Manuel Marino, Music and Thoughts » painting

What Are Art Paintings?

James Lunden — Fri, 04 Jun 2010 10:55:42 +0000

For centuries, people have studied the Arts. Millions of artists have come and gone and paintings have graced the walls of a multitude of homes and museums. The love of art paintings is more than just looking at pretty pictures on the walls. The love of paintings includes knowing, and often feeling, just how past artists created their masterpieces.

If you have ever viewed Leonardo Da Vinci’s Last Supper then you have truly looked at art. Da Vinci’s masterpiece became highly popular virtually the minute he finished the last stroke. The King of France during that period fell so in love with this work of art that he wanted to have the entire wall taken down and moved to France.

Michelangelo’s Sistine Chapel has affected people in much the same way. Although not technically a wall painting, it is still a piece of art. The sheer dimensions of this piece are astounding. The fact that he spent four years in creating this masterpiece is even more astounding. The piece is a perfect piece of art.

Whether you enjoy the masterpieces that were created by the most famous artists of all time, or you prefer a more modern approach to art paintings, one thing stands very clear.

The world of art is an amazing and exciting world. From the Revival Period masterpieces to new-age modern art with its often eccentric circles and seemingly endless mysteries, art paintings provide a beautiful way to dress up a wall. From oil paintings to abstracts, these paintings provide the world with beauty and a world of mystery. Artists have been around since the dawn of time. Without them, we would certainly be a much less cultured world, spending far too much time on meaningless tasks and not having the ability to truly appreciate beauty.

Browse over 44,000 art paintings, at Classic Art Paintings.

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American Music and Vintage Guitars

Manuel Marino — Mon, 28 Jul 2008 00:03:12 +0000

Mark Weakley is an impressive artist; sculptor, painter, musician. He plays guitar, banjo and harmonica, and has recently recorded a CD of his original compositions. In this exclusive article he talks about himself, about his passions, about his father, about traditional american music, about vintage guitars and banjoes, and much more.

American Music and Vintage Guitars

My father was a gunsmith and fastidious in his craft. As a boy I once watched him raise a dent in an antique rifle stock. He had dampened a soft white cloth, folded it over a few times and placed on that blemish in the wood while applying the low heat of an iron. He did this patiently for hours, for days it seemed. Why didn’t he just fill it and do some sanding? I know the answer now. That random few moments when I was the youthful observer may have been the most precious thing he left me. It was really the seed of true craftsmanship and it grew within me despite my natural inclinations. It was not an overnight revelation. Not only did I see a glimpse of patience when the word had no meaning to me I also saw that it was the only way to do it right. Anything less is just that.

Around this time, 1960 or so, I was captured forever by the sound of Traditional American Music and struggling to learn the guitar when guitar players were scarce indeed for an Army brat in Munich, Germany. I thought the Kingston Trio were great until an older mentor loaned me his copy of the Harry Smith Anthology Vol. One. He suggested that I might find it interesting.

Interesting? My life simply changed forever and for the better. A door to another most wonderful world slammed open and has not closed for the last forty- eight years. Yes, interesting. It was a strange and mysterious world that opened like the fabled parallel universe. I truly felt, and still feel, that I found of part of me that had been missing. I loved the wonderful names, Blind Willie Johnson, Buell Kazee, The Masked Marvel, Furry Lewis and all the others. I had to know what they were saying and how they said and played. Griel Marcus calls it the “Old, Weird America”. I know it certainly called me to a lost world. These people were making music because they had no choice. It was in them as deep as breathing and money was not the object. At least, not then.

My passion has grown and my playing has improved but I am still drawn to the archaic in all arts. I have learned tunes note for note from these and countless other old recordings. In my later years I have seen that these same tunes are no longer played rote but that I have brought something of my own expression to them. I fear imitation for its’ own sake. Still, I must admit that guitar buddies of mine and I have spent untold hours dissecting each quavering semi-tone of “Dark Was the Night and Cold Was the Ground” by the magnificent Blind Willie Johnson. We do it with love and full knowledge that we will never succeed and rejoice that someone recorded it. To me it’s the most important recording ever made.

