_2017 holiday greetings_Iceland.  Magical. Light and color in an instant. Arctic-scapes reflect volcanic flow. Old Norse descendants revel in tales of ancient times.

_Moscow on a cool and rainy May afternoon.
Passerbys are treated to imagery along a route_an unusual setting to view the arts.

_Judaica and bridal gowns at Israel’s Jaffa shuk. Take a leisurely lunch at a cafe nearby.

_A Sunday outing in Argentina’s Feria de San Telmo. Visitors and local alike soak up the atmosphere and tango to the beat of Buenos Aires.

Available for sale from Maddox Gallery, Bradley Theodore, Skull Flowers (2017), Oil on canvas, 102 × 76 cm

Pablo Picasso - Masters of the Modern Era- MIKOS ARTS- A Documentary for educational purposes only.

PLEASE FOLLOW MIKOS ON TWITTER: TWITTER.COM/MIKOSarts MIKOSarts.com Born October 25, 1881, Malaga, Spain, Pablo Picasso, became one of the greatest and most influential artists of the 20th century and the creator (with Georges Braque) of Cubism. A Spanish expatriate painter, sculptor, printmaker, ceramicist, and stage designer, Picasso was considered radical in his work.

© treasure of the heritage_st petersburg / renay elle morris /photopressimages.com/ 2017

linocut print in gold and burnt sienna with gold pigment dusted over

© Genu Berlo

- Hamilton-Selway

Brushstrokes, 1967

Screenprint on off-white wove paper

23 x 31 inches

Edition of 300, signed

Barnett Newman declared that black and white were the colors that an artist used when he wanted to reinvent his work. In the case of Hantaï, each of these three paintings addresses and reinvents one of the fundamental concerns of visual art: the theme of figure and ground. In the Meun painting of 1968, we are confronted with an abstract figure set against a ground. With the Study of 1969, a late example of the series in which the artist declared that he had discovered “what my true subject is: the resurgence of the ground beneath my feet”, we find that this figure has floated free and that the ground has established its own autonomy. Finally, in the late Left-Over Tabula, we find that figure and ground are no longer conceived as divided, contrasting entities but are rather fused into an enigmatic new presence. Viewed together, and set against the tendencies of modern and contemporary art in the post-World War Two era, these three paintings reveal the extraordinary depth and complexity of the artist’s aesthetic inquiry. …

Wu Guanzhong, Pandas, Ink And Colour On Paper, Estimate HK$ 3,000,000-5,000,000.

“ Pandas only come in black and white, they are pretty lazy. This is how I depict my pandas: they are fat, they have an open heart, their black and white colours are clearly delineated, and they live among stalks of bamboos. But I don’t paint pandas for the sake of the pandas. What I want is to juxtapose bold black grids embracing pudgy white grids, tossing and turning … Pandas inspire me to search for disarray and eternity.” – Wu Guanzhong

Wu Guanzhong, Scenery of Zhangjiajie, Ink and Colour on Paper, 1979, Estimate HK$ 6,000,000-9,000,000.

During the autumn of 1979, Wu Guanzhong travelled to Changsha to create his large oil painting Shaoshan. Afterward, he travelled to Western Hunan to Fenghuang to paint its beauteous landscapes. There he had the sudden urge to paint in Zhangjiajie. This is how he recalled that journey: “It was a simple road for vehicles for the purposes of forest protection. It was pretty bumpy, lined with stones and pebbles. Lorries would jerkily move along the road …

(Left) Lin Fengmian, Fishing Boats at the Dock, Ink And Colour on Paper, Estimate HK$ 300,000-400,000. (Right) Lin Fengmian, Residence Perching on Cliff, Ink And Colour on Paper, Estimate HK$ 260,000-350,000.

These two works belonged to the founder of the Asia Society, Mr and Mrs John D.Rockefeller 3rd. They were originally gifts from Mr and Mrs Henry Luce, the founder of Time and Life magazines. Luce (1898–1967) was a staunch supporter of the Nationalist government during the Second World War, even visiting China in May 1941, meeting with Chiang Kai-shek in Chongqing...

Lin Fengmian, Residence by the Stream, Ink and Colour on Paper, Estimate HK$ 2,000,000-3,000,000.

Although this work is not dated, looking at the style of the brushstrokes, signature and stamp, we can deduce it dates from the 1950s, comparable to Ladies in a Garden belonging to the Hong Kong Museum of Art. The treatment, especially the fine brushwork depicting every flower and plant, can only be traced to a short period during the painter’s career that never recurred afterward....

