Artists Painting Artists | A Window into Creative Souls →

In the realm of painting, there's a profound beauty in artists painting their peers. This practice is more than just a mere portrayal; it's a tribute, an intimate dialogue between creatives who share a relentless impulse to express. The online exhibition "Artists Painting Artists" magnificently en- capsulates this concept, offering viewers a chance to witness one artist's perspective of another's essence.

Imagine a world where each brushstroke is an ode, where every color and line is a symbol of respect for a fellow artist's journey. In this unique form of portraiture, the artist is both a narrator and a participant, engaging in an unspoken conversation with their subject. It's akin to self-portraiture, yet here, the artist sees themselves through the eyes of another, providing an external viewpoint that is often enlightening.

The exhibition leads us through various narratives, each portrait unfolding a story that beckons us to explore deeper. There's a certain magic in the gaze captured by these artists. It invites us to ponder, to lose ourselves

in the depths of the subject's character. What lies behind those eyes? What stories do they tell? These are questions that resonate throughout the gallery.

Historically, the art world is rich with examples of artists painting their contemporaries. These portraits are not just mere records; they are tes- taments, eternalizing the honor and reverence of being the subject of a fellow artist's canvas. They forge a bond across time, connecting the past, present, and future in a continuous thread of artistic admiration.

As you delve into this exhibition, let each portrait intrigue you, drawing you into the narratives they weave. Each piece is a journey into the heart of creativity, a celebration of the artistic spirit that connects us all. This is not just an exhibition; it's a homage to the enduring bond between artists, a tribute to the shared passion that fuels their creative souls.

- Sergio Gomez, MFA

Lisa Fricker

Laurence O'Toole

Aki Kano

Karzai Amal

Amy Gibson

Chenoa Warner

Gabriella Di XX Miglia

Christopher Cart

Julie Kavanaugh

John Hyland

Katarzyna Adamiak Jaśnikowska

Steven DaLuz

Leah Lopez

Sarah Warda

Lydia Rose Spencer

Michael James

Patricia Schappler

Eva Evangelista

Diana Carolina Lopez

Scott Brooks

Kei J. Constantinov

“I conjure neo-medieval, Magic Realist imagery and custom frames, using
time honored methods and materials, seeking to “edutain” my audience.”

— Kei J. Constantinov

Best known for her neo-medieval “magic realist” paintings dealing with courtesans, organ grinder monkeys, Moors and vanished landscapes, Kei J. Constantinov’s work may be likened to historical fiction excerpts: gilded vignettes of a European dreamtime featuring Venice.

Her self-crafted oil panels embedded within frames redolent of 15thC Italy, enhance her narrative oil and egg tempera work, executed with time-honored Flemish and verdaccio techniques. In tandem with ancient materials she often uses contemporary methods and tools, such as CMYK oil glazing, for an indirect and jewel-like effect.

Conjuring influences such as Albrecht Durer, Rembrandt, Holbein and German illuminated manuscripts, she invites us to reflect on her imagined, nostalgic milieu, reconsidering the splendor of human folly.

What concept or narrative is behind your work?  When I was a lithographer everyone asked me “what’s the story here?”, so I came to understand my work was narrative, and began using triptychs with the beginning-middle-end model.  Now I am working serially and larger in painting, employing nostalgic, old world imagery – Italian, and (often) specifically Venetian.  Through the use of  metal foil gilding, high relief  frames and nostalgic imagery I create time capsules, often alluding to medieval courtesans, organ grinder monkeys, imagined cityscapes and palettes which I hope are evocative of the past, but with a contemporary spin.

What medium do you use for your studies, and how does that translate to the final painting or artwork?   Because each of my paintings are embedded into a Faux Relic, self-styled frame, the process is considerably longer – so my preliminary studies are often just dashed off on scrap paper, but then refined and drawn directly onto the image area.  In the old French method one would do many studies, but unless I received a large commission, which entailed showing the client the concept, I prefer to work directly.

What turns has your art career taken?  Following an MFA at Umass, Amherst, I moved to New York and taught for seven years at Bob Blackburn’s Printmaking Workshop in Chelsea.  At that time I also received a Revson Grant from the Art Students League, which enabled me to create an artist book with handset type and lithographic images – so I was very much identified as a stone lithographer.  Fate and marriage took me into the realm of interior design, where I had the opportunity to convert an historic church property into a B&B and cultural center on UM campus in Ann Arbor, which I ran for sixteen years, untold we sold in 2013.  So since then I have been painting almost exclusively, while keeping my hand in as a fiction writer.

Explain your process. Tempus Edax Rerum was executed in a CMYK oil process (cyan, magenta, yellow, key = black), a commercial method of color layering in printshops, which I teach as an oil approach.  Using transparent oil glazes one can achieve a stained glass effect, as the colors bounce up from the image below, creating a glowing effect.  The wood panel was embedded into the custom frame, prepared with oil ground, then secured and sealed from behind.  An antiquing process, corner bosses, gilding and forger’s varnish were used.  The same approach was used for Venetian Monkey and A Moor in Venice.  These works are all available at present, at Studio Krakow or through 33 Contemporary Gallery. Haven Gallery in Northport, New York also has some works available for purchase.

What is the impetus of your creativity?   I think many Creatives are blessed with excess energy, and perhaps my compulsion to paint many hours each day stems from a channeling need.  I do take infinite pleasure in it, and it is my “practice”, much as other people have yoga, religion, or cybergames for channeling.  Then there is that metaphysical explanation, the “je ne sais quoi” aspect which approximates a spiritual experience while working!  Habit forming . . .

Elvira Kravenkova

“I paint the beauty of ordinary things and people and my thoughts about this world.”

— Elvira Kravenkova

Elvira Kravenkova is an award-winning Canadian artist residing in greater Vancouver area. She works in impressionistic realism style rooted in her Russian background. She was born and started her art education in Russia and later, after coming to Canada with her family, continued her art education going through Anatoly Badriashwilli’s studio and Mandy Boursiqout’s Atelier.

Elvira is teaching art since 2016 when she was invited to instruct at a private art school and started to teach at her studio. Kravenkova’s works are in private collections in Russia, Australia, Italy, Israel, USA and Canada.  She shows her works internationally and in Canada (including multiple juried and curated shows). In last three years she participated in four museum shows in the US and Canada.

