Oil Painter - Few Amazing Tips to Become Good Oil Painter: By Murtaza Habib

Oil paint contains a unique process and an artist has to understand it properly, if he wants to create a better painting. The purpose of this article is to make sure that you learn the basic process of oil painting and create beautiful painting. The basic law of oil painting is to find out the technique that suits your style and personality.

It's important that you learn the language and laws of oil painting as under, if you are new to this painting style.

1. This paint is wet.
2. This painting style is done using brushes.
3. It is different as compared to other painting media you have been using.

You have to think like an oil painter to create good oil paintings. Accept the fact that the oil painter looks at the world differently as compared to other people. Don't focus on the subject that is given to you for painting.

Keep the oil paint in your mind and treat the subject like the process only. Clear the process in your mind and apply the action using your brush. When you gain this thinking style, you can create any kind of painting no matter what the subject is. Don't take this point lightly, because I have told you the secret that I have never told anyone as yet. You should have your own unique style to see the world.

Capture the new ideas and make a note if possible. Always be confident about your success while creating the painting. Choose the right method that suits your style and keep going on. Don't confuse yourself by asking many questions regarding the selection of surface, brush and other stuff. You just need to keep remember all the procedure required to create the painting.

If possible then read the oil painting books and gain deep knowledge regarding this painting style.

Learn from todays expert how to paint and draw step by step with the help of pictures on your core subject whether it is oil, watercolor, acrylic, fabric painting, pencil, cartoon drawing, or digital art.

Explore your creativity with these 1750 tutorials - Painting and Drawing lessons [http://www.paintonmycanvas.com/ezine.html]

'Murtaza Habib' has helped hundreds of newbies to start their painting courses, now you can do it too...



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Oil Painting Without Brushes

As a known fact a paint brush is the most common mode of application of an oil color. However there are other methods also to apply paint on to a surface. This article speaks about the different methods of application of paint onto a surface other than the usual paint brushes.

Palette Knives

When you hear about palette knife you would be thinking about palette isn't it? Palette knives have been a traditional tool for mixing the paint. They are the most apt tool to be used for creating smooth and consistent mediums of paints. However there are many painters who use the palette knife in addition to be used as mixing tool, they straight use the palette knife on to the painting surface.

These knives come in different shapes and signs. They are also available in plastic. As far as the mixing is concerned one shape or size is more than sufficient but as the case of using it as a paint brush is considered, the selection of the knife is made in the same way as the case of selecting brushes is considered. There is no shape or size which we can say is right or the apt one for usage. Experimentation is the key if you are working with palette knives if you are considering working with knives. Try the different shapes and you can select the one that gives you the best effects. Generally small and thin brushes are best suited for lining and big knives are the best for loading on the paint.

Stencils

Many artists love using stencils in their paintings. This usage is loved by them especially when there is a usage of repetitive effect and stylish shapes. Stencils are a useful tool. There are pre made stencils available or you even an option of making stencils with your stencil kit. Ensure that you use the right materials for best results.

Stencil usage in paints is not a traditional method so there is no scope that you can find any tutorials for teaching you the technique of stencils. But is important that you keep in mind the fundamentals of the medium like the fat over lean. You might have noticed that in case the paint is thin in consistency then it stagnates around the edges, so in such a case it is important that you apply a thicker layer of painting. Stenciling is a very interesting art, however it is used as one of the under layers but it has amazing effects.

Rags, Sponges, Fingers

Rags, sponges and of course your fingers are all innovative tools in oil painting which can occupy the place of a paint brush.

Ben Jonson is a Copywriter of oil paintings http://www.paintingmax.com He has written many articles like Canvas oil paintings. For more information visit our site [http://www.paintingmax.com/] - Contact him at paintingmax.ben@googlemail.com

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Most VALUABLE Art Thefts in History

Five Most Common Problems Beginner Painters Have

For people who are interested in learning how to paint with either acrylic or oil paint may experience a few common learning problems. These are the most common problems people have when they are learning how to paint. You can overcome these common problems with some basic knowledge and problem solving skills that will eventually get you past these difficulties.

