Wednesday, November 17, 2010
Friday, October 15, 2010
There will also be an all day festival, community garage sale, dinner and other community activites.
Proceeds benefit the church and/or missions. This church is very involved in helping the community, especially helping the homeless shelter Mission Arlington.
Come on out for some food, fun and helping others by bidding on my painting!
Monday, September 20, 2010
Saturday, September 4, 2010
Saturday, August 28, 2010
All About Venus
The Granddaughter of legendary Author Sallie Ann Clarke and western character actor and musician Rusty Lee, Venus is a multi-faceted star of The Arts in her own right.
She might call herself just a simple girl from Texas but Venus is no ordinary woman. The Texas born statuesque blonde beauty was rightly named Venus by her parents who instilled a love and appreciation for The Arts. She was one of those bright stars who began taking ballet at age 4 and recruited her brothers and cousins to perform theatrical shows for her parents. As early as 8 years old she was creating poetry and art and on her way to becoming an accomplished musician and dancer, all while excelling as an honor student. At the age of 12 she won her first award for art from the Hallmark Card Company and by 15 was modeling for local department stores. As a high school student she excelled in Literature, History, French Language and won first place in a Geometry competition. She helped her school win awards for music and dance and singularly won the prestigious honor of being one of thousands to win all blue ribbons for dance at SMU's summer drill team camp not just once but two years in a row.
Venus's achievements did not stop there. In college, Venus was a dean's list student and vice-president of a political club. Her college curriculum was centered on Literature and Creative Writing and it was during this time that she began publishing her poetry in literary journals and began winning awards for poetry. Her interest in history led her to archeology and museum studies in which she participated in the archeological excavation of Nance Farm, historic plantation and former home of baseball legend Mickey Mantle. It was however an art appreciation class that changed Venus's life, and ours, forever, igniting the spark that led her to becoming an accomplished artist.
In 2003 Venus expanded her already impressive repertoire to include acting, making her a full-fledged megastar of The Arts. She began acting in Dallas area community theaters in musicals such as "Damn Yankees" and "Best Little Whorehouse In Texas". She progressed as an actress into commercials for Radio Shack and Mary Kay and a number of feature films like "Blind Corner", "Confessions" and "Rain". Venus also received recognition at this time as a model, which she considers to be yet another art form, having been recognized on websites such as AmericanModel.com and the Domino Dolls Model Promotion Team being called one of the most beautiful and sought after women in the world.
It was not until 2005, amidst acting and modeling that Venus turned to what would become her greatest passion...art. Completely self taught, she used her knowledge of Art History as her sole guide for painting, having no training as an artist whatsoever. The evolution of her art is no less than astounding. In only 5 years she has accomplished what is almost unthinkable, having created over 1000 works of art and having sold more than half of them to art collectors around the globe. As a budding artist, Venus has experimented with every style and medium imaginable from small scale miniature paintings to massive gallery sized paintings, photography, and sculpture. She takes her inspiration from her travels through life, nature, culture, emotion, and beauty in ways that create new and unique visual arts. In 2006 she participated in an all female art Exhibition in Dallas and has been perfecting her craft and selling her work both privately and via the internet. Her work has been featured in a number of blogs and art articles, as well as hundreds of features by some of the internets most popular art galleries such as Etsy, Deviant Art and others. What began as a curious whim has developed into a well-established career as an artist, one that promises to be a notably memorable one.
As if it wasn't enough to be such an accomplished renaissance woman of The Arts, friends and family as well as those in her community know her as being one of the kindest and most generous individuals they know. A true humanitarian at heart, Venus is known for being the first to lend a helping hand to friends and even to strangers in need. She has a rare appreciation for life and others that many fail to recognize or take for granted. Her sweet giving nature is acknowledged quietly and humbly though her lifelong interests in human and animal welfare have touched and impacted many lives. Today she is involved with a number of charities regularly that are very close to her heart, particularly those that aid women and children, animals and veteran and active military soldiers, to whom she donates a portion of every painting sale.
