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Promoting some friends and some clients of my website design business
- Twin Willows T’ai Chi studio in Wilmington DE. Taiji classes with Bryan Davis.
- Ray Hayward, Inspired Teacher of T’ai Chi ( Taiji ) in Minneapolis, Founder of Mindful Motion Tai Chi Academy
- OldHead Tattoo studio and Art Gallery in Wilmington DE. Tattoos and paintings by Bruce Gulick
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- Lisa Stone Design, interior designer, Main Line and Philadelphia, PA
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Hiroshi Yoshida exhibit in Tokyo


Hiroshi Yoshida the wonderful Japanese printmaker — active in the late 19th and early 20th centuries — was trained in western art styles and painting and eventually combined those aesthetics with the traditions of Japanese art to create beautiful woodblock paints in the shin hanga style.
A new exhibition at the Tokyo Metropolitan Art Museum commemorates the 70th anniversary of Yoshida’s death, and the online highlights of the exhibition offer a selection of high quality examples of his prints. The exhibition runs until March 28, 2021. I don’t know how long the exhibition website will be onine.
For more images and links to his work, see my previous posts on Hiroshi Yoshida.
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Eye Candy for Today Mrs Smith watercolor of plums and caterpillars


Branch with a cluster of ripe plums and caterpillars, Mrs. Smith; watercolor, roughly 10 x 10 inches (25 x 25 cm). Link is to the image page on Wikimedia Commons. Original is in the Cooper Hewitt, Smithsonian Design Museum.
The image is credited to “Mrs. Smith”, based on a pencil signature at the lower right of the paper. Neither Wikimedia Commons nor the museum offer any clue as to who “Mrs. Smith” is, and I can find little elsewhere. The painting is dated 1830 and country of origin is listed as the UK. Beyond that, we’re on our own.
We can assume Mrs. Smith was a botanical artist of some skill if not of particular note.
Close up, she has used broad, painterly and seemingly casual marks to define her subject, but when seen from a normal distance, her colors and values are so accurate that the representation of the fruit, leaves, branch and insects is wonderfully naturalistic.
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Zufar Bikbov


Orignally from Russia, Zufar Bikbov is a painter now based in the U.S. whose landscapes and occasional still life paintings are painted with bold confidence based on a solid draftsmanship.
His color palettes are balanced between high chroma highlights and restrained supporting colors, giving a feeling of bright but naturalistic color.
I particularly admire the way he often suggests his landscape backgrounds with a minimum of detail, while maintaining a variety of color within them.
Bikbov’s website includes galleries of his work, and indicates that he sometimes conducts workshops via Zoom, though none are listed at the time of this writing.
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Eye Candy for Today: Pere Borrell del Caso trompe-lœil
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Two Laughing Girls, Pere Borrell del Caso; oil on canvas, roughly 27 x 27 inches (69 x 69 cm); link is to Wikimedia Commons, original is in the Museu del Modernisme Catalá, Barcelona.
Spanish painter Pere Borrell del Caso, who was active in the late 19th and early 20th centuries, is known for his trompe-l’œil paintings, in which the subjects are not only rendered realistically, but come forward with a dimensionality that seems to break the picture plane.
Though not his most dramatic or well known trompe-l’œil painting (which is Escaping Criticism), this one is my favorite, perhaps because it’s more subtle.
The painting of the girl’s faces — one highlighted, the other entirely in shadow, who appear to be looking directly at the viewer — is engaging enough. The relationship of their faces in light and dark already gives the painting depth.
The values of the dark and light faces are emphasized by the tone gradient behind them, light behind dark and dark behind light. The dimensionality is accentuated by the right hand of the girl in shadow, which is reaching forward into the light and pointing out at the viewer.
What kicks it over the top into trompe-l’œi eye candy is the sleeve and elbow of the girl in front.
Although the sleeve is dark compared to the rest of the figure, which keeps us from focusing on it right away, once we notice that it is apparently projecting out of the frame, resting on the edge and casting a shadow on it, we’re pulled into that wonderful uncertainty of what is real and what isn’t, which tickles the brain and is part of the joy of trompe-l’œi.
On closer examination, you can see that the inner ring of the frame, the same color and just as elaborately decorative as the rest of it, is false — part of the painting and not part of the actual frame.
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Charles Davis


The work of Charles Harold Davis, an American painter active in the late 19th and early 20th centuries, shifted in style over the course of his career.
His early work shows his training at the Boston Museum of Fine Arts school, as well as his study in Europe at the Académie Julian (where he studied with Jules Joseph Lefebvre) and his subsequent time painting in the Forest of Fontainebleau.
There he was influenced by the painters of the Barbizon School, and his style shows tonalist leanings and eventually develops into an impressionist character. It is in the latter style that he painted a number of cloudscapes that he became noted for.
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Eye Candy for Today: Anders Zorn portrait etching


Guli II, Anders Zorn, etching, roughly 8 x 5 1/2 inches (20 x 15 cm). Link is to Bukowski’s auctions, which has a large image available from their page. I assume that the original of this particular impression is now in a private collection.
The etching is called Gulli II because the artist did a previous portrait etching of the same young woman, titled Gulli I. (Here is a print of that one in the Metropolitan Museum of Art.)
Anders Zorn, a remarkable Swedish painter who was active in the late 19th and early 20the centuries, is known for his beautiful portraits and genre scenes, as well as for his eponymous limited palette. He is less well known as a printmaker, but unjustly so.
In my opinion, he was among the best etchers in history, wielding his etching and drypoint needles with a simultaneous freedom and accuracy matched by few.
Look at the flurry of lines that make up the shading on the face — seemingly applied with casual abandon, some of their ends hooked with the sweep of the needle — then scroll back to the normal view and see how smoothly they blend into the delicate values of this sensitive portrait.
Even on the cheek on the shadowed side, where it appears that strokes have landed close to others, emphasizing some lines perhaps more definitively than he might have wanted were he trying to smooth out the tone more evenly, he still pulls off a rendering of the form that is believable.
I have to think that his hatching was done with quick strokes, aiming to capture the feeling rather than allowing caution to weigh down the effect of spontaneity.
Notice also, how few lines he has used to create the planes of the lit side of the face, and yet how definite the form is.
Despite the number of etched lines that make up this image, there are few, if any, that can be called outlines — even in the edges of the light and dark sides of the scarf where it meet’s the woman’s forehead.
Look at how the lips are formed. He’s etching like a painter.
For more, see my previous post on Anders Zorn’s etchings, as well as my other posts about Anders Zorn.
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Charley’s Picks
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John Singer Sargent: Watercolors
Urban Sketching: Understanding Perspective
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John Singer Sargent: Watercolors
Urban Sketching: Understanding Perspective