There are five common problems beginner painters have:

1. Very little experience in drawing prior to learning how to paint.

You really need to have some knowledge or experience in beginning drawing before you ever pick up a paint brush. Using a pencil to draw is a lot easier skill than using a paint brush. You should have some basic knowledge about shapes, forms, lines, and values (shading) to enable you to understand how to manipulate colors in your paint. You need to take your time and not hurry through your drawing in order to get the composition of your picture placed in the most effective way in your picture. If you can draw out the picture in a sketch book prior to actually drawing it on your canvas; this will help to iron out any problems that may arise with your composition. Having some skill and practice at the drawing level will definitely help you have a more successful painting.

2. Not being organized from the beginning with how you set up your palette.

When you first learn how to paint you need to be organized with all your paint colors from the beginning. That means to set out your paints on your palette in the same order every time. Try to leave the most room on your palette for mixing your colors. You will have to mix just about every color you use to paint with so you need to have room on your palette for these color mixtures. As a beginner, you will be using trial and error to get the color you want and this will take time and practice to learn which colors you need to mix together to get what you want. If you put your paints out all over your palette with no apparent order, you will not have any room for mixing and will end up having to clean off your palette and starting with a clean palette.

3. Not putting enough paint on your palette the first time.

Many beginner painters will squeeze out a tiny bit of paint on their palette and find that they run out of that particular color rather rapidly and need to get more from the tube again. This can be a problem when you are using that particular color to mix with to make another color with. Don't be stingy with the paint, it is OK to squeeze out a generous amount of paint onto the palette. The paint will stay moist for several days (especially if you put it in the refrigerator) You will use up the paint eventually.

4. Brush work problems of over-doing the brush strokes,

Another common problem beginner painters have is they repeatedly paint over the same area inadvertently ending up with mud. There is a tendency to keep on stroking the same area in the hope it will magically change into something they are trying to do. Unfortunately painting doesn't work that way. Each paint stroke needs to be thought out carefully and done in a way that will not interfere with the other colors. Some of the color do not go together well and this may be the cause of the "mud" in the end. It is very frustrating for the beginner painter to encounter this problem. It is a matter of learning the color theory and learning more skill at handling the paint brush. This comes with time and experience.

5. Forgetting to clean the paint brush frequently and especially between colors.

It is vital to clean your brush frequently while you are painting. Especially when changing to a different color. For a beginning painter it is very easy to forget to clean the brush and accidentally contaminate one of your lighter colors with a previous darker color you were using. This can happen either on the palette or on the canvas. If it happens on the canvas it can sometimes be difficult to fix the area, you may have to just wipe the area off and start again. Even if you don't clean your brush off in the turp solvent, you can still just wipe it off on a paper towel or a rag and that will help.


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History of Western Paintings - The Ancient Near East

Palaeolithic people led an unsettled life; this nomadic society of hunters and gatherers has little control over their food supply. Beginning around 8000 B.C. however, people began to grow their own food, raise their own animals, and organise into permanent communities. Although, like their Palaeolithic predecessors, the Neolithic people (from neos, meaning "new" in Greek) used stone to make basic weapons and tolls, organised agriculture and animal husbandry left more time and labour for other activities, including the production of clay vessels. Since their size and weight made them difficult to carry, clay vessels are characteristic of stationary communities.

Neolithic villages made their first appearance in the Near East, an area consisting roughly of modern-day Turkey, Iraq and Iran. A late example of Neolithic painted pottery from this region is a beaker from Susa (present day Shush in Iran) dating to c. 4000 B.C. The highly abstracted animal forms contained within patterned borders are common to many works of art from this area. Decoration takes precedence over naturalism to create designs with beautiful stylised animals, such as the thin band of elongated dogs beneath a frieze of graceful long necked birds around the top of the beaker, and the marvellous ibex with circular horns, it's body composed of two curved triangles, that dominates the large central portion. In contrast with Palaeolithic depictions of animals, which may represent attempts to control the animal kingdom, animals, now domesticated, seem simply to decorate this Neolithic vase.

