Tag Archives: Pablo Picasso

Child Prodigy Painter Autumn de Forest on ‘The Wendy Williams Show’


Tuesday, June 4 on “The Wendy Williams Show,” catch Park West Gallery’s young prodigy painter Autumn de Forest as she shows off her latest masterpiece!

Eleven-year-old Autumn has been creating quite a name for herself in the art world, having been interviewed by Matt Lauer on “The Today Show,” and featured on “Inside Edition,” ABC, CBS, FOX and NBC news spots. The “pint-sized Picasso” has already commissioned six-figure works of art and garnered national and international acclaim for her colorful tributes to Marilyn Monroe.  Her artistic style has been compared to iconic masters including Andy Warhol, Jackson Pollock and Pablo Picasso.

“The art of Autumn de Forest already exhibits a maturity and depth that many artists never achieve.  She is an amazing person, an avid reader and a sponge for all that is good around her,” said Albert Scaglione, CEO and Founder of Park West Gallery.

Autumn’s greatest ability is her power to inspire those around her with the wonder of her creativity and the beauty of self-expression. She continues to reach young people and adults alike with her humorous and yet precociously articulate observations and insights into art, life and creativity.

Check your local listings for show details.

Learn more about the artist at http://bio.parkwestgallery.com/artists/Autumn-de-Forest.

Exploring the Art of Charles Lee

“I have had many hardships as an artist, but nothing has been able to stop me. As long as I have life in me, I will paint.” —Charles Lee

Charles Lee. "Autumn Music I" (2012). Park West Gallery Collection.By Morris Shapiro, Park West Gallery Director

Imagine a virtuoso musician, who has such command over his instrument that he can play a Bach fugue, flow effortlessly into a galloping jazz improvisation, segue into a blistering rock guitar solo and end up with some hip-hop on a beat-box and turntable. This is the artist, Charles Lee, in a nutshell.

Lee is another artist, whom I like to call the “Aesthetic Olympians” of our time. He and the others are pulling back hard on the pendulum of beauty, skill, visual eloquence, and uplifting and inspiring content, which have been essentially shunned by the elitist art world in favor of philosophical definitions of what is and isn’t art — “newness,” shock and novelty replacing quality.

It’s easy to be seduced by the sheer loveliness of Lee’s imagery, into believing his works are mainly decorative. They are not. They are rooted in a reverence for the art of the masters and an accumulated fluency honed by decades of hard work and discipline. Each of his paintings is a vehicle for the multiple sensations of metaphor and poetry, expressed through the visual impulses of a practiced hand, eye, heart and mind. He’s filling a void in the world for an art that can speak to the many, not only the select few. And yet for those who wish to take time to contemplate the deeper merits of his art, rewards do also await.

I was first struck by the extraordinary number of styles in which he works. But style can be deceptive. Good art cannot survive through style alone and herein lies one of Lee’s great abilities: to maintain a wide range of diverse styles and approaches with consistent artistic caliber. Behind each work is a rigorous artistic statement. And, he is able to maintain a fluency and consistency of myriad visual elements and devices which overlap and appear throughout all of his styles.

Charles Lee "Adjustment II" (2012). Park West Gallery Collection.Consistent Elements in Lee’s Art

Most easily seen at first is Lee’s advanced use of color. He is as equally proficient with earthy, golden-brown tonalities as he is with bright and sunny colorations. He uses black fearlessly (few artists do, some not at all) and his colors, although comforting and controlled, are carefully arranged to ease the viewer gently into his compositions.

He employs interesting textures in most of his paintings. The surface of the canvas allows him another mode of expression, and he is acutely aware of surface even in his delicately painted “studies” of women’s faces and nudes. Many of his canvasses feature thick impasto emulsions applied to the canvas with palette knife (he told me the technique is his own guarded invention). These push the eye to the very front of the picture plane and serve as a means of “framing” the subject and creating a spatial context for the viewer.

Lee is also keenly aware of pictorial (also known as “plastic”) space in his paintings. Whether depicting a realist subject and creating an illusionist representational space, or layering spatial planes as Picasso did in his cubist manipulations, it is clear that he possesses a mastery of defining pictorial space and can marshal any number of approaches to express his intent.

In his purely abstract paintings, which conjure associations with the color field painters and abstract expressionists, one sees areas “tearing” into the space, like caverns and undulations of pulsing color atmospheres, advancing and receding. These are very advanced compositional devices at work in his paintings and they are not accidental. Rather, his fluency with form and composition allows him the luxury of calling up any number of approaches as a means to an end with each chosen subject or style.

His brushwork is deft, confident and advanced. It is particularly noticeable in the realist subjects, including his landscapes, seascapes and images of women in interiors. In these works he marshals a skilled application of color and is able to model his volumes and surfaces through shadow, light and color temperature.