What is the impetus of your creativity?

I can not stay away from my art materials for too long, at least a graphite pencil and my sketch book should always be in my car or in my purse. While other people talk about their day, I sketch my impressions of the day. Art is my way to communicate with the world and the thing that helps me to get through even toughest times of my life. It also helps me to find like-minded people who finally become my friends and collectors. So, the impetus of my creativity is my love to life and interesting people.

What is your art philosophy? 

World is beautiful. Even when I go through some terrible times, my ability to find beauty everywhere, helps me to get through. I remember my conversation with my grandmother when she was about eighty-six. She told me that she was tired of life and a few minutes later she asked if I could help her to replace her window curtains with something nicer. My answer was: Sure. And then I laughed and told her it means she is not tired of this life.  She also laughed and said she is tired but she still wants to be surrounded by beautiful things. With the help of my art, I try to teach people to notice wonders and beauty of this world. 

What medium do you use for your studies and how does that translate to the final painting or artwork?

For my studio works I spend a lot of time to do preparation. I start with multiple thumbnail sketches, which are done with graphite pencil, trying to find the best composition and light. I also use my reference photos when I need them. After I decide what thumbnail sketch is the best for my painting, I start doing color studies where I use either watercolors or oil paint. My choice really depends on my mood, it is not my technical decision. 

If I work with a model, I usually start sketching with charcoal or Conte crayon and later work with oil paints. For my final paintings, I usually use oil paints which is the medium that I love more than anything else for its versatility.

Do you ever venture out of your creative process to try out new things?

Since my education does not include art only (I am also trained in science and medicine), I love to experiment. The longevity of my art career gave me the chance to go through different styles and different mediums. I was trained in classical realism and started to show my works as a realist. 

Later, when I needed some challenge, I decided to try abstractionism. It was a period of my super-bright works that were done in acrylics. I still have one of my abstract works on display in my living room. It is titled Sunny Day and helps us to survive long gray West Coast winters. My personality always moves me from one thing to another and does not allow me to get stuck. After awhile I got tired of my abstractionism period and got back to realism, this time it is impressionistic realism. I also love to try different mediums, including some digital sketching and try to incorporate the results into my oil paintings. 

New things always inspire me and keep me learning.

This portrait was inspired by the personality of Anna Rivina who used to fight for the most vulnerable people in Russia  and now, after being forced  to leave Russia, started to protect women and children who are going through difficulties of adaptation after they had to leave their own home countries.

Katayoun Stewart

What is the impetus of your creativity?

The empetus of my creativity is the blend of my personal experiences, emotions and curiosity about the world around me and expressing thoughts and feelings that I can’t articulate in words.

How has social media changed your art practice?

Social media has significantly transformed my art practice in several ways. For example sharing my works on Instagram and facebook and receive instant feedback. Also I have been exposed to a diverse array of artists which has broadened my creative horizons. On the business side, social media has become a tool for marketing my art.

What is your art philosophy?

I believe art should evoke emotions and provoke thoughts. My philosophy in figurative and portrait painting is grounded in the pursuit of capturing the essence of the human spirit. I believe that every face tells a story, and my goal is to bring those stories to life on canvas and uncover the unique character and inner life of the individual. This process is not just about achieving physical likeness, but about understanding and depicting the personality, mood, and energy of the person. I am particularly drawn to the play of light and shadow on the human form, as it reveals not just physical features, but also subtle emotional states and hidden narratives.

What influenced your art style?

I have always had a deep admiration for old masters’ classical technics with a contemporary perspective. I am particularly drawn to the play of light and shadow on the human forms as it reveals not just physical features but also subtle emotional states and hidden narrative.

What turns has your art career taken?

My art career began with a deep engagement in abstract landscape paintings, a realm where I expressed my visions through the interplay of color and form, capturing the essence of nature in a way that resonated with my personal perspective. This phase was marked by a freedom in expression, where each canvas was an exploration of the abstract world.

However, a significant turn in my artistic journey occurred against the backdrop of unfolding political events in Iran. Witnessing the social upheaval and the impact of these events on individual lives, I felt a compelling need to shift my focus. This period marked my transition from abstract landscapes to figurative art, a change driven by a desire to capture the human condition and its complexities more directly.

This shift was not just in subject matter but also a profound alteration in my method and approach. Figurative art allowed me to explore and portray human emotions, stories, and the underlying psychological states of individuals living through these tumultuous times. It was a way to connect more deeply with the audience, offering a mirror to society and the issues it was grappling with.

Embracing this new direction, my work began to reflect the narratives and experiences of those around me, painted with a sense of urgency and authenticity that abstract landscapes did not permit. This phase of my career was characterized by a more grounded and realistic portrayal of life, a response to the immediacy of the social and political climate.

Currently, my art continues to evolve within the figurative realm, constantly influenced by the world around me. This journey from abstract to figurative art, prompted by external circumstances, has not only broadened my artistic repertoire but also deepened my understanding of the role of art in reflecting and responding to societal changes.

What are you frustrated about?

There’s often a tension between creating art that is true to my vision and producing work that is commercially viable. 

Although I’m constantly reminding myself of the value of artistic integrity and trying to find a healthy balance between commercial and creative goals, this conflict sometimes impacts my creative process, leading to periods of self-doubt and reduced productivity.

Additionally, the current economic climate has made it more difficult to secure funding and resources for new projects. This has limited some of the plans I have for exploring and expanding my artistic practice.

These challenges, while frustrating, have also been learning experiences. Looking forward, I hope to continue finding innovative ways to sustain my practice and to create art that resonates both with me and my audience.

News from the Lunar Codex Project

The Serenity Collection draws from our other time capsules, mainly because my timeline from contract to payload onboarding was tight (Dec 8-12). Serenity will likely launch sooner than Polaris.

Serenity will include 3 sub-collections on 2 types of media. Medium 1 has lifetime comparable to Nanofiche, so is costly. Medium 2 is rad-shielded semiconductor memory.