The Paleolithic peoples who created cave paintings were monadic hunters and gathers. Neolithic culture (New Stone Age), which first appeared in the Near East c. 8000 B.C. is characterised by settled villages, domesticated plants and aminals, and the crafts of pottery and weaving. The highly abstracted, stylised animals forms, representative of the "Animal Style", and patterns decorating this Neolithic beaker from Iran are commonly found in workds from the ancient Near East. An ibex (wild coat), with enlarged, circular horns and a body consisting of two curved triangles, decorates the centre of this vessel. The top band contains skinny, long-necked birds, and, directly below, a band of elongated dogs encircle the beaker.

The early Neolithic agricultural communities gradually evolved into more complex societies, with systems of government, law, formal religion, and, perhaps most importantly, the first appearance of writing, thus marking the end of prehistory and the beginning of recorded history. The political structures alternated between conglomerations of independently ruled city-states and centralised governments under a single leader.

The city-states of the Near East frequently fought one another. In addition, the lack of natural barriers made the area particularly vulnerable to invasion. This almost constant warfare was a frequent subject of art. A further destabilising factor was the unpredictable climate; floods, drought, storms, and the like plagued the inhabitants of this region. This, they understandably tended to worry considerably about survival in this world - a world of invasions, political instability and natural catastrophes.

From about the fourth millennium B.C. the Sumerians inhabited southern Mesopotamia, a Greek place name meaning "the land between the rivers", that is the Tigris and the Euphrates rivers. They invented the wheel and a form of writing in which a stylus, usually a length of reed cut at an angle, was used to impress characters on wet clay. Cuneiform, meaning "wedge shaped", which aptly describes the appearance of this writing, has been deciphered; our ability to read ancient Mesopotamian texts makes the ancient art of the region more accessible to the contemporary viewer than the art of prehistoric societies. Ancient near Eastern images usually have clearly structured compositions, ground-lines and readable narratives emphasising human beings, their history, and their relation to their gods and goddesses. All of these characteristics enable us to interpret the art more easily than the more elusive prehistoric cave paintings discussed earlier.

Neolithic village communities in the ancient Near East gradually developed into complex city-states, which were often politically unstable societies almost contstantly at war with east other and against invading peoples. War and victory are frequent subjects of ancient Near Eastern art. This image, an inlaid panel from the side of a box, may show an actual historical event, depicting the aftermath of war, with a victorious banquet scene in the top register. Historical narrative and a clear, formal composition distinguish this image from prehistoric cave paintings.

The various city states that comprised ancient Sumer were often at war with one another. The so called Standard of Ur is a box, the function of which is not known, that was found in a royal cemetery among daggers, helmets, and other military regalia. The box displays scenes of both war and peace, probably episodes of specific historical events. Stylistically, the depictions of human form in the Standard of Ur resemble those we will see in other ancient cultures. Frontal and profile views are combined in a single figure, emphasising the conceptual over the illusionistic, and the size of a figure directly corresponds to his importance; on the Standard of Ur, the seated, regal figure in the top row is bigger than this standing before him. Also typical is the arrangement of figures in the bands. There is little overlapping of forms, or any indication of a setting, resulting in a very two dimensional image. This straightforward, regimented presentation of figures contrasts markedly with the informal arrangement of imagery in prehistoric caves.
Priest Guiding a Sacrificial Bull

Among the most famous achievements of the Mesopotamians are the construction and decoration of the Ishtar Gate, originally one of the main entryways to the ancient city of Babylon (Iraq). Babylon had been the political and cultural capital of Mesopotamia under Hammurabi, and towards the end of the seventh century B.C. with the decline of the Assyrians - probably the most powerful people to dominate Mesopotamia and the surrounding regions - The Babylonians reasserted their power. The best known ruler of this Neo-Babylonian period was Nebuchadnezzar II (ruled 604-562 B.C.), the famed leader mentioned in the Old Testament who was responsible for building the Tower of Babel and the Hanging Gardens of Babylon, as well as the Ishtar Gate, now reassembled in Berlin. The Ishtar Gate and the walls lining the Processional Way (the street leading from the Gate) were faced with glazed brick. Sacred animals, also of glazed brick - among them, lions, associated with the Goddess Ishtar, and dragons, sacred to Marduk, the patron God of Babylon - and these geometric borders ornamented both the Gate and Processional Way. The somewhat stylized forms of these animals, and their rhythmic arrangement within the decorative borders, recall the Neolithic vase from Susa, with which we began our discussion of the art of the ancient Near East.

