their shared penchant for taking pleasure in arousing but not satisfying curiosity. Duchamp was more relaxed and dandyish, and while secretive in many ways, did not have Johns's pudeur. Johns said the early Nineties: 'He has qualifies that are foreign to my nature. I think he's more cheerful in his scepticism and more detached.' But even in 1965, at the height of Johns's involvement with Duchamp's thinking, he made it clear what a gulf there was between them when Walter Hopps alluded to Duchamp's professed unconcern with how his artworks looked by comparison with their idea-carrying qualities and asked Johns whether he had ever worked from such a standpoint. 'My idea', said Johns, 'has always been that in painting the way ideas are conveyed is through the way it looks and I see no way to avoid that, and I don't think Duchamp can either.' This links up with the most obvious and perhaps the profoundest difference between them as artists: that Duchamp made as little art as possible and Johns is manifestly addicted to the manual labour of art. "As to influence of particular works on particular works, this seems to have been most active in a few minor pieces. In the realm of major works there's a consensus that, when Johns started in 1963-64 to paint large complex horizontal pictures like According to What, his paradigm was Duchamp's Tu'm of 1918. But on what grounds? Just two or three elements of the iconography. The style has nothing to do with Johns: it is illusionistic; it gives no sense of the presence of the picture plane; the matiére is transparent. These works by Johns may play games with the addition of real objects to a painted canvas, but their central preoccupation is the paint on the canvas, worked, layered, varied in texture, self-assertive. "It seems to me that, knowingly or not, Johns's more complex compositions since the mid-1960s have had a crucial and somewhat increasing resemblance to some of Braque's late Studios, the series of eight mostly large canvases painted between 1949 and 1956, and to some of his other late paintings of interiors. Such a resemblance would not be surprising, for Johns has close temperamental affinities to Braque. There's an extreme introversion that creates a formidable distance from others. And there's that artisanal approach to work: this is something not uncommon among French painters, and Matisse for instance certainly had it, though no one perhaps more intensely than Braque, who seems never to have forgotten his beginnings as a housepainter. Among American painters it is rare. Both those shared attributes are conducive to a shared tendency to nurse a work into existence through an interaction often prolonged for years between idea and realisation. Above all there is even a common atmosphere, present in Braque's Studios as it is in Johns's world as Carter Ratcliff so beautifully evokes it: 'Johns neither illuminates life and death nor tells us how he feels about these massive and murky topics. At most, he tinges them with his sensibility. The nature of that tinge is obscure, a matter one cannot even begin to address before withdrawing to an inwardness as private as Johns's own. His art induces us to be like him: entranced by the elusive but somehow always dependable hum of solitude.' "The resemblance in the works was somewhat obscured at first by the strength of the presence in the Johnses of brushmarks powerfully reminiscent of Rauschenberg and de Kooning. It emerges clearly in paintings of 1984 such as Untitled in the Broad collection and is most obvious in works of the 1990s such as the two large canvases incorporating the ground plan of a house, especially Untitled l992-94. The common iconographic vocabulary of the relevant works includes a skull, a bowl, a jug, a massive arrow, lettering, balls, stars, a silhouette of a male figure, a picture or pictures within the picture, irregular biomorphic shapes filled by stripes or some other regular pattern. The style is a complicated version of Synthetic Cubism. The composition is divided into compartments, sometimes meshing or overlapping. Shapes often look like pieces of paper partly superimposed on others. There's a ubiquitous dialogue between long straight lines and long serpentine lines. The palette tends to be muted. The paint often varies in thickness and texture between one part of the canvas and another. "It looks unlikely but is probably the case that the resemblance is something of which Johns is unconscious - that when calling certain pictures The Studio or In the Studio he wasn't thinking at all of Braque's series, that his constant use in the later works of trompe l'oeil nails is not an allusion to Braque's exploitation of that device in the heyday of Cubism, that any stylistic resemblance derives entirely from an inner affinity reinforced by the inspiration of Cezanne just as it may do when cross-hatch pictures such as The Dutch Wives and the Usuyuki series seem to be emulating the use of straight lines and a grisaille palette in Braque's late analytical cubist paintings to create a tangible space. "Braque's desire, often avowed, to make space tactile achieved its fullest expression precisely in the late Studios, where space appears pleated, melted, folded, bent (to borrow from John Golding's vocabulary). There seem to be hints in certain late works by Johns especially works on paper of an interpenetration between mass and space which, as with late Braque, is fluid but somehow stuttering and sometimes suggests the presence of hidden spaces within. Whether Johns has any conscious concern to make space tactile is an open question. He is not one to compose statements, preferring to be interviewed (which puts the ball in someone else's court), and no interviewer has asked a relevant question. There may be a clue embedded in Johns's answer to a questionnaire addressed to artists in 1977 about what artists they admired, when he cited the Cezanne Bather at the Modern and said 'it makes looking equivalent to touching'