Serenity is included in a larger time capsule from my payload partner, a replica of which will go on a traveling exhibit and eventually be offered as a permanent exhibit to a major institution.

- Serenity A:
Analog images from 25 artists. Archive medium 1.
--- Artists selected by 5 art curators. The specific selection of artworks was curated by Samuel Peralta.
--- Morrisseau (Androgyny), Gomez (Lifted High), Horton (Ring of Bright Water), Gadino (Robot Betty), Okamura (Wu Tang Tee), Ingold (Postpartum), Read (Requiem), Scott (Only Good News), Longhurst (Body & Mind III), Ross (New American Gothic), Van Doren (We Can Thrive From This), Deng (ASMR), Aubey (Emerald Girl), Dzhuraeva (Calm Water), Zeller (Wrapped in You), Anghik Ruben (Passing Through Time), Swingle (Pool Party), Bitanga (Concatenations), DaLuz (Between Worlds), Wiesenfeld (Starship) Bess (Rapture), Randall (Dreaming Moon), Savenkova (Oceans), Malang (Coming Storm), Peralta (Wingbeat of Birds)

- Serenity B:
Around 1500 creatives. Digital format. Archive medium 1.
--- Art magazine covers - All from Nova - Menendez/Goss183, BBM, and FAC covers
--- Music - Waveforms and sheet music from Nova
--- Nonfiction - Assaf (Say Please) from Polaris
--- Novels - Parsons (Elliott), Maidman (Zanzibar), Blouin (Billy) from Polaris
--- Plays & screenplays - J Peralta, P/S Cawdron, JM Alberto from Polaris
--- Poetry - All Nova poets + Best African Poetry 2019-21 poets from Polaris, Clevenger and Whedon from Polaris
--- Short stories & anthologies - A Weir (Sephalon Tales), B Sujiwaro (Yesterdays Tomorrow), authors & editors from 23 official volumes of the Future Chronicles from the Special Edition, AI, Dragon, and up to CW:HWH (~300 creatives), Memory's Children & Knight's Gambit from Polaris

- Serenity C:
Around 2000 creatives. Archive medium 2.
--- Selected from Polaris, not yet fully documented. Work selected for Serenity will *still* be included in Polaris.

Welcome aboard!

Erica Calardo

Erica Calardo is a figurative painter living and working in Italy. Her works in oils, watercolors, and pencils are windows on the solitude of lost souls. She explores the realm of Beauty, Grotesque, and Magic, by creating eery oneiric feminine figures who tell tales of long forgotten dreams, of an imaginary timeless past.

Deeply rooted in the Italian Tradition, her technique is inspired by the Renaissance and Mannerism old masters (Leonardo, Bronzino, and Lavinia Fontana above all). She is mostly self-taught and has learned her skills from old dusty books. She has recently studied academic painting with Italian master Roberto Ferri.

Since 2010, she has showcased her work in galleries in Italy (Mondo Bizzarro, Studio21), and abroad (La Luz de Jesus - LA, Auguste Clown - Australia, Modern Eden, Swoon, Flower Pepper, WWA, and Spoke Art, Distinction - USA, Pinkzeppelin - Berlin among others). Erica's paintings have appeared in several magazines and books, like Miroir Magazine, Beautiful Bizarre, Il Manifesto, Inside Art, Italian Pop Surrealism, Illustrati.

ADD TO YOUR ART COLLECTION @ARTSY

Gabriella Di XX Miglia | 10 QUESTIONS

Born in Genoa, Italy, Gabriella Di XX Miglia received her art education at the Ligustica Academy of Fine Arts in Genoa doing studies with Rocco Borella and Mimmo Rotella, then for three years continued her training under Guido Chiti and Palma Viardo. Later she received her Masters Degree in Art Restoration and Conservation. In 1983 Gabriella opened her painting studio in Los Angeles. Esther Robles, a pioneer in California modern art, organized and hosted Gabriella Di XX Miglia first personal exhibit in USA .Gabriella's works have been shown annually in both national and international shows. She was featured on 1984 in The Los Angeles Times, Sunday Home Magazine.

Her paintings are in the collections of private, corporate, and public sectors. In 1985 she was nominated for Guggenheim Fellowship, New York.

1-What is different from your art work than other artists working in contemporary realism?

I go beyond realism in my desire to capture resonant moments.

2- How important is process versus the end result?

Process is my compulsion of painting born by curiosity. It involves of letting go of controlled, pre-planned finished pieces without expecting an end result. The end result is always unpredictable. 

3-What is your ultimate goal when creating contemporary realism?

My ultimate goal is to stay consistent to my muse in connection and balance.

4 -What do you like best about your work?

The surprise of using new tools, the discovery of my subject through different marks, the human connection.

5-What do you do you like least about your work?

It takes a long time to find my end result.

6 -Why contemporary realism?

I always was a figurative painter but also attracted to some elements of dream that makes sometime my art a bit more expressionist. I express my reality who is my connection to all my inner sensations.

7- Which are your greatest influences?

Da Vinci, France Hals, Rembrandt and many more.

8- What is your background?

I studied painting at The Accademia Ligustica di Belle Arti in Genoa, Italy and received my Master Degree in Restoration and Conservation from the University of Genoa, Italy. After working in both Italy and USA in bublic and private sectors as a conservator and a restorer I dedicated full time in my art making.

9- Name three artists you’d like to be compared to in history books.

Turner, Giovanni Boldini, Pietro Annigoni

10- Which is your favorite contemporary realism artwork today?

Stephen Bauman in his portrait of a boy with blue eyes.

David Morris | Spotlight

How important is process versus the end result?

For me process is extremely important; I am most drawn to works that take on the look of a relic and I love when the end result holds evidence of the process. Rubens’ oil sketches are a good example of this. I love to see evidence of layers that have been built up or of hints of the underlying drawing that the artist perhaps used as a basis, but never tried to erase. Some of these marks may represent failures and others revisions. But to me such marks breathe life into a work; they represent the struggles that were part of it. As such, often the work of other artists that I have bought has been small studies that were created in the course of larger works.

What is your ultimate goal when creating contemporary realism?