Colin Andrews is the Director of Aspect Art Ltd, an on-line exporter of the highest quality reproduction oil paintings, http://www.aspectart.com

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Brushstrokes (Part 3) - The Modern Era

Art Canvas Factory and Oil Paint... Its all about the preparation!

German Expressionist Painter - George Grosz

As did many of the German artists of the time George Grosz fought in the trenches of WWI, having volunteered for military service. In 1915 he was discharged on medical grounds however he was drafted in the January of 1917 due to the shortage of soldiers, where he did not fight but guarded and transported prisoners of war, but by the May he was given permanent discharge as he was unfit for duty after a suicide attempt forced them to diagnose shell shock. Having faced his own disillusionment about the nature of war he turned his attention the bourgeoisies of 1920s Germany and painted a series of mocking caricatures of them and those who were in support of war.

He provided illustrations for German left-wing publications through his involvement with the German Dada group, and became a member of the KPD, the German communist party in 1919. He was arrested during the Spartacist uprising which marked the end of the German revolution, but he escaped using fake identification papers. In 1921 he was accused of insulting the army and was fined 300 German marks and had his work Gott Mit uns, God With Us - a satire condemning German Society - destroyed.

After spending five months in Russia meeting with people like Trotsky and Lenin he left the KPD, unwilling to live under any sort of dictator and as such his politics were strongly ant-Nazi. He was invited by the Art Studies League of New York to teach there in 1933, just at the time when the Nazis came to power. He received word that they had been to his apartment and his studio looking for him and so he stayed in America, becoming a naturalized citizen in 1938. During this time his work become more romantic and to many this signaled a decline.

He continued to teach, forming a private art school in his own home during the 1950s and he worked as an artist in residence. He was elected to the American Academy of Arts and Letters in 1954. He returned to Berlin where he died after a fall down some stairs in 1959.

Works: Suicide 1916

Fit For Active Service 1918

Grey Day 1921

The Face of the Ruling Class 1921

The Eclipse of the Sun 1928

Discover more of these artists and what they painted here:

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26 CRAZY ART IDEAS THAT ARE SO SATISFYING

Acrylic Painting Techniques

The acrylic painting medium is a fairly new addition to the various painting mediums available to today's artists. It has been around since the 1950's and has been continually under development and refinement ever since.

Acrylic paint is highly favored amongst artists because of its wonderful versatility. It can be applied thickly as an impasto having rich texture or in washes mimicking the characteristics of watercolor.

Another likable characteristic of acrylic paint is its permanence. Acrylic paint is not susceptible to yellowing or hardening with age. With acrylic paint, the artist does not need to be concerned with the order the paint is applied or other special techniques that ensure the paint film remains free from cracking. So it can be said that acrylic paint is much easier to use than oil paint.

Yet another characteristic that invites new artists to this medium is its fast drying time. Since acrylic paint dries so quickly, colors can be applied and overlaid quicker than with oil painting.

There are however a few downsides to the quick drying time of acrylic paints:

1) The paint will not remain workable for very long, so you have to work quickly.

2) The fast drying time of acrylics can also ruin brushes if the brushes are not cleaned immediately.

3) Acrylic paint is not the best medium for direct painting outdoors, especially on a bright sunny day. Whatever paint you put out on your palette will begin to dry quickly and form a skin over the surface of the paint making it very difficult to work with.