The final measurement of an artist’s ability may be found in his drawing. It is the basis and the backbone upon which all of the other elements of a good painting must rest. Lee’s drawing skills are enviable and can be appreciated in his delicate studies, his complex and dramatic abstractions and observed throughout his entire range of figurative imagery. He is clearly in possession of facile and expressive drawing skills.

Charles Lee "Golden Time" (2012). Park West Gallery Collection.Exploration and Creative Drive

I am a devoted fan of Picasso’s art. I have studied the man and his art for most of my life and I have rarely met an artist who did not mention Picasso’s name when asked about his/her artistic heroes and inspirations. Like Picasso, Lee is a probing, questioning and exploring artist with a powerful creative and artistic drive at the core of his motivation.

It was said that Picasso created “fractal” art — each image giving birth to dozens of other images all springing and expanding from one into another. A similar process is at work in Lee’s art. He clearly has developed defined approaches as he navigates through his various styles, but each approach is also a repository for many of the same painterly and compositional ideas he is spreading through all of his imagery. They overlap each style and re-emerge as precise visual devices, such as sections of piano keys and contours of musical instruments, metallic applications, heavy textural emulsions added by palette knife, strong lighting contrasts and color juxtapositions, among others. These serve to reinforce his distinct personality and allow the viewer confronted with any number of variations of style, to recognize at the same time, the “mark” of Charles Lee.

I once asked him about the many styles in which he paints and about his varied approaches and techniques, which I found so unusual in one artist. He replied, “I am hungry. I am artistically greedy. I want to cover it all — styles, approaches and techniques.”

Images above: Charles Lee, “Autumn Music I” (2012); “Adjustment II” (2012); “Golden Time” (2012). Park West Gallery Collection.
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An Introduction to Picasso’s ‘Suite Vollard’ [Video]

“Picasso Prints: The Vollard Suite” is on view at the British Museum through September 2. In the following clip, exhibition curator Stephen Coppel presents an excellent introduction to the “Suite Vollard,” one of Picasso’s most important sets of etchings.

The Park West Gallery collection of “Suite Vollard” etchings ranks among the world’s largest. Learn more at http://picasso.parkwestgallery.com.
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Yaacov Agam’s Kinetic Art Joins the Centre Pompidou Mobile

Centre Pompidou Mobile, Yaacov Agam, Park West GalleryRenowned Park West Gallery artist Yaacov Agam has been chosen as the only Israeli artist to be included in the Centre Pompidou Mobile, a traveling museum exhibition in France.

According to Algemeiner.com:

[Agam’s] work will be touring the country in the Centre Pompidou’s first installation exhibition celebrating the masterworks of twentieth century artists analyzing color and form – including art from Pablo Picasso, Henri Matisse and Georges Braque.

A tribute to Agam’s masterpiece painting Double Metamorphosis kicked off the Centre Pompidou mobile tour’s opening in Boulogne-sur-Mer [in mid-June], with local officials as well as members and ministers of parliament in attendance. The tour, which will take place over a three-month period from June until September, includes stops in Chaumont, Boulogne-sur-Mer, Le Havre, Libourne, Nantes and Aubagne.

For more information, please visit the Centre Pompidou or download the exhibition catalog [pdf].

Fine art by Yaacov Agam is available for purchase through Park West Gallery and its cruise art auctions at sea. Learn more at www.parkwestgallery.com.

The British Museum Becomes First to Publicly Display Picasso’s ‘Suite Vollard’ in its Entirety

LONDON, England – Between May 3 and September 2 of this year, the British Museum is displaying Pablo Picasso’s “Suite Vollard in its entirety, free to the public. The suite, consisting of 97 etchings and 3 portraits named after dealer and publisher Ambroise Vollard, was engraved between 1930 and 1937 and is viewable in room 90 of the museum. This is the first time the set has been publicly unified for exhibition.

pablo picasso, park west gallery, suite vollard

In 1930, Ambroise Vollard commissioned Picasso to engrave 100 plates in exchange for paintings by Cézanne and Renoir. The Vollard Suite portrays five major themes, engraved over the course of seven years. Picasso’s personal interests are evident throughout the Suite, heavily inspired by his travels to Rome, his mistress Marie-Thérèse Walter and his reaction to the political state of Europe in the 1930s. The Suite is also a wonderful precursor to his infamous response to the bombing of the Spanish town of Guernica, producing one of Picasso’s most recognizable works of all time.

The five themes – The Battle of Love, the Sculptor’s Studio, Rembrandt, The Minotaur, and the Portraits of Vollard – at first seem disconnected (the suite was not conceived as one thematic collection), but upon viewing the suite in its entirety one senses a unifying tone throughout.