Venus is also an avid reader and book collector with scholarly interests that include American, Russian and British history, American Revolutionary and Civil War history, World War II history, politics, anthropology, and Classic Literature. She enjoys restoring antiques, learning about other cultures, gardening, traveling, fashion, decorating and cooking, is an expert genealogist, and studies art on a daily basis.
The irony that someone named after the mythical goddess of love and one of the most famous works of art in the world would become such a loving person and talented artist is touchingly prophetic. Venus is a truly rare and fascinating gem of the world. There is no one like her. Few can say they have accomplished as much as she has in an entire lifetime. As Venus's career as an artist continues to flourish with new works continually underway, her many talents as an artist and humanitarian prove to be of prolonged interest as to what she will do next and how she will impact our world. Undoubtedly, she is a megastar who possesses the means to become one of the legendary artists of our time.
Friday, August 27, 2010
Monday, August 2, 2010
Thursday, July 29, 2010
Wednesday, July 7, 2010
Wednesday, May 5, 2010
NEW YORK - A 1932 Pablo Picasso painting of his mistress has sold for $106.5 million, a world record price for any work of art at auction.
"Nude, Green Leaves and Bust," which had a pre-sale estimate of between $70 million and $90 million, was sold at Christie's auction house on Tuesday evening to an unidentified telephone bidder.
There were nine minutes of bidding involving eight clients in the sale room and on the phone, Christie's said. At $88 million, two bidders remained. The final bid was $95 million, but the buyer's premium took the sale price to $106.5 million.
Conor Jordan, head of impressionist and modern art for Christie's New York, said he was "ecstatic with the results."
"Tonight's spectacular results showed the great confidence in the marketplace and the enthusiasm with which it welcomes top quality works," he said.
The striking work of Picasso's muse and mistress Marie-Therese Walter has been exhibited in the United States only once, in 1961 in Los Angeles to commemorate the 80th anniversary of Picasso's birth. The painting, which measures more than 5 feet by 4 feet, shows a reclining nude figure with an image of Picasso in the background looking over her.
The painting had belonged to the late California art patron Frances Lasker Brody, who bought it in the 1950s. It had been kept in her family since then.
Part of the sale proceeds will benefit the Huntington Library, Art Collections and Botanical Gardens in San Marino, Calif., where Brody was on the board.
The previous record for a work of art at auction was $104.3 million for "Walking Man I," a sculpture by Alberto Giacometti sold on Feb. 3 at Sotheby's in London. The previous high price for a Picasso work was $104.2 million for "Boy With a Pipe (The Young Apprentice)," attained in 2004 at Sotheby's New York.
On Wednesday, another rarely seen Picasso is slated to sell at Sotheby's auction house. "Woman in a Hat, Bust" is a 1965 work inspired by Jacqueline Roque, the last love of Picasso's life. It is estimated to sell for $8 million to $12 million.
The work hung for 50 years in the Manhattan apartment of Patricia Kennedy Lawford, a sister of former President John F. Kennedy. It's being sold by her estate.
By Ula Ilnytzky
The Associated Press.
NEW YORK — On Tuesday night, a painting dashed off by Picasso in just one day in 1964 became the most expensive work of art ever sold at auction as it rose to $106.5 million.
It took Christopher Burge, Christie’s premier auctioneer, eight long minutes to raise the picture, dubbed “Nude, Green Leaves and Bust,” above the hitherto unattainable $100 million barrier. Mr. Burge opened the bidding by calling out $58 million and raised the stakes by $1 million increments. From $77 million, four new bidders, sitting in the room or operating over the phone, jumped into the fray. From $86 million on, the contest was confined to two telephone bidders. They fought it out until Mr. Burge brought down his hammer on a $95 million bid made under the paddle number 1709, which, with the sale charge, raised the full price to $106.48 million, to be precise.
Spectacular as it may seem, this figure was not entirely unexpected. Only moments before the auction began, Christie’s specialists were confidently quoting an estimate set at $70 million to $90 million. That estimate had not varied for weeks. This is in marked contrast with what often happens in the auction world, when excitement grows among potential buyers as the auction day approaches, leading auction houses to revise their expectations upward.