Watercolor Effects

Acrylic paint works wonderfully as a transparent medium, similar to watercolor. Acrylics do have an advantage over watercolors. You can lay out a number of thin washes over one another without fear of disturbing the colors underneath. You must wait for one layer to dry completely before applying another of course. Once each layer dries it becomes insoluble in water. The only disadvantage to using acrylics as a watercolor medium is the difficulty in modifying the color. Once acrylic paint begins to dry it becomes rather difficult to work with. One of the biggest problems is the tendency for washes to dry with unwanted hard edges. You can avoid this problem in one of two ways. You can either dampen the paper before the paint is applied or you can use an additional brush dampened with water. Use one brush to apply the paint and immediately soften the edge with the other brush that has been dampened with the water.

Blending Opaque Colors

With watercolor effects, the acrylic paint is applied in transparent washes. With the opaque technique the paint layers are non-transparent. Blending opaque acrylic colors can be a bit tricky as you are kind of pressed for time. It is important therefore to only work on areas that you know you will have enough time to blend. To blend two colors, first paint a block of each color side by side on your support. Where the two colors join paint down that line with a clean damp brush to soften the edges. To blend the colors even further, move the blending brush from side to side or up and down, until the desired blending is achieved.

Sgraffito Technique

Sgraffito is a scratching technique. It got its name from the Italian word graffiare which literally means to scratch. Just as the name implies it involves scratching into the surface of the wet paint which reveals either the ground or layer of dry color underneath. There are a number of different tools that can be used for this technique. Tools like screwdrivers or the sharpened end of an old paintbrush handle should suffice. It really depends on the support you are using. For instance, a screwdriver may not be the best tool if you are using a panel as a support. The hard metal may damage the panel, so you would need to use a softer tool.

Using a Squeegee

A regular squeegee that you can purchase at any hardware or auto store can create some interesting effects when used with acrylic paint. First you would squeeze out some paint blobs directly along one edge of your support. You can layout whatever colors you wish. Then with one fluid motion you would drag the paint across the support with your squeegee, which will smear and mix the paint and create some very unique and interesting designs. You may need to alter your squeegee a bit as the rubber blade that comes with most squeegees may not be rigid enough to drag the paint. You can remove the rubber blade and in its place glue in a regular wooden ruler. This will give you a flat sturdy edge to manipulate the paint.

I hope you have enjoyed this article on acrylic painting techniques. Take some time today to experiment with these techniques and have fun. Happy Painting!

Ralph Serpe is webmaster and founder of Creative Spotlite, a free arts and crafts community. For more free art lessons like this, visit: http://www.creativespotlite.com today. Visit our blog, http://www.artinstructionblog.com as well for even more free art instruction.

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Vietnamese Painting - Brushing Excellence On Canvas

There is nothing more beautiful than an artwork that stimulates aesthetic pleasure. Such aesthetic experience acts as a catalyst to enhance our happiness. Earlier, the classical works of art drew heavily from nature's beauty. But of late, modern art work chiefly draws inspiration from the mundane life of man. In other words, modern art captures both material and the spiritual on an equal plane. This trend of depicting the various aspects of human life is clearly evident in the paintings of Vietnam.

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From a historical perspective, Vietnamese painting is not a very old art form. It's been only seventy years since the first official art academy of Hanoi, the Ecole de Beaux Arts, opened its doors to local students. However, the cultural origin of Vietnamese painting dates back much further. There has been a consistent effort on part of the Vietnamese people to devote themselves in serious artwork. When the first lessons in line, drawing, anatomy and landscape painting were offered in the early decades of the twentieth century, the art students began taking inspiration from the religious and cultural background of Vietnam. These new learners of art sketched their native villages and fellow farmers in the canvas following the lacquer and silk traditions. During the French colonial period, the students of art took to painting readily as they already possessed the materials needed to create a painting. Once the means to convey their artwork was secured, the new generation of painters began to produce an amazing variety of exquisite paintings. The vision of the past has changed but even today, artists of Vietnam keep on drawing inspiration from the past.