The engravings were finally completed in 1937 and by 1939, master print-maker Roger Lacourière had printed 230 full sets. When Vollard was abruptly killed in a car crash in 1939 and World War II broke out, the distribution of Picasso’s “Suite Vollard” was put on hold. They remained in a warehouse until Henri Petiet acquired them when he purchased the estate of Ambroise Vollard. The complete set in the British Museum was purchased directly from Petiet’s heirs.

Founder and CEO of Park West Gallery, Albert Scaglione, recalls his time spent with Henri Petiet:

“I remember the first time I ever saw the Picasso etching ‘Femme assise et Femme de Dos.’ It was 1974 and I was in Paris in the apartment of Henri Petiet, the extraordinary art dealer. It was during one of those wonderful afternoons I spent with him that I watched in amazement when he took an entire ‘Suite Vollard’ (all 100 original works) and, like a deck of cards, spread them out across the piano he used as a table for viewing art. Although I collected my first Picasso in the ‘60s, it wasn’t until I met Henri Petiet that my Picasso collecting changed from a pastime to a passion.”

In June of 2004, Park West Gallery purchased an extremely rare complete set of the 100 Picasso etchings, aquatints and drypoints of the “Suite Vollard” from Christie’s, London. All 100 works in the collection were hand-signed in pencil by Picasso.

The Park West Gallery Collection includes examples from each of the major themes of the Suite, hand-signed in pencil (only 313 examples of each etching exist, with only some being hand-signed.) The cancelled plates are in the Musée Picasso in Paris.

Since their creation by Picasso during the 1930s, the etchings, aquatints, and drypoints from the “Suite Vollard” have been regarded as one of Picasso’s greatest graphic achievements. The beauty of the neo-classic imagery, combined with the unique historic importance of the works, published by the famed art dealer Ambroise Vollard, has made these works consistently desirable to collectors. The works are also featured in major museum collections and exhibitions, books on Picasso’s works and books on the art of etching.

Also drawing excitement in the realm of Picasso is Venice’s Palazzo Cavalli Franchetti’s exhibition entitled, “Picasso and Vollard — the Genius and the Dealer,” specifically focused on the collaboration between Picasso and Vollard. Select works from the “Suite Vollard” and other Picasso engravings will be on display until July 8.

For more information on the Park West Gallery Picasso Collection, please visit picasso.parkwestgallery.com.

The Fine Art of Engraving [Video]

From Albrecht Durer to Pablo Picasso, the technically precise fine art of engraving has been practiced by various masters throughout the decades of art history. Park West Gallery artist Linda Le Kinff often incorporates the traditional methods of printmaking and engraving into her contemporary works of art. Watch Le Kinff in her studio in France as she demonstrates this intricate artistic medium:

Exclusive artwork by Linda Le Kinff is available through Park West Gallery and its cruise art auctions at sea. Learn more at www.parkwest-lekinff.com.

Art News — August 24, 2011

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Paint Torch, Claes Oldenburg, Park West Gallery“Paint Torch” by Claes Oldenburg. Photo credit: PAFA


Philly’s new giant paintbrush: The “Paint Torch,” a 51-foot-long sculpture of a paintbrush by Swedish artist Claes Oldenburg, was installed on Saturday at the Pennsylvania Academy of the Fine Arts. Situated underneath the over-sized paintbrush is a 6-foot paint glob. The sculpture will be illuminated for the first time on October 1. {via PRNewswire}

Stealing world’s most famous painting: This past Sunday, August 21, marked the 100th anniversary since the famous theft of the “Mona Lisa.” Amazingly, it took more than a day before the Louvre realized that the painting was missing. Perhaps even more surprising, Pablo Picasso was questioned as a possible suspect in the heist! Turns out Leonardo da Vinci’s masterpiece was stolen by Vincenzo Peruggia, an Italian handyman who sought to return the painting to his native country. {via AFP}

Around town: Serving up art for a cause: The ninth annual Arts du Jour will take place Thursday, August 25 at the Royal Oak Farmers Market. This popular charity preview event for Arts, Beats & Eats will offer culinary delights and entertainment, with seventy-five percent of all proceeds going to benefit ten local charities. Hours: Thursday, 5:30 pm – 11 pm. For more info and to purchase tickets, visit www.artsdujourro.org.

***Have an interesting art news story or upcoming arts event to share with our Park West Gallery Blog readers? Submit your art-related news links via email to marketing@parkwestgallery.com.

The Shortest Art History Lesson You’ve Ever Seen

Don’t know much about art history? Good news! Artist Grant Snider has summed up decades of creativity in one 6-panel cartoon rhyme. This is one of the most clever art history lessons Park West Gallery has ever seen, and definitely one of the shortest!

art history cartoon, Grant Snider, Park West Gallery

(via Neatorama)

> Discover more about your favorite artists at Park West Gallery!