Indeed, there was a precise reason for the unwavering assurance displayed by the auction house specialists. A full “third party guarantee” had been negotiated by Christie’s that duly warned prospective bidders, as the law requires. This legal phrase means that the minimum price demanded by the owner consigning the work of art, which remains undisclosed, will be paid to the consignor whether the work sells or not. The financial commitment is made not by the auction house, but by the “third party” willing to have a flutter at the poker game that auctions have become. If the work sells above the guarantee, the difference is shared by the auction house and the third party in question according to variable proportions. These are freely negotiated before the sale and specified in the contract signed by the auction house and the third party, but they are never disclosed to the public.
This complicated arrangement alters the nature of the auction. It is no longer a free contest where the vendor takes his chances and the buyer fights off spontaneous competitors equally wanting to acquire the work.
The first 27 lots in Christie’s auction consigned from the collection of Mrs. Sidney F. Brody were all covered by a guarantee. However, with the exception of the Picasso, this was an ordinary third-party guarantee in which the auction house and the third party jointly shoulder the guarantee according to proportions contractually stipulated but not publicly released.
This did not inhibit buyers. The Brody collection was a phenomenal success. Its lots added up to $224 .17 million. The session was only into its second lot when Georges Braque’s “La Treille” set a world record for the painter at $10.16 million, far above the highest expectations.
Two lots down, the bronze figure of a cat by Alberto Giacometti, cast in 1955, exceeded an estimate that seemed very optimistic, selling for an extravagant $20.8 million. A Marino Marini bronze of a rider, “Piccolo cavaliere” followed at $2.32 million, also more than the highest estimate, and it was then that the record Picasso came up.
The wave of enthusiastic bidding had paved the way for it. The symbol informing bidders that the guarantee had been entirely financed by the third party warned them that Christie’s felt uncertain about the possible outcome at the huge level at which the Picasso was “estimated” and was unwilling to take any financial risk, should the painting not sell at the minimum level that had persuaded the consignor to let go of her property.
The fact that the Picasso did so well, exceeding by $5 million the $90 million upper end of the estimate, says everything about the irrepressible wave of enthusiasm that carried art buyers on Tuesday night. Christie’s specialists candidly admitted that they had worked very hard at vaunting the merits of their offerings to prospective buyers. These are apparently unfazed by the thought that they are effectively made to pay what the vendors want.
The problem is that the method employed artificially whips up prices. It sets the market on the same dangerous inflationary course that precipitated two decades ago an abrupt crash followed by a slump, from which it only recovered gradually after many painful years.
Several other works in Christie’s auction Tuesday were covered by full third-party guarantees, betraying the auction house management’s private jitters about their own ambitions. On the whole they worked satisfactorily.
Alberto Giacometti’s bronze “La main” cast in 1948, climbed to a staggering $25 million, nearly 50 percent more than the high estimate. Later Picasso’s “Femme au chat assise dans un fauteuil,” painted in 1964, brought $18 million, exceeding the high estimate by 10 per cent.
But there were some bad hiccups. Edvard Munch’s “Fertility” painted around 1899-1900 in a wild Symbolist style that lacks the energy of his later Expressionist phase never stood much chance of making it to the astonishing $25 million to $35 million (plus the sale charge) estimate printed in the catalogue. “Fertility” failed to sell as Mr. Burge called out in vain “$23 million.”
Christie’s enjoyed a fantastic success, raking in $335.54 million at the end of the day and thus posting the highest total since 2006. It would be a pity if auction house managers ignored the warning not to overplay their cards that the failure of the Munch and of a few other works, adding up to almost 20 percent of the lots, amounts to.
by Souren Melikian
New York Times
Thursday, April 8, 2010
April 7, 2010, 12:05 PM EST
LOS ANGELES (AP) -- An over-the-top portrait of Michael Jackson is going up for auction online.