Connoisseurs of art, especially from the West, often complain of the deep influence of Europe in Vietnamese paintings. However, it is surprising to note that modern Vietnam artists still prefer to paint in the age of digital images and multimedia! Yet, if we analyze closely the environment in which the Vietnam artists live and work, we would conclude that painting suits the sensibilities of the Vietnamese artists as it incorporates the century-old cultural and religious motifs of the people. Besides, this expression of art is most immediately available to them. The European touch in Vietnamese painting is by no means accidental, but deliberate. A majority of Vietnamese painters love and appreciate the Western art and hence try to apply some of their techniques in their paintings so that the world would look up to them and give equal weightage to Vietnamese art. The West has not inspired the subject matter of Vietnamese paintings; rather the latter conveys the intricacies of the cultural and social life of Vietnam. Vietnamese artists, like other artists of the world, are moved by their environment and have taken recourse to a delicate way to voice their sentiments through color and poetic imagery.

For a great many years, Vietnamese painters struggled to give free rein to their expression on canvas. Lack of opportunities and adequate funds had created great obstacles to the success and recognition of Vietnam painting. Scarcity of information from the West set their imagination free and Vietnamese art thrived with luxuriance. Overcoming all these obstacles, the Vietnam artists showed their skill to paint under any adverse circumstances. Their resilience and determination are clearly mirrored in the originality and freshness of Vietnamese paintings.

Suzanne Macguire is an Internet marketing professional with expertise in content development and technical writing in a variety of industries.

Vietnamese Fine Art

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Paint Brushes Are An Investment

Brushes are the most important painter's tools. Buying brushes is not just a random decision, but one that should be made carefully. Selection of brushes is personal and is based upon needs and level of investment desired. Because a brush will only last as well as it is cared for, proper cleaning and storage of brushes is probably even more important than the decision of what brush to buy. Because no matter how wonderful a brush is, if it is abused it will quickly be discarded.

Types of Brushes

The hair of the brush is what primarily denotes what type of brush it is and it's purpose. Although natural hair brushes usually cost more, they do not all create the same results. Sable hair brushes are probably the most popular brushes. They are soft haired brushes that move the paint easily and keep their point. Sable brushes are great for watercolor. Hog hair is also used to make brushes, but has a very different effect with media. Hog hair brushes are stiff brushes for heavy paint and will leave brush strokes behind. They have spilt ends and hold more paint and are used in oil painting. Synthetic brushes are also common for artists to use. These are generally less expensive, but still produce quality work. Paint brushes are an artist tools and several different types are needed depending on the project and desired result sought. More expensive brushes keep their shape after a stroke and do not fishtail or bend when paint is applied to paper or canvas and therefore have a more professional result. Less expensive brushes may be suited for some jobs, especially when used in crafts and with products like glue. The other factor identifying a brush is the handle. Traditionally long handled brushes are used for oil painting because the artist is standing at an easel. Shorter handled brushes are for watercolor and acrylics because the artist is sitting and painting in greater detail.

Cleaning and Care for Brushes

Because how well a brush is cared for effects how long the brush will last, extra effort put in to properly care for these important tools will be well worth the time. All brushes will eventually wear out and will then need to be replaced, but lengthening the span of time before that is necessary will help the budget. Cleaning is crucial to extending the life of a brush. Each brush should be cleaned immediately after use. Use a mild soap and clean in the palm of the hand. Rinse thoroughly and when water runs clear, lay the brush flat to dry. It should not be left vertical to dry as this will cause water to be pulled into the handle and will ultimately cause the handle to loosen and the brush will no longer be usable. Paint brushes should never be left sitting in a glass of water. Other than the effect it will have on the handle, it will crush the bristles. If the brushes are soaked, use a brush container that will suspend them and only fill the water to soak the bristles and not the ferrule or handle. After the paint brush is cleaned and dried it may be stored upright, or in a flat brush holder. Cleaning brushes is not only done at the end of a painting session, but should be done as needed. As a person is painting, effort should be made to keep paint away from the ferrule of the brush, but inevitably will naturally be drawn up the brush. As the paint gets close to the ferrule, it should then be cleaned. This is to prevent the paint from getting under the ferrule and drying there. Natural hair brushes also need to be conditioned on a regular basis. There are paint brush soaps that come with conditioners in them, or conditioner can be bought separately.

Make the investment of brushes one that will be used wisely. The results that a good paint brush produces are worth the initial cost, but only if the effort is made to care for them and extend the value of the investment.