Alfred Alexander Gockel Gockel has a style that would be difficult to describe with words. Abstract, colorful, active, simple, and emotional would be some nice first choices for words to describe his work. His interest in color can be traced back to his childhood. When he was only 8, his first art work was published. He graduated high school, and continued his studies at the Polytechnic Academy in Munster in 1973. There he focused on typography, graphic design and advertising. In 1977 he graduated. He became active as a freelance artist, designer and lecturer of typography and graphic design at the Polytechnic Academy in Munster. Gockel further developed his clean modern stye while working in the advertising industry for many years. He became a full time artist in 1981. A few years after commiting his life to his art he and his wife Ingrid founded Avant Art, which was an art publishing company. Alfred Gockel has been described as highly active and competitive. His art collection is subdivided into two major categories: unique art work and graphics. The unique art is mostly oil on canvas. The art is lively and colorful. The distinctive style is automatically recognized as a true Gockel. The graphic division of his work is comprised of etchings, screen prints and lithographs. Most people buy Gockel because they feel a unique identification with the art and the emotion that it transmits. Gockel purchased a mill in 1988 and converted it to use as a center for graphic printing. This has led to international recognition and the 1990 establishment of two other studios, one in Londoon and the other in Connecticut. We have teamed up with Art.com to bring you this great selection of over 100,000 posters, photos, and fine art prints. Please enjoy browsing these cool posters, and don't forget to check out Art.com's custom framing area!

Wassily Kandinsky "The term "Composition" can imply a metaphor with music. Kandinsky was fascinated by music's emotional power. Because music expresses itself through sound and time, it allows the listener a freedom of imagination, interpretation, and emotional response that is not based on the literal or the descriptive, but rather on the abstract quality that painting, still dependent on representing the visible world, could not provide. "Kandinsky's special understanding of the affinities between painting and music and his belief in the Gesamtkunstwerk, or the total work of art, came forth in his text "On Stage Composition," his play "Yellow Sound," and his portfolio of prose poems and prints Klange (Sounds, 1913). Music can respond and appeal directly to the artist's "internal element" and express spiritual values, thus for Kandinsky it is a more advanced art. In his writings Kandinsky emphasizes this superiority in advancing toward what he calls the epoch of the great spiritual. "Wagner's Lohengrin, which had stirred Kandinsky to devote his life to art, had convinced him of the emotional powers of music. The performance conjured for him visions of a certain time in Moscow that he associated with specific colors and emotions. It inspired in him a sense of a fairy-tale hour of Moscow, which always remained the beloved city of his childhood. His recollection of the Wagner performance attests to how it had retrieved a vivid and complex network of emotions and memories from his past: "The violins, the deep tones of the basses, and especially the wind instruments at that time embodied for me all the power of that pre-nocturnal hour. I saw all my colors in my mind; they stood before my eyes. Wild, almost crazy lines were sketched in front of me. I did not dare use the expression that Wagnet had painted my hour musically.""It was at this special moment that Kandinsky realized the tremendous power that art could exert over the spectator and that painting could develop powers equivalent to those of music. He felt special attraction to Wagner, whose music was greatly admired by the Symbolists for its idea of Gesamtkunstwerk that embraced word, music, and the visual arts and was best embodied in Wagner's The Ring of the Nibelung, with its climax of global cataclysm. One can also presume that Kandinsky, philosophically a child of the German Romantic tradition, was strongly attracted to Wagner's use of medieval Germanic myths and legends, including those of the world's creation and destruction, as symbols that allowed for the translation of his philosophical attitudes toward the world view, religion, and love. For instance, Kandinsky was enthralled by Tristan and Isolde as an expression of undying love and spiritual transformation. But in Wagner there is also an affinity with the philosophy of Schopenhauer, who considered music to be of central importance in man's emotional life."