The eBay.com auction of the 50-by-40-inch painting by Australian artist Brett-Livingstone Strong will launch Wednesday evening, the portrait's owner said Tuesday. The colorful portrait, titled "The Book," and reportedly the only painting for which the King of Pop ever posed, depicts Jackson in a red velvet jacket, clutching a journal at his Neverland Ranch.
"I've had it an awful long time," said toy inventor Marty Abrams, who acquired the painting with partner John Gentilly in 1992 from Japanese businessman Hiromichi Saeki as payment on a debt owed to them. "With the positive response to his music and the movie about him after his death, we thought it was a good time to sell it and for the world to see it."
The painting was originally sold to Saeki for $2.1 million in 1990. Abrams said the painting was appraised by Belgo Fine Art Appraisal and Restoration at $5.3 million in 2000, but he believes it is worth more now. Abrams hopes it will fetch over $3 million in the auction, which is scheduled to end April 17. The minimum starting bid will be $2.75 million.
"Frankly, I thought instead of trying to call out to other people, let's bring the people that are really interested to us," said auction organizer Marc Samson. "The idea of doing it on eBay in an auction format seemed to make the most sense. When Marty's son, Ken, came to me with the painting, it hit me across the face. This is the way to get it out there."
Tuesday, March 30, 2010
Vincent Willem van Gogh
Monday, March 29, 2010
Sunday, March 28, 2010
Sunday, March 21, 2010
Saturday, March 20, 2010
Tuesday, March 16, 2010
20 years later, biggest art heist still a mystery
Investigators make renewed push to find loot valued at half a billion dollars
By Steve LeBlanc
BOSTON - It remains the most tantalizing art heist mystery in the world.
In the early hours of March 18, 1990, two thieves walked into Boston's elegant Isabella Stewart Gardner Museum disguised as police officers and bound and gagged two guards using handcuffs and duct tape. For the next 81 minutes, they sauntered around the ornate galleries, removing masterworks including those by Rembrandt, Vermeer, Degas and Manet, cutting some of the largest pieces from their frames.
By the time they disappeared, they would be credited with the largest art theft in history, making off with upward of a half-billion dollars in loot far too hot to sell.
Now, 20 years later, investigators are making a renewed push to recover the paintings. The FBI has resubmitted DNA samples for updated testing, the museum is publicizing its $5 million, no-questions-asked reward, and the U.S. attorney's office is offering immunity.
Two billboards on Interstates 93 and 495 are also advertising the reward.
"Our priority is to get the paintings back," U.S. Attorney Carmen Ortiz said. "If someone had information or had possession of the paintings, immunity from prosecution is negotiable."
Investigators say they've largely ruled out some of the more popular theories, from the specter of a recluse billionaire art collector to the hand of notorious Boston gangster Whitey Bulger.
More likely, investigators say, the two were homegrown thieves with knowledge of the museum's security system — including the absence of a "dead man's switch" that would have alerted police. They might have even underestimated the breathtaking scope of their crime.
"I picture the thieves waking up the next morning and looking in the papers and saying, 'We just pulled off the largest art theft in history,'" said Anthony Amore, the museum's security director.
Men took their timeThe theft began around 1:24 a.m. when the two white men — one in his late 20s to mid-30s, the other in his early to mid-30s — overpowered the guards, according to an FBI report.
The two took their time. A full 24 minutes passed before they were first picked up on a motion detector entering the museum's second floor Dutch room, where the most valuable paintings were seized.
Investigators believe the first nabbed was Rembrandt's iconic "Storm on the Sea of Galilee," measuring about 5-by-4 feet and dating to 1633. The frame was laid on the floor where one of the thieves neatly sliced it from its frame.
Next was "Landscape with an Obelisk" by Govaert Flinck.
The most valuable pieces was Vermeer's "The Concert," an oil painting measuring about 2 1/2-by-2 feet from 1660 — one of only 36 known works by the Dutch master and valued at more than $250 million, Amore said.
It was the first of many odd twists investigators have puzzled over as they mapped the route the thieves using motion detector records.
Odd pieces stolenAfter the heavier works of art were removed from the walls, the thief in charge — possibly the older of the two — might have let the younger thief take what he wanted.