My love of vintage guitars and banjoes grew accordingly. ‘Neath beds and in closets they lurk. I am a lover of Martin guitars particularly and was thrilled and honored to illustrate a portrait of Perry Bechtal to used in advertising and as a label inside the guitar itself. Oddly enough it is executed in scratchboard – a technique I learned as a Medical Illustrator.

There came a point when I was hearing my own songs and found the courage to record and release them on my own CD entitled “Farewell to Pony Bob”. We did it in a back room of my house without fear.

I was truly surprised to hear that it is available on PodSafeAudio.com. With thanks to Steve James and Michael Martin bless their souls. Look ‘em up. The visitor to my website, will see that my recent paintings of dogs have included a musical influence. Great care was taken to render the banjo and guitar with accuracy. Those pups deserve the best.

There are times I have been painting or drawing, rendering detail that will read as I want it to, when I happen to notice the time. And it is hours past where I thought it might be. I confess those are moments of pure joy. Time and space went somewhere else for a while. Or maybe I am finally learning to see in the fullest sense of the word. Looking at something becomes not quite enough.

My father knew and I thank him for the lesson.

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Two Words from a Greek Painter

Manuel Marino — Tue, 08 Jul 2008 23:56:49 +0000

Yanna Brouzou is a talented Greek painter. She is also a member of my Yahoo Group. She said me: I am a classical painter (I do sculpture as well) and I am in search of a manager. There is no such thing over here! But that is all I need, you see artists usually are terrible sales people.

How many times I heard similar words… it is the typical condition of the artist, between two worlds, sometimes unable to reach completely one of them.

I paint as they used to paint. I do not use electronic tools, it is just me and my painting.

Yanna is a traditional painter, she sent me a portrait and an ink sketch (high resolution images, download to your desktop and notice the details). Beautiful samples! We have to help her! Send her a message to congratulate and to tell her your ideas about how we could promote her. You can leave also a comment here.

And now, read her words, her two words… about painting, Art and being artists.

Two Words from a Greek Painter

All I am attempting by these few words is to give you a true picture … of classical art, something almost obsolete and misinterpreted, but the little existing today is truly magical.

So let’s start from the beginning of time, when the artist in the caveman society was something like a magus. In those days, the dawn of men, instincts were unspoiled and true. These primitive people were in touch with the Universal Order of Things and they approved of any link that would uplift them. This uplifting is the reason of our evolution after all.

We should analyze what exactly is done by a classical painter/artist. We should analyze what it means to have inspiration, or to be vague of the environment while working, or why we think that it is quite normal for a classical painter/artist to be a little strange, hard to comprehend, but liked…

Well, it is quite simple really, you see these people live standing upon two worlds at the same time, one foot on one and the other on the other. I know this sounds ridicules, but follow me for a little longer, and think of your reaction when you visit an Art Museum. If you have not then do it, because if taken as it should it is a priceless experience.

Now let yourself free, and fall into the pictures. It may be a sunset, a clear day near the water, or the most moving of all a person feeling and transferring to you these feelings through time, always inspiring you to see something you may never have felt before, or to join you with something you are feeling.

This world of feelings is exclusive and by invitation only, invitation by the artist, and exclusive to the ones who are able to feel. You see this world belongs to higher frequencies and the artist is the link, the vehicle that can take you there, where the Universal Status of Things exist, where there is all we call transcendental, where you are inspired, uplifted and able to contact all and everyone you want.

That is all really, the artist is only a link in the chain, connecting transcendental with what you see around you. That is all… but, when you can see the transcendental then perhaps you can comprehend your world a little better.

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Artwork Displayed in Unusual Places

Manuel Marino — Mon, 12 May 2008 00:40:45 +0000

Joyce Boncal wrote this exclusive article for us.

Artwork Displayed in Unusual Places

If you’re young, budding artist, hoping to be discovered, where can you display your artwork? There is always your own web page but I wouldn’t recommend it unless you can afford to advertise that web page. This very web environment, ManuelMarino.com, is a good starting place. You might try your local library. Some libraries show works of art by local artists but are sure to ask if they also sell artwork on commission.

Also consider entering your work at a country fair or displaying your work in offices and restaurants. Contact your area art league for their ideas about local opportunities. If you’re a student at a college, most have yearly art shows. Then there are craft consignment shops selling everything from jewelry to framed photographs.