A Swiss-born painter and graphic artist whose personal, often gently humorous works are replete with allusions to dreams, music, and poetry, Paul Klee is difficult to classify. Primitive art, surrealism, cubism, and children's art all seem blended into his small-scale, delicate paintings, watercolors, and drawings. Klee grew up in a musical family and was himself a violinist. After much hesitation he chose to study art, not music, and he attended the Munich Academy in 1900. There his teacher was the popular symbolist and society painter Franz von Stuck. Klee later toured Italy (1901-02), responding enthusiastically to Early Christian and Byzantine art. Klee's early works are mostly etchings and pen-and-ink drawings. These combine satirical, grotesque, and surreal elements and reveal the influence of Francisco de Goya and James Ensor, both of whom Klee admired. Two of his best-known etchings, dating from 1903, are Virgin in a Tree and Two Men Meet, Each Believing the Other to Be of Higher Rank. Such peculiar, evocative titles are characteristic of Klee and give his works an added dimension of meaning. After his marriage in 1906 to the pianist Lili Stumpf, Klee settled in Munich, then an important center for avant-garde art. That same year he exhibited his etchings for the first time. His friendship with the painters Wassily Kandinsky and August Macke prompted him to join Der Blaue Reiter (The Blue Rider), an expressionist group that contributed much to the development of abstract art. A turning point in Klee's career was his visit to Tunisia with Macke and Louis Molliet in 1914. He was so overwhelmed by the intense light there that he wrote: "Color has taken possession of me; no longer do I have to chase after it, I know that it has hold of me forever. That is the significance of this blessed moment. Color and I are one. I am a painter." He now built up compositions of colored squares that have the radiance of the mosaics he saw on his Italian sojourn. The watercolor Red and White Domes (1914; Collection of Clifford Odets, New York City) is distinctive of this period. Klee often incorporated letters and numerals into his paintings, as in Once Emerged from the Gray of Night (1917-18; Klee Foundation, Berlin). These, part of Klee's complex language of symbols and signs, are drawn from the unconscious and used to obtain a poetic amalgam of abstraction and reality. He wrote that "Art does not reproduce the visible, it makes visible," and he pursued this goal in a wide range of media using an amazingly inventive battery of techniques. Line and color predominate with Klee, but he also produced series of works that explore mosaic and other effects. Klee taught at the Bauhaus school after World War I, where his friend Kandinsky was also a faculty member. In Pedagogical Sketchbook (1925), one of his several important essays on art theory, Klee tried to define and analyze the primary visual elements and the ways in which they could be applied. In 1931 he began teaching at Dusseldorf Akademie, but he was dismissed by the Nazis, who termed his work "degenerate." In 1933, Klee went to Switzerland. There he came down with the crippling collagen disease scleroderma, which forced him to develop a simpler style and eventually killed him. The late works, characterized by heavy black lines, are often reflections on death and war, but his last painting, Still Life (1940; Felix Klee collection, Bern), is a serene summation of his life's concerns as a creator.

'Everything was spotless white, like a laboratory. In a light smock, with his clean-shaven face, taciturn, wearing his heavy glasses, Mondrian seemed more a scientist or priest than an artist. The only relief to all the white were large matboards, rectangles in yellow, red and blue, hung in asymmetric arrangements on all the walls. Peering at me through his glasses, he noticed my glance and said: I've arranged these to make it more cheerful.' Thus Charmion von Wiegand on Mondrian's New York studio. In his Paris studio he had used flowers to make it more cheerful. One tulip in a vase, an artificial one, its leaves painted white. As Mondrian was probably incapable of irony, the tulip was unlikely to be a wry joke about his having had to produce flowerpieces between 1922 and 1925 when he no longer wanted to because there were no buyers for his abstracts. It could, of course, have been a revenge for the agony a compromise of that sort must have cost him. More likely, it was simply a part of the general revulsion against green and growth which made him, when seated at a table beside a window through which trees were visible to him, persuade someone to change places. The artificial tulip fitted in, of course, with the legend of the studio as laboratory or cell, the artist as scientist or anchorite. Mondrian felt it mattered that an artist should present himself in a manner appropriate to his artistic aims. A photograph of him taken in 1908 shows a bearded floppy-haired Victorian man of sensibility. A photograph of 1911 shows a twentieth-century technologist, cleanshaven with centre parting and brilliantined hair; the spectacles were an inevitable accessory. Soft and hairy becomes hard and smooth; one of the great landscape-painters of his generation, one of the great flower-painters of his generation, comes to find trees monstrous, green fields intolerable. The loneliness of the artificial tulip with its painted leaves might seem to suggest that flora were admitted grudgingly, one plant being the next best thing to none. But it probably meant the opposite of that - was probably a sign, not of Mondrian's having become a different person, but of his having remained the same. When Mondrian had painted flowers, he almost invariably painted one chrysanthemum, one amaryllis, one tiger lily. His most personal paintings of trees are paintings of one tree; of architecture, are paintings of a lighthouse or a single windmill or an isolated church - a solitary tower, often with its entrances as if blocked, like a fortress, refusing disruption of its monolithic intactness, its immaculate otherness, its self-sufficient singularity. Likewise the early romantic landscapes are rarely at all panoramic: they usually take in something like a couple of cows and a tree, three or four trees in a row, a group of farmhouses. And the tendency to concentrate attention inwards persists into the paintings and drawings of the sea Of 1914-15: half of them are of a Pier