Amore believes the second thief found his way to a nearby gallery, lifting smaller Degas drawings of horses while passing up more valuable works of art including one by the Italian painter Botticelli.
The thieves also tried to remove a flag of Napoleon's First Regiment from its frame before giving up and making off with a bronze finial in the shape of an eagle from atop the flag — ignoring more valuable letters with Napoleon's signature.
Then came a final puzzle.
"If we ever speak to the thieves, which is secondary, I would like to say, 'Why did you take that? Why did you pass by the Raphael?'" Amore said.
On their way out, the two thieves smashed their way into the security office and snatched the only visual record of their crime — a VHS tape.
In all, 13 works disappeared.
'Missing that last chapter'FBI agent Geoffrey Kelly, who has led the investigation for eight years, said it's unlikely the thieves destroyed the art.
"If it were any other kind of commodity, I might feel pessimistic about recovery, but with art it's not uncommon to stay missing for long periods of time," he said. "It's one of the most interesting novels you could write, except it's missing that last chapter."
For those drawn to what happened that March night, the lure of the theft won't fade.
"For the most part, thieves steal these works because it's easy to do and they're worth a lot of money, and then they become too hot," he said. "You can't sell them on eBay. You can't bring them into an auction house."
Amore said he won't stop until the paintings again fill the empty frames still hanging in the museum's galleries.
"I don't have any doubt we are going to recover them," he said. "There's nothing we're not doing."
Monday, February 15, 2010
Wednesday, February 3, 2010
LONDON - A life-size bronze sculpture of a man by Alberto Giacometti was sold Wednesday at a London auction for 65 million pounds ($104.3 million) — a world record for the most expensive work of art ever sold at auction, Sotheby’s auction house said.
It took just eight minutes of furious bidding for about ten bidders to reach the hammer price for “L’Homme Qui Marche I” (Walking Man I), which opened at 12 million pounds, Sotheby’s said.
The sculpture by the 20th century Swiss artist, considered an iconic Giacometti work as well as one of the most recognizable images of modern art, was sold to an anonymous bidder by telephone, the auction house said.
Sotheby’s had estimated the work would sell for between 12 to 18 million pounds.
The sale price trumped the $104.17 million paid at a 2004 New York auction for Pablo Picasso’s 1905 “Boy With a Pipe (The Young Apprentice).” That painting broke the record that Vincent van Gogh had held since 1990, and its sale was the first time that the $100 million barrier was broken.
“L’Homme Qui Marche I,” a life-size sculpture of a thin and wiry human figure standing 72 inches (183 centimeters) tall , “represents the pinnacle of Giacometti’s experimentation with the human form” and is “both a humble image of an ordinary man, and a potent symbol of humanity,” Sotheby’s said.
The work was cast in 1961, in the artist’s mature period. It is rare because it was the only cast of the walking man made during Giacometti’s lifetime that has ever come to auction, Sotheby’s said. It was bought by Dresdner Bank in the early 1980s.
The last time a Giacometti of comparable size was offered at auction was 20 years ago. That sculpture was sold for $6.82 million, a record for Giacometti works at the time.
Tuesday, February 2, 2010
Inside I was laughing hysterically. Or else I was weeping with sadness.
I wanted to tell her to open her needle thin mind. The idea is that even if you don’t like an artist’s style, at least you can appreciate the work. Especially if you are an artist. Not her. Which I found rather shocking coming from someone who is a supposed art expert. She is someone who thinks Thomas Kinkade is God’s gift to art. And it was very obvious and rather sad to find that she is so limited in her appreciation of a huge, beautiful world of art variety.
To hear someone bash Picasso and praise Thomas Kinkade, I had to write this.
While I can definitely appreciate Thomas Kinkade’s work and achievement, at this point I have to wonder what happened to the actual “art” in his art?
When I saw Thomas Kinkade himself on some home shopping show pushing Thomas Kinkade teddy bears for like $100 I think I threw up a little. The way they were describing it you would have thought it was made of ancient Chinese silk and 24 carat gold. There was no art on the bear. I think it was holding an alphabet block and that was it. Big whoop. And how much are they?!! It made me feel icky. It makes me feel like at this point he is swindling little old ladies, making them think they are buying something valuable when they aren’t.