I don’t think much about how my work would be categorized under a specific genre. Rather what I make is the result of my interests.  I have always been drawn to the human figure as subject matter. When I represent people I look for something unique in the person’s expression, or the pose, or the design of how multiple figures are intertwined that I try to represent and communicate.

What do you do you like least about your work?

In general I work with a quite limited palette, because it is manageable for me and it feels like a natural way to keep the painting unified. That said, I truly admire, and am dumbfounded by the work of figurative artists like Steven Assael and Nelson Shanks in which they have created brilliant works with huge palettes of highly chromatic pigments, that hold together beautifully.

Which are your greatest influences?

The work that I make is an amalgam of what I have learned and what I have experienced in the course of my life. I am influenced by those from diverse disciplines who have taught me in medical anatomy,  artistic anatomy, understanding form, techniques in drawing and painting, etc. My work is influenced through my studying the work of living and deceased artists. It's also from travel, reading, watching plays and noting set design, listening to music, looking at photographs, and making an effort to become one with nature and my surroundings.

Christa Forrest | Self Portraits

1- What is different from your art work than other artists working in contemporary realism?
It has always been a struggle to find my own uniqueness - what makes me different.   Throughout my creative journey I have compared myself to others and seen frustration along the way.  I finally decided to focus on myself. Working through my uniqueness and creative process by focusing on my own self portrait.  So my work is a true connection of me.  Getting to understand and accept me as well as sharing my creative journey with my viewer through the feelings and experiences I have felt throughout the process.  

2- How important is process versus the end result?
I truly enjoy the process and sometimes never get to the end result.  I love activating my canvas with an underpainting and experimenting with different ways to allow it to come alive.  My process is my growth, each time learning and understanding how to get to that end result.    I do enjoy finishing but the process is where I love to live.  

3- What is your ultimate goal when creating contemporary realism?
Where my creative journey is right now, my goal is to see myself, my uniqueness and story through my self portraiture series.   Each new painting becomes growth.  I love the challenge of making it look “real” but also experimenting with texture and color to play with those themes.   

4 -What do you like best about your work?
I love the learning process. I truly enjoy working through my creative problems and finding solutions.  I love challenging myself to think and see differently and play with those challenges on my canvas.   What I love is looking back as I experience where I started and where I am now as an artist.   Creating a growing, breathing body of work that evolves as I evolve in my creative journey.

5- What do you do you like least about your work?
I think what I least like about my work is that it takes me so long to get to that end result.  My “inner critic” loves to voice their opinion when I don’t need it.   

6 -Why contemporary realism?
I love the challenge of realism.   I love experimenting with color and texture to create a living, breathing body of work.   I love diving into a subject and see the uniqueness of it.  I love challenging my work to develop story and feeling rather than just making it look like a photograph.

7- Which are your greatest influences?
My greatest influences are all of the amazing female portrait artists out there.  I love watching and supporting their growth.   It has been my motivation to grow through their successes.  

8- What is your background?
This is somewhat of my second career.  I spent 20 years in the finance industry and quit to pursue my true passion as an artist.  I am primarily self-taught but I definitely take advantage of learning from many of the artists that motivate and influence me.  My work focuses primarily on portraits in oil but I love to work in mixed media and do love to paint a good landscape every once in awhile.  

9- Name three artists you'd like to be compared to in history books.
That’s tough to choose just three.  But I love Georgia O’Keefe, Frita and I am currently obsessing over Bisa Butler’s amazing work.  

10- Which is your favorite contemporary realism artwork today?
I can’t stop obsessing over Amanda Greive’s work.  If I could spend an hour watching her process….

Nadia Ferrante | 10 QUESTIONS

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1-What is different from your art work than other artists working in contemporary realism?
I always try to capture the mood of the subject, it fascinates me how the human body moves in space and how I can express a thought in an action. What strikes me most in the themes I deal with, is highlighting the condition of women in modern society and the theme of the environment. I try to express myself in various techniques, trying to put them on the same level of importance.

2-How important is process versus the end result?
I spend a lot of time creating the best surface for my work and in the creative development of the concept I want to achieve, to find the right way so that my intent corresponds to the final result, it is perhaps my favorite thing. I also always try to go a little further in my search for the perfect texture, be it in human figures or in the fabrics of clothes. 

3-What is your ultimate goal when creating contemporary realism?
My ultimate goal is that of creating something unique that corresponds to the image in my mind so that it is clear to the viewer, and that it reaches as many people as possible. 

4 -What do you like best about your work?
When the final work turns out to be even better than the starting image that forms in my mind 

5-What do you do you like least about your work?
When in progress I realize that what I see does not work as it should, or that the initial project proves to be longer than expected to be implemented.

6 -Why contemporary realism?
Because it is the way of conceiving art that I have had since I was a child, linked to the great masters of the Italian Renaissance who were like superheroes for me.

7- Which are your greatest influences?
What most influences me is the Italian Renaissance and the Baroque, in particular Michelangelo, Raphael, Caravaggio in my formative years, later I fell in love with Degas who made me discover pastels, Klimt and the Pre-Raphaelites. . I have recently been admiring Annigoni’s work 

8- What is your background?
I took a drawing and painting class for 2 years, a few workshops, a drawing and painting course in life, but over the years I’ve perfected the technique that works best for me, both in painting and drawing.

9- Name three artists you’d like to be compared to in history books.
Degas, Caravaggio, Annigoni.

10- Which is your favorite contemporary realism artwork today?

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Sarah Warda | 10 QUESTIONS

Sarah Warda is an American realist painter from Connecticut. She received her formal education from the Lyme Academy of Fine Arts, as well as the Art Students league of New York with Harvey Dinnerstein and workshops with Aaron Shikler. Her work has been displayed in notable venues such as, the National Arts Club of New York, New Britain Museum of American Art, and the Zhou B Art Center Chicago. She has participated in numerous exhibitions including Connecticut Women Artists, Catherine Lorillard Wolfe Arts Club NY, and PoetsArtists. She has been commissioned for numerous illustrations, murals and portraits for public, private and corporate collections.

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1.-What is different from your art work than other artists working in contemporary realism?
Having been told that I am “so sensitive” most of my life, I’ve found a place in my art for this sensitivity that has become my superpower. I think I harness and embrace vulnerability, empathy, and a sense of hope into my art. I’m sure other artists can relate.