(Left) Lin Fengmian, Four Magpies on the Branch, Ink And Colour on Paper, Estimate HK$ 1,400,000-1,800,000. (Right) Lin Fengmian, Autumn Woods, Ink And Colour on Paper, Estimate HK$ 1,600,000-2,000,000.

This series originates from noted Shanghai art connoisseur Wang Yiping’s collection. Lin Fengmian left Shanghai for Hong Kong in October 1977. Two years later, Lin wrote to Wang Yiping and other friends, informing them that he wanted to donate the 105 paintings he left in Shanghai’s China Art Academy to the Chinese government. ...

Lin Fengmian, Still Life, Ink And Colour on Paper, Estimate HK$ 1,800,000-2,400,000.

This work belongs to the Cheng Xin Xuan Collection of 19th and 20th century paintings. Although the canvas was not signed, according to written records, it dates from 1957.

Wu Guanzhong, Boating in Jiangnan, Ink and Colour on Paper, Estimate HK$ 2,800,000-4,000,000.

The water towns of Jiangnan with its winding rivers and bridges, no matter whether the hometown of Lu Xun or the famed locale of Yixing, are frequent subjects of Wu Guanzhong’s output of the 1980s. Although this work belongs to that period, it is unusual in its composition and approach. In the foreground is a stone bridge that cuts across the width of the work with the river flowing below. ...

Xu Beihong, Galloping Horse, Ink On Paper, 1951, Estimate HK$ 2,200,000-3,000,000.

This painting was a gift from Xu Beihong to Li Rumian. During the Korean War, the painter suffered from bad health, finishing only a few works, although he tried his best to put ink on paper. This painting depicts a horse galloping in mid-air, as if it could traverse a thousand miles in a day. It is testament to Xu’s immense level of energy of that moment. Perhaps this was given to Li as a token of support during the time when China was standing on the opposite side of America on the Korean peninsula...

In 2003, Thomas Ruff published a photographic collection of "Nudes" with a text by the French author Michel Houellebecq. Ruff's images here are based on Internet pornography, which was digitally processed and obscured without any camera or traditional photographic device. In 2009, the aperture Foundation in New York published jpegs, a large-scale book dedicated exclusively to his monumental series of pixelated enlargements of internet-culled images, all compressed using the standard JPEG format which intentionally uses JPEG artifacts. His Substrat series, based on images from Japanese manga and anime cartoons, continued this exploration of digitally altered Web-based pictures. However, he alters and manipulates the source material such that the work becomes an abstraction of forms and colors with no visual memory of the original source material. On February 7, 2011, one of his Nudes pictures appeared on the cover of New York Magazine.


Inspired by Hanami, the Japanese cherry blossom festival celebrating the blossom that fades away after a brief moment of incredible beauty, Antonio Paredes's softly blurred photo series stages model Anabel playing the role of a fragile western Geisha. Stylist Jeanne Dekonink does a brilliant job adding modern and floral details.

Razvan Anton

Eastwards Prospectus

I work with drawing and memory. Drawing is for me the most direct path towards a possible image. Memory is not the subject but the medium and drawing is a conscious choice of a medium beyond mediums, a language that has the advantage of keeping a safe distance from the norms of the art world. It is a continuous and open research that eludes conclusion. It is a process that leaves a trace. It is the trace of a thinking process and the image is its proof. The speed at which I think and observe is also the speed at which I draw. The mark, the path and the image belong to this visible process of constructing meaning. It is an imprecise and uncertain route meant to change, consolidate or contradict our views. It is a landscape of shifting geography where historical, political and personal elements hover relentlessly while searching for a state of balance.

Lucrez cu desenul și memoria. Desenul este pentru mine cel mai direct traseu către imagine. Memoria nu este subiectul, ci mediul, iar desenul reprezintă o alegere conștientă a unui mediu dincolo de medii, un limbaj care reușește să țină la distanță normele lumii artistice. Este o cercetare continuă și deschisă care eludează concluziile. Desenul este un proces care lasă urme, urme ale procesului de gândire, iar imaginea este proba. Durata petrecută gândind și observând este și durata petrecută desenând. Urma, traseul și imaginea aparțin acestui proces vizibilal construcției sensului. Este o cale nesigură și imprecisă menită să schimbe, să consolideze sau să contrazică ceea ce cunoaștem. Este peisajul unei geografii schimbătoare unde elementele istorice, politice și personale orbitează fără întrerupere în căutarea unei stări de echilibru.

Joseph Michael Lopez explored his home town for the first time using digital and in colour, for the new permanent exhibition, New York at its Core, at the Museum of the City of New York.