His work is so overproduced that here you have these little old ladies collecting like 26 of his prints, (as one caller claimed), thinking they have something of value when in fact it is my belief that at this point his work is less valuable than what people are actually paying for it.
15 or 20 years ago perhaps his prints were worth something but now…..uh uh. He is diluting his own value by overproducing his work.
I see this happening to Thomas Kinkade’s work. Unless you buy one of his original paintings or early reproduction, you are wasting your money. When I saw a deck of Thomas Kinkade playing cards I knew it was all over. At least for collectors. Not for him obviously. He is making millions. But for self proclaimed “collectors” of Thomas Kinkade, his work is a money vacuum.
There is no “limited edition” in overproduced work. The value is in the rarity. So don’t waste your money. You would be better off investing in a beautiful ORIGINAL landscape by someone no one has ever heard of.
Thomas Kinkade paints pretty landscapes. There is no knocking that. But he’s a one trick pony. They are all houses with flowers and light. It’s the same thing over and over again just in a different composition. Yawn. There is no genius in that. I’m no artistic genius but I could reproduce one of his paintings stroke by stroke if I wanted to. Picasso and Dali on the other hand, it would take an artistic genius to reproduce one of their works.
Every painting Picasso and Dali painted were different from the previous. That is the true genius of their work. They painted many things and in many styles. If you think Picasso only painted cubist women you are sadly mistaken and I would encourage you to explore his other work. I would encourage you by saying don’t limit yourself to just one artist or one style. There is a great big world of magnificent art out there! If you like Thomas Kinkade’s style, have a look around, there are thousands of other unknown artists who paint paintings that are just as or more beautiful that cost far less than his reproductions and will possibly be worth a lot more. And if you still insist on buying Thomas Kinkade’s work, seek out the early pieces and research them thoroughly.
As for my work, that ‘art expert’ told me my work was “unique”. And the way she said it was not a compliment. She said it in a looking-down-her-nose-at-me way. But I actually take it as a huge compliment. Unique is what I was aiming for. Mission accomplished.
Here are some magnificent lesser known works by Picasso and Dali for you to enjoy.
WORKS BY PABLO PICASSO
Acrobat and Young Harlequin.
1905. Oil on canvas. Barnes Foundation, Lincoln University, Merion, PA, USA.
1895/96. Oil on canvas. Museo Picasso, Barcelona, Spain.
1919. Oil on canvas. Musée Picasso, Paris, France.
Portrait of Olga in the Armchair.
1917. Oil on canvas. Musée Picasso, Paris, France.
Science and Charity.
1897. Oil on canvas. Museo Picasso, Barcelona, Spain.
Self-Portrait in Blue Period.
1901. Oil on canvas.
1905. Oil on canvas. The National Gallery of Art, Washington, DC, USA.
Portrait of Mme Olga Picasso.
Olga Kokhlova is Lying in the Foreground. 1919-20. Crayon.
The Old Guitarist
$104.17 million was paid for this painting at a 2004 New York auction.
The highest selling painting on record.
SEE MORE PICASSO WORKS HERE
WORKS BY SALVADOR DALI
1926. Oil on panel. 31.5 x 31.5 Salvador Dali Museum, St. Petersburg, FL, USA.
1926. Oil on canvas. 21 x 21.5 cm. Gala-Salvador Dali Foundation, Figueras, Spain.
1924. Oil on canvas. 70 x 60 cm. Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain.
Landscape at Cadaqués. ca.1922. Private collection.
1958-9. Oil on canvas. 410 x 310 cm. Salvador Dali Museum, St. Petersburg, FL,
(after Vermeer) 1954-55. Oil on canvas. 23.5 x 19.7 cm. The Metropolitan Museum of Art, New York, USA.
1934. Oil on panel. 15.8 x 22.1 cm. Wadsworth Athenaeum, Hartford, CT, USA.
SEE MORE DALI WORKS HERE