2- How important is process versus the end result?
My process is hugely important to the end result. I used to wish that I was one of those highly organized painters who pre planned everything perfectly-  a perfect drawing, premix all the colors, and put on the gloves. Although I really admire this approach, I came to the realization that it not how I work best. I tend to make order out of chaos, and this allows me to really feel the subject and make room for instincts and edits along the way.

3- What is your ultimate goal when creating contemporary realism? 
It might seem lofty, but my goal is to break through the veil of our perceived reality in some sacred way. In a world where we are connected to everything but ourselves, I would like to bridge this gap with my art.

4 -What do you like best about your work?
Honesty and vulnerability

5- What do you do you like least about your work?
My tortured approach

6 -Why contemporary realism?
It’s a great time to express our reality

7- Which are your greatest influences?
Right now, Velazquez, Barkley Hendricks, Dante Gabriel Rossetti, and Kathe Kollwitz

8- What is your background?
I studied with Deane Keller and Dan Gheno at the Lyme Academy of Fine Arts, The Art Students League of NY under Harvey Dinnerstein, and portraiture workshops with Aron Shikler.

9- Name three artists you'd like to be compared to in history books.
As if- Leonardo Davinci, Andrew Wyeth, Turner

10- Which is your favorite contemporary realism artwork today?
I am very moved by the painting, Star of the Sea by Patricia Schappler

Elena Caravela | 10 QUESTIONS →

Elena Caravela, a School of Visual Arts alumna, has exhibited widely and has garnered awards for her painting and portraiture. Examples include a finalist in The Artist’s Magazine 34th Annual Art Competition, NOAPS Online International Exhibitions, Allied Artist of America at Salmagundi Club, Placing in the Portrait Society of America

Member’s Competition, Finalist in Art Kudos International Competition, Awards at Ridgewood Art Institute, Women Painting Women juried exhibition, Principal Gallery, and a Solo Exhibition “Girls In Sight” at the Visual Arts Center of NJ.

Human beings captured in candid moments are at the heart of Elena Caravela’s work. She may concentrate on a particular concept driving a series of paintings, but fleeting human expression is always the underlying core of her paintings. Both Idiosyncratic and universally recognizable nuance of facial expression and body language is on display in frank and sometimes awkward recognition for the viewer. This conveyance of emotion is also demonstrated in Caravela’s Illustration work. It includes magazines such as 3x3 Magazine for Contemporary Illustration, award winning children’s picture books, and a non-fiction picture book about young female artists that she authored and illustrated.

Q&A

1- What is different from your art work than other artists working in contemporary realism?

My work is about the individual in the moment, the personality, or the concept. While always embracing realism, my color palette and or style serve to support the expansion of my subject or concept. These are the elements that drive my work. I’m not in the business of “pretty” for pretty’s sake. 

2.- How important is process versus the end result?

The process is almost everything. The absolute joy of making something out of a personal driving motivation. That said, when the result is disappointing, I have no qualms in painting over the work and starting over or starting something new.

 3.What is your ultimate goal when creating contemporary realism?

My goal is to do my best in bringing forth my subject or concept in search of their myriad mysteries. Peeling away a layer for others to see and feel and to connect with it in some way.

4 -What do you like best about your work?

It is of the moment. Often a fleeting aspect of an expression revealing part of a subject’s complex personality. The same process reveals a concept 

Very close to my heart.

5- What do you like least about your work?

The deficits in my technical skill in so far as my dream of always surpassing them.

6 -Why contemporary realism?

The ability to grab any viewer’s eye instantly, because the human brain cannot resist representations of truth in life.

7- Which are your greatest influences?

So many! The masters of old, of course. Many female artists whose names may not be recognizable. And tons of artists working today. I save images of particular works on my desktop. I refer to them over and over again to inspire me.

8- What is your background?

I’ve been thinking like an artist for as long as I can remember. Certainly feeling deep connections to all living things and a wonderment of the light and the dark. There was never any question that I wanted to BE an artist. Then a BFA at SVA at a time when conceptual art and abstraction won the day. Hence, illustration was the only form of realism that was sanctioned.  I illustrated and painted portraits. I love to teach young artists. I love to share the skills of drawing and painting, gifting anyone the power of expression and creativity.

9- Name three artists you'd like to be compared to in history books.

If ever, Velaquez, Goya and one of my students.

10. Which is your favorite contemporary realism artwork today?

For today, “Void” by Amaya Gurpide

Lorena Lepori | 10 QUESTIONS →

What is different from your art work than other artists working in contemporary realism?

I believe intentions are what makes every work unique. Mine are unpredictable, sometimes. I am mostly inspired by personal memories, abstract feelings and references from movies and music I grew up with. This combination of elements characterizes  what I produce.

How important is process versus the end result?

In my case the two  are deeply connected. Once the right idea hits me, the creative process evolves quickly; subjects, backgrounds, outfits and props are already in the picture before I touch the brush. They are so clear to me, that ,rarely, I found something different from what I have planned on my canvas.

What is your ultimate goal when creating contemporary realism?

Make the  viewers curios about the references and amuse them with the twist I like to add in the composition.

What do you like best about your work?

In the process I like the attention I give to the  concept. In the end, I like to see the materializing of my abstract idea.

What do you do you like least about your work?

I would love to be more spontaneous, less obsessed with technical details.

Why contemporary realism?

I consider myself a pragmatic soul, but nothing trigs me more than realistic figures, amazingly executed, immersed in the abstraction of an idea. 

Which are your greatest influences?

My very first love was Tamara De Lempicka, flamboyant colors and beautiful women in glamorous  and swoony poses. I think I got my imprinting from her, and that would explain the focus of my attention into feminine figures.

Caravaggio, and his incredible dramatic work, definitively represents a level I have always aimed to. Last but not least,  Gustave Klimt who stimulated my curiosity  with his ethereal pale women,  wrapped in symbols and flat fabric.

What is your background?

I used to be a cartoonist and illustrator in my twenties. Life drove me away from that  world  for several years. Only in my forties I went back to my original passion, and I started to train myself as a painter, with the help of artist friends and a lot of self-teaching. It is now 9 years that I am totally committed to oil painting. And I love it!