and Ocean. The ocean is not oceanic, consuming, illimitable: it radiates from a vertical motif representing a man-made projection - like the towers jutting into the sky. Only the composition is no longer centripetal. The pluses and minuses of the sea don't converge upon the pier: they do radiate outwards, are then checked by the containing oval within the rectangle of the page or canvas. These works are, of course, among the key transitional pieces between figuration and non-figuration in Mondrian. In the tensions they exhibit between centripetal and centrifugal, they are also representative of his transition from centripetal to centrifugal design. In Mondrian figuration is equated with the centripetal, nonfiguration with the centrifugal. (It is interesting that an artist so exceptionally given to symmetry in his early days should so rigorously exclude it in his maturity.) "Focusing inwards is rejected by Mondrian when the object is rejected. Focusing inwards is involvement. Involvement with objects entails suffering. In the paintings of chrysanthemums - that most centripetal of flowers - there is a sense of concentration that is agonising. It is as if the artist were trying to hypnotise himself by gazing into this flower and as if he were trying to hypnotise the flower into suspending its process of growth, the process that will make the petals fall away, the flowers wilt and die (as it is seen to do in two of the paintings in the series). The rapt quality of the image seems to embody a longing to deny time, the flower is held together with a sort of desperation. In the series of images of trees that followed, the forces of growth can no longer be held in. Growth is seen as an irresistible force moving through the tree - a river of life, spreading, demanding space into which it can expand. Pictures such as The Red Tree reflect not simply a tree seen now, but the way it has evolved, has lived, has been formed, is still in formation, will wither and die. In pictures such as The Blue Tree the urgency of the need to grow is such that it is as if the whole growth were telescoped into one explosive moment like a shellburst. Coursing with life, the trees are twisted images of torment and despair." Intense involvement with living things is involvement with death. If you follow nature, wrote Mondrian in 1920, you have to accept 'whatever is capricious and twisted in nature'. If the capricious is beautiful, it is also tragic: 'If you follow nature you will not be able to vanquish the tragic to any real degree in your art. It is certainly true that naturalistic painting makes us feel a harmony which is beyond the tragic, but it does not express this in a clear and definite way, since it is not confined to expressing relations of equilibrium. Let us recognise the fact once and for all: the natural appearance, natural form, natural colour, natural rhythm, natural relations most often express the tragic . . . We must free ourselves from our attachment to the external, for only then do we transcend the tragic, and are enabled consciously to contemplate the repose which is within all things.' Mondrian could find a repose to contemplate in natural things so long as he could see them with their energy held in check, as with the chrysanthemums. The object was tolerated so long as it seemed to contain its energy. Looking at the trees, he recognised the forces flowing out of them - so that the tendency towards the centrifugal first appears among these images - felt the need to release those forces from objects and objectify them in another way. Attachment had to be transferred from natural objects to things not subject to death. To an artificial tulip, which would be everlasting. To lines which were not lines tracing the growth in space of a tree but were lines not matched in nature, lines proper to art, lines echoing the bounding lines of the canvas itself. The lines which had followed the lines of the boughs and branches and twigs of the trees gave way in 1912 to lines derived from the scaffolding in space of Analytical Cubism. Geometric abstraction by and large has its origin in the flat shapes of Synthetic Cubism, a mode completely foreign to Mondrian. One imagines, in the first place, that he must have disapproved of the fact that Picasso and Braque, having evolved with exquisite logic for four years from the Estaque and Horta landscapes to the shattered luminosity of the hermetic period, suddenly took a capricious sideways leap into the arbitrary improvisations of papier collé. It is known that he disapproved of the fact that, having attained a sublime level of abstraction from nature, they used papier collé to let reality - in all its banality and all its subjection to time - in through the back door - a recourse to nostalgia and materialism. It is evident that he could accept no form of assemblage as a solution. The assembled shapes of Synthetic Cubism ultimately derived from the flat separate shapes of Gauguin. Mondrian's allegiance belonged to Impressionism and Seurat, to their concern with translating a sensation into a mesh of brushmarks. Mondrian's neo-Impressionist brushmarks of 1908-10 were elongated into the short lines of the seascapes and façades of 1914-15 which in turn were elongated into lines extending from side to side of the canvas and seemingly beyond. A painting by Malevich or Van Doesburg or Kupka is an assemblage of shapes. A Mondrian does not consist of blue rectangles and red rectangles and yellow rectangles and white rectangles. It is conceived - as is abundantly clear from the unfinished canvases - in terms of lines - lines that can move with the force of a thunderclap or the delicacy of a cat. Mondrian wanted the infinite, and shape is finite. A straight line is infinitely extendable, and the open-ended space between two parallel straight lines is infinitely extendable. A Mondrian abstract is the most compact imaginable pictorial harmony, the most self-sufficient of painted surfaces (besides being as intimate as a Dutch interior). At the same time it stretches far beyond its borders so that it seems a fragment of a larger cosmos or so that, getting a kind of feedback from the space which it rules beyond its boundaries, it acquires a second, illusory, scale by which the distances between points on the canvas seem measurable in miles. 'The positive and the negative are the causes of all action ... The positive and the negative break up oneness, they are the cau