Emma Snow is a creator at Craft Kits http://www.craft-kits.net leading portals for crafts and creative individuals.

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Mixed Media Art Canvas - Steampunk Dragonflies

Israeli Painter Artist-Oil Paintings & Fine Art Prints Gallery

Painter Michael Khundiashvili is a recipient of National
and International Portrait Competitions Awards and Honors
and a Graduate of the acclaimed Academy for Fine Arts in Tbilisi Georgia. His works are in private and public Collections throughout the Russia, Canada, Israel, Georgia, USA and has been featured in several national publications.

http://www.michael-arts.com

Since 1987 he is a member of the association of Arts in the Soviet Union. In 1995 he immigrated to Israel and become a member of the Israeli painters and sculptors association.

A Master of Fine Arts, he has a strong belief in the Eternal Values offered to the artists by the Renaissance, which are:

Love and Respect for God's Creation, Appreciation of it's Harmony and Beauty without alterations.
Necessity of study for the Knowledge of the Human Anatomy, Perspective, Composition, Painting and Drawing Methods.
A Must of the Drawing Skill, based on that Knowledge.
The foundation of his painting philosophy is the pursuit of superb draftsmanship skills to ensure the integrity of the painting. Equally important is the creation of a dynamic and unified composition that invites the viewer in for closer inspection. Each painting is carefully thought out and a drawing is submitted for approval before the canvas is built.

With a desire to create distinguished portraits that speak to many, he searches to convey quiet, sensitive insight into the life of the sitter. His visual understanding is greatly enhanced by painting from life when possible.

"I feel profoundly blessed and grateful to God for the gift of painting, the ability to express my visions, filings and fantasies on canvas, to share it with others, and the opportunity to pursue a career I dearly love." - Michael Khundiashvili.

Michael Khundiashvili is a recipient of National and International Portrait Competitions Awards and Honors and a Graduate of the acclaimed Academy for Fine Arts in Tbilisi Georgia. His works are in private and public Collections throughout the Russia, Canada, Israel, Georgia, USA and has been featured in several national publications. Since 1987 he is a member of the association of Arts in the Soviet Union. In 1995 he immigrated to Israel and become a member of the Israeli painters and sculptors association. A Master of Fine Arts, he has a strong belief in the Eternal Values offered to the artists by the Renaissance, which are: Love and Respect for God's Creation, Appreciation of it's Harmony and Beauty without alterations. Necessity of study for the Knowledge of the Human Anatomy, Perspective, Composition, Painting and Drawing Methods. A Must of the Drawing Skill, based on that Knowledge.

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Vincent Van Gogh, the Tragic Story of a Brilliant Painter

Twelve years after his tragic suicide, Vincent's work was discovered by a Parisian art dealer. Until then, no one, except for those who knew him personally, had ever even heard the name. Today, large sums of money are exchanged for his work.

Article Source: http://ticles.com/64989

Vincent was born in the Dutch village of Zundert, in the south of the Netherlands. He studied theology and became a preacher in the Methodist Church. He also worked for several different art dealers in The Hague, London and Paris. Only in 1880 does he start painting, first traditional and very "Dutch", reflecting the Dutch rainy climate with many dark brown colors.

In 1886 Vincent moves to Paris, and two years later to Arles, on the Mediterranean, near Marseille. On the 20th of October of that year, Vincent's friend Gauguin joins him in Arles. Vincent's art becomes lighter in color, showing the Mediterranean sunlight in it.

Two months after Gauguin comes to Arles, Vincent has a schizophrenic episode and cuts a piece of his own ear off. The years following, Vincent starts to get very sick, and he eventually kills himself in 1890. His brother, Theo van Gogh, who had supported Vincent all of his life, dies seven months after Vincent, possibly from grief.

Van Gogh never sold a painting in his life. Today, his paintings are the most expensively sold in the world, and are admired around the globe in many museums and private collections. He also is celebrated as the forerunner of the expressionist movement.

Written by Duco Sminia

Featured artist: Vincent van Gogh [http://vincentvangogh.dusmart.com].

Research done by Irene Sminia.

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