Name three artists you'd like to be compared to in history books.

I would love to see  my name mentioned next to the three artists named above, that would be of course very ambitious and not very humble.

Which is your favorite contemporary realism artwork today?

A huge masterpiece by Sergio Martinez - The portrait of Desire

Michael Van Zeyl | 10 QUESTIONS

1- What is different from your art work than other artists working in contemporary realism?
I think my work looks different because I work in three picture planes, a foreground, midground and background and they are clearly separated by dimensional feeling. I like to play with texture and use color harmonies to push the near too far feeling. I think the individual elements of my paintings are realistic but the overall composition is imaginative. 

2- How important is process versus the end result?

I spent so much time developing a process with oil paint using material surfaces that were mostly handmade. I hoped to create textures that were not seen before. Being a painting teacher, I surrounded myself with more people who were focused on technique and HOW to paint. When you have a show and you discuss your work with more non-painters you learn they are talking about and focus on the final image and WHAT you painted. 

3- What is your ultimate goal when creating contemporary realism?
To paint my truth but ultimately connect with a wide enough audience which make my paintings immortal.

4 -What do you like best about your work?

It is a reflection of my thoughts.

5- What do you do you like least about your work?

How long it takes me to call it complete.

6 -Why contemporary realism?
Because when I walk out of every museum and art fair I visit that is the genre that stays with me and can’t stop thinking about.

Field of Lilies, 2018

Oil on panel

20 × 30 in | 50.8 × 76.2 cm

7- Which are your greatest influences?
I’m going to go with the living ones because I had the opportunity to study with all of them starting with David Leffel then Steven Assael and weekend with Bo Bartlett. 

8- What is your background?

I went to art school with a focus on illustration and design. I began painting after art school at the Palette & Chisel Academy where I was able to paint with dozens of great artists and talk art talk art 24/7.

9- Name three artists you'd like to be compared to in history books.

I like Vermeer for his thoughtful picture making, I like Thomas Dewing for his etherial quality and made up color harmonies and I like Degas because when you think of dancers you automatically think of him.

10- Which is your favorite contemporary realism artwork today? 

Daniel Sprick’s Four Horsemen of the Apocalypse.

MICHAEL VAN ZEYL

Michael Van Zeyl is a full-time artist living and working in Chicago. His formal training began at the American Academy of Art, continuing on at Chicago’s Historic Palette & Chisel Academy. His art has been featured in several publications such as: American Art Collector, PoetsArtists, and American Artist magazine. Michael’s work is already appreciated in many public and private collections, such as the United States District Court, University of Chicago and was the 2014 recipient of the Dorothy Driehaus Mellin Fellowship for Midwestern Artists.

Sharon Sayegh | 2022 Year in Review

Were you included in any shows?

I was selected to be in the ArtFair24C Showcase 2022. I also had a two person show at Grant Avenue Gallery, NJ  and exhibited several paintings at LeMieux Gallery, New Orleans. 

Did your art sell?

Yes I did sell this year.

What are you looking forward to in 2023?

I will be exhibiting in a three person show at ArtworksTrenton in May 2023.

John Hyland | 2022 Year in Review

Q.: Was 2022 a good year for you?

A.: Yes, very good, in fact.

Q.: What were some of the highlights in your art career?

Aside from continuing to sell work through PoetsArtists and 33 Contemporary Gallery in Chicago, I grew and expanded as an artist, becoming much more comfortable incorporating metaphor and symbolism in my portraiture. This is particularly evident in my most meaningful series of paintings to date — “Saints Like Us,” contemporary portraits of saints, martyrs and other religious figures, depicted as if they had suddenly shown up in the 21st century, complete with many of the trappings of our time, from cellphones and earbuds to tattoos and the clothing of our age. The series, which I started in March and finished in early December, has fortunately been well received, being chosen for its own viewing room on Artsy. One portrait, of Saint Vitus, the patron saint of dancers, was even featured in American Art Collector as part of an article about the online PoetsArtists show “Exertion.”

Q.: Were you included in any shows?

A.: Several other paintings of mine were included in a variety of other PoetsArtists publications and shows, from the “Pandemic” show in Dublin to the “Summer 2022 Pop Up Show” at 33 Contemporary in Chicago. My painting for the summer show — a large beach scene featuring children digging in the sand at the charming Civic Beach at Point Lookout, a hamlet in the town of Hempstead on Long Island, just outside New York City — was chosen for the cover of the show’s catalog. Another painting, a portrait of Ukrainian First Lady Olena Zelenska, was included in an exhibition to raise funds for Ukraine at the William Ris Gallery in Jamesport, N.Y. Several paintings of mine were selected this year to go to the moon in digital form in 2023 as part of the Peregrine Collection payload aboard the Peregrine Lunar Lander. And I completed a large group portrait commission of 14 members of one family — that’s correct, 14 — that was well received. Yes, 2022 has been a good year in my art career, indeed.

Q.: What were some of the pitfalls?

A.: Dealing with health issues is nothing new for me, having had many heart and spine procedures and surgeries over the years. But 2022 presented a unique challenge, first dealing with severe Covid-19 and then unexpected but serious ramifications from what was eventually diagnosed as post-Covid-19 syndrome, which attacks the most vulnerable parts of the patient. In my case, those areas are the spine, the heart and, since I am also asthmatic, the lungs. I am now being treated with medication and physical therapy and am finally back to painting again, but for an extended time everything was put on hold, including my saints series, right when I was about to finish it, as my doctors and I faced quite a challenge getting me to stand and walk again without excruciating pain, my heart to stop beating out of my chest and my lungs to function normally again. I am grateful to the doctors, nurses, therapists, family and friends, including our own Didi Menendez, who counseled me to take care of myself and not worry about the art until I was better. Thank you, Didi! I now am gratefully much better. So it’s onward and upward for 2023.

Q.: What are you looking forward to in 2023?