How about a local laundromat? Wait, before you laugh, think of the high volume of traffic a laundromat gets. I’m thinking of a local laundromat that is a cafe, laundry center, and entertainment hub called Spin Cycle Cafe Laundromat in Newington, CT. In addition to people coming in to do laundry, you have people coming in to eat, people coming in to watch a movie, etc. all the while your painting, photograph, or sketch is hanging on the wall for all the world to see.

At Spin Cycle, on the wall, are several paintings and pieces of art. One captivating piece of work was created by an artist named Lindsey Behrens. It’s a silkscreen piece of artwork where she used two different woodcuts to get the desired effect. The background is the earth as seen from outerspace and the foreground is a caveman in a flying saucer flying over the earth. There is something mesmerizing about this piece of artwork so I wasn’t surprised when I learned that it sold for $210.00.

I called Lindsey to learn about her art education. She studied art in college and gets her art inspiration from her young son and the outdoor environment around her. She heard about displaying artwork at Spin Cyle simply by word of mouth. She recommends young artists try to display their work at art shows, frame shops, galleries, art events, and, of course laundromats.

You just never know where your art talent might be discovered.

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Portrait

Manuel Marino — Wed, 12 Dec 2007 14:39:37 +0000

Today we post this exclusive work of Robert Karl Stonjek. It’s an unpublished ‘meditation’ he wrote in the mid 90s.

Portrait

I had been instructed to ‘just sit’ under this particular tree. I don’t think he had decided on this particular tree beforehand, we just wandered about in the bush for a while, then into a clearing whereupon he said “this is definitely the right one, I can feel it. Can you?” I could, I was sure I could. I nodded.

I was instructed to just wander around, or sit if I wished, or sleep, or just do as I please. I was told not to wander to far, and if I had to urinate to do it over toward a particular bush that was pointed out to me. I was to just be there, that was the important thing – to be there all night. He would be back in the morning with his assistant. Some of my friends had insisted on coming along to watch.

I was told that there was a man in the bush, me, and by morning there should be just plants and animals. It all seemed to make sense. There was a kind of logic to it, but one can’t really explain what it is.

I stayed awake all night. The tiredness I experienced from the ordeal of a freezing night under a tree wondering what I really should be doing had caused some minor hallucinations – I seemed to see things out of the corners of my eyes but couldn’t make out just what they were. I thought “maybe I’m just tired”.

The assistant arrived first and quietly began placing plastic sheets on the ground. On one of them he set up the artist’s equipment, then he left.

About half an hour later, just as the sun began to appear, the assistant led in my two friends who were instructed, in a whisper, to sit on the plastic sheet and remain absolutely silent. I’d say the assistant is in his mid forties, the old artist could be any age between 50 and 75. He is so agile yet has a face that shows age. When he speaks he seems to be just as aware of the immediate future as the past, as if he does not travel along a thread of time as we do but swims in a pool of it.

When he arrived he did not come over to me but wandered over to a tree and asked it how my night had been. Upon reflection I remember that he was chatting to various bushes and flowers as well, asking them about me and whether or not we got along. My friends watched as if they shared a single eye between them.

The assistant quietly gave me instructions as the artist wandered about, gently moving me out of the way on one occasion, then instructing me to stay still at which point the artist walked straight into me, as if I were invisible to him. The artist announced that there was enough of my nature in the surrounding bush for him to work with. He squatted in front of one of the sheets of paper (there may have been a canvas there as well, I’m not sure). He proceeded to work with pastels, drawing the bush as it had been effected by me (the bush captures the spirit – the artist captures the bush).

After a couple of hours the deed was done and the assistant called us all over. He asked me what the significance of various items in the painting were. He seemed to have captured one of the odd wispy things I thought I saw during the night, almost as I had seen it – vague, just out of sight.

“You can’t draw someone’s spirit” he told me, “but I can draw the effect your spirit has on living things. During the night, they absorb as you radiate. During the daytime the flow of energy is reversed. At the right moment there is no difference between the two: there is a fulcrum, a crossing over point. All I have to do is capture the bush on paper, as it captured your spirit through the night, and we have a portrait of your spirit.”

I can never tire of looking at that drawing. As I stand before it I am gradually able to distinguish between a person looking at some depiction of bushland, and my spirit peering into its’ own reflection!!

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