A.: In 2023, I am simply looking forward to painting what I like and what holds meaning for me. In truth, I have always felt this way, to a degree, even when painting was my secondary career while I was knee-deep in my primary work as a newspaper reporter and editor for decades until retiring from that in 2017 and focusing on my art. But my recent health scare, coupled with the joy I’ve derived from my “Saints Like Us” series, has really helped me focus on storytelling through art and metaphor in a way I hadn’t really done in the past. I now see the saints series as a springboard. In fact, while I was finishing it — with a large portrait of Saint Joan of Arc, the series’ capstone — I became somewhat sad to be approaching the end. Not that I won’t ever paint a saint again, but a chapter I enjoyed was suddenly ending. Then that sadness was replaced with a sudden excitement to explore the Greeks and Romans. Whether this turns into a full-fledged series on the order of the saints remains to be seen, but already I have painted a contemporary spin on Agamemnon, the great mythic Greek king, and I am now developing all sorts of ideas for more portraits in this vein. So, 2023 holds much promise.

Katarzyna Adamiak–Jaśnikowska | 2022 Year in Review

Was 2022 a good year for you?
I think it was a good year, although I also feel a bit unsatisfied because I wanted to do more.

What were some of the highlights in your art career?
I was a finalist of this year's Art Renewal Center. Two of my paintings have been included in the Lunar Codex Artists on the Moon project, founded by Dr. Samuel Peralta.

What were some of the pitfalls?
Reconciliation of family life being an active artist. In 2021, my second son was born. So I am a mother of two small children, but I also see that I can be better organized. In the new year, I plan to devote myself even more intensively to paint.

Did your art sell?
All the works I have painted this year, have been sold in local galleries. They were not large paintings. This year I focused on smaller formats.

What are you looking forward to in 2023?
I am curious about the paintings I will be inspired to create in 2023. I feel a great desire to create new work and I look with optimism into the coming 2023.

Daria Solar | 2022 Year in Review

What were some of the highlights in your art career?

My 2022 started with my painting being accepted to “MOD Portrait 2021” catalogue by Barcelona's MEAM Museum. Soon came my big individual show in the Museum of the Factory in Lodz, which resulted not only in a professional catalogue made available online, but also a cooperation with Maciej Kawecki, EU’s technology ambassador and the CEO of the institute “Poland of the Future” - a prominent foundation promoting technology and ecology. Then I had my painting published in Fine Art Connoisseur magazine, and four of my works were accepted to “Lunar Codex” program. September brought my solo show at Krakow's “Bomba Megabitowa 2” Conference, which I regard a great achievement, as it is the Institute “Poland of the Future” foundation’s key educational event of the year which connects people of science, ecology, art and media. 

Was 2022 a good year for you? 

Considering the highlights above, I believe 2022 was an exceptionally good year. However, to be honest, I am more satisfied with my ecology-focused paintings that I completed this year, than with all the other things. Creating art is the reason why I live, much more than competitions or exhibitions, and they are my artworks that are my driving force. 

Daria Solar

Bowing Tulips, 2021

Oil on canvas

15 7/10 × 27 3/5 in | 40 × 70 cm

What were some of the pitfalls?

Well, being an ‘engaged artist’ commenting on technological, social and political events, it is hard to ignore the key event of 2022 – war in Ukraine – that has been shaping our world, especially when you are a citizen of a country bordering war-zone, as I am living in Poland. Here, with a crisis caused by some failed economic decisions of our government, and worsened by war just a day’s drive away, the art market has already suffered a blow, and it is hard not to be anxious about the future. 

How has social media affected your daily practice?

Sadly, publishing online is a burden, but an indispensable one. I fully appreciate its marketing capability, yet...it takes my attention off my art. I often feel disappointed that I forgot to film the start of my work. My dream would be to have it done for me. 

What are you looking forward to in 2023?

I have been working on a few new, meaningful paintings for my "Electric Beings" series, I can’t wait to see them finished. I am also planning to participate in a number of competitions that I am really excited about. Moreover, the massive Multimedia Vincent van Gogh Exhibition that I curate will be shown in Lodz – my home city in Poland – and it will be not only a great marketing opportunity, but an occasion to meet friends and show my work to my kin. And finally, in December the Lunar Codex launch with my digitised artworks onboard is planned, it will be a great celebration for me as some of my futurological paintings will be placed on the Moon.

Victoria von Kap-herr | 2022 Year in Review

Was 2022 a good year for you? 
I can’t say it was a remarkable year as nothing spectacular comes to mind.

What were the Highlights? 
I managed to landscape Plein-air on my holiday at a North German estate. The Highlight was the fascination of my senses, the smells, sights and sounds which brought back fond memories.

What was the craziest thing that happened to you this year?
The craziest thing was Ghosts of women from my past began appearing in summer landscapes. They appeared in the paintings once I got back to my atelier. Ordinary landscapes became a statement.

What were some of the highlights?
The other highlight was the reality I had to take a course to learn by doing I Joined ArtNXTlevel. TUTORIALS!!

What were some of the pitfalls?

The pitfall was not understanding social media This has not helped me as it became a big source of frustration.

What are you looking forward to in 2023?
I look forward to the next year 2023 for it might be the year I make significant progress in my career.

Nanette Fluhr | 2022 Year in Review

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Was 2022 a good year for you?

2022 was a very good year for me. I was able to create work that enriches my life and others. It is very satisfying to have had collectors tell me I’ve given them their greatest gift, and have had people connect with my art and find joy. It’s wonderful to have had my efforts recognized, an honor to have won awards, and to have been invited to show in prestigious museums and galleries. I continue to be grateful to be able to do what I love professionally and continue to grow as an artist. 

What were some of the highlights in your art career?

My proudest career accomplishment this year was having been chosen as the winner of the Manhattan Arts International “HerStory” 2022 juried exhibition. I was honored to have Renee Phillips, Founder/Director/Editor of Manhattan Arts International select my painting, “A Lotus Grows in the Mud” and present me with the Artist Showcase Membership Award from all of the outstanding worldwide entries. The competition was based on originality, innovation, and technical skill — art that has a significant impact on the viewer, inspires contemplation, insight, and transforms us. This was especially meaningful as this painting was born out of my personal journey. I was moved by the beautiful words of someone I respect profoundly.

I’m also thrilled over having several of my works of art selected for a trip to the Moon. Ten of my works of art will be part of the Lunar Codex that will be rocketed to the Lunar South Pole as part of the NASA Viper rover and Astrobotic Griffin mission in 2023. Having digital reproductions of several of my artworks being placed in a time capsule that’s landing on the Moon is a bit surreal to me. Additionally, this has brought much media attention, newspapers and tv interviews, along with several articles written about me and my works.

I am delighted to be invited to have my work included in D. Anthony Gallery located in Wausau, Wisconsin and become a part of their artistic family. David Hummer, the Executive Director of the Wausau Museum of Contemporary Art, just opened this brand new gallery and my painting, "A Lotus Grows in the Mud", is currently on display in this beautiful new space. 

The year ended with my completing a month-long artist residency at the Pouch Cove Foundation in Newfoundland. I was thrilled to have been invited by James Baird Gallery to participate in their International exhibit "WOMAN” and offered an artist residency to live and work outside my usual environment. It was wonderful to be able to immerse myself in beautiful new surroundings and focus on creating every day. The physical and mental space allowed me to hear and listen to my own thoughts and grow as an artist. 

The sea and crashing waves inspired me tremendously. The ocean has a way of putting life in perspective. I'm so glad that I had the chance to explore this on canvas. In addition to working on my portraits and figurative paintings, I created a couple small paintings of waves. These were joyous and freeing to make! I truly loved exploring different methods and the use of color with no attachment.

I am thankful that my residency coincided with the “WOMAN” exhibition. It was wonderful to be in Newfoundland and see this amazing exhibit in person. The show featured work by over forty painters from over twenty countries. It was exciting to exhibit with fellow residents and meet other artists and collectors from all over the world who stopped by the gallery to see our work.

Did your art sell?

I sold works online through 33 Contemporary Gallery and through my studio. It's always wonderful to have a work of art appreciated and acquired by new collectors. In addition I created and delivered portrait commissions to thrilled clients.

Were you included in any shows?

I have participated in many shows both internationally and online.. 

I am honored to be the winner of Manhattan Arts international “HerStory 2022. I was also invited to exhibit in other International shows such as, James Baird Gallery’s exhibition, Woman, and delighted to be juried into the “Divine Feminine” exhibition in the UK. 

I have also participated in online shows through the Poets Artists community, Mujer, Presence and Absence, and Desperately Seeking Madonna where my new painting, “Autumn” was selected for the cover of the catalog.

Were you published in any art magazines or periodicals?

My art going to the moon received much media attention. A television interview with Della Crews of News 12 NJ about my work being included in the Lunar Codex set off a serendipitous series of events.  

Della Crews, "The Paintings from Nanette Fluhr will be going into Space in a Time Capsule to the Moon in 2023. How Cool is that?", News12 NJ TV Segment, April 10th, 2022

After seeing the Della Crews interview, Greg Prince, author and NY Mets aficionado, was captivated by the portrait of my son Lonny sporting a Mets cap and jersey. I forwarded his email to Dr. Samuel Peralta, the physicist, storyteller, and curator of the Lunar Codex. Immediately, Dr. Peralta got "Lonny" onboard. Greg went on to interview me and write an article, which is now moon bound as well. My oil painting of Lonny is a portrait representing love and determination and now synergy is working to rocket it to the moon.

Greg Prince,  "Moonstruck", Faith and Fear in Flushing, May 27, 2022

My painting, “The Beauty of Shabbat” will also be included in the Lunar Codex and I was thrilled to have Evelyn Frick write a fabulous feature for HeyAlma. “The lunar calendar is central to Jewish practice and informs our holidays and traditions. It is very meaningful to me to know that as the moon revolves around the earth marking each month, my art celebrating one of our most sacred traditions will be there.”

Evelyn Frick, "This Very Jewish Painting Is Heading to the Moon", Hey Alma, April 6, 2022

So incredibly honored to have this story about me by Smile Train. I'm passionate about supporting the life changing work Smile Train does and humbled to be featured by them. 

Smile Train, “Nanette Fluhr: Art as a Medium for Connection" July 2022

I was excited by Fine Art Connoisseur Magazine's wonderful write up about my painting "A Lotus Grows in the Mud" and the award it won for Manhattan Arts International HerStory 2022. 

Peter Trippi, "Out and About", Fine Art Connoisseur, July/Aug 2022

In addition to spotlight articles by my alma maters, Rutgers and School for Visual Arts, other articles include:

Canvas Rebel, “Meet Nanette Fluhr”, July 2022

Max Gillies, "Dressed to Impress", Fine Art Connoisseur, Nov/Dec 2022

Fine Art Today, Artist Spotlight: Nanette Fluhr, Sept 2022

Renee Phillips, Nanette Fluhr, Museum Quality Realistic Portraits, Manhattan Arts International, Feb 2022

Fine Art Connoisseur Featured Artwork: Nanette Fluhr, July 2022 The cover image, "Summer Wind", is available on Artsy.

What are you looking forward to in 2023?

I am looking forward to some exciting portraits I have been commissioned to paint as well as creating personal work for my collectors and myself. I always want to grow as an artist and continue to create meaningful and lasting art. I also enjoy sharing my knowledge of traditional realism through teaching and will be leading a workshop this summer at The Inview Art Center at the Landgrove Inn in Vermont.

I am also curious to see how my time exploring, reflecting and creating in Pouch Cove, Newfoundland will influence my future work.

With over two decades of professional experience, Nanette Fluhr has created paintings that hang in public and private collections worldwide. Known for her sensitive portraits and exacting technique, her art has been recognized by prominent artistic institutions. Nanette is a master portraitist able to capture a remarkable physical likeness, along with the true essence and spirit of her subject. Her Honors include, The American Women Artists Distinguished Achievement Award, the winner of Manhattan Arts International HerStory 2022, and a proclamation for her achievement in the arts by the Suffolk County Legislature. Her art has been exhibited at The Butler Institute of American Art, The European Museum of Modern Art, The Wausau Museum of Contemporary Art, as well as in a six-museum exhibition on contemporary American realism in China. Nanette is one of the artists from across the globe whose work was selected for inclusion in the Lunar Codex, a time capsule of digitized works of art and literature being sent to, and permanently placed, on the moon.