THE MYSTHERIOUS WORLD OF LISE 





Artist: Lise Helen Breistein

Born : 20/11/1975 in Norway

Influences: Munch, Da Vinci, michelangelo, Salvador Dahli


 I am passionate woman, named Lise Helen Breistein, and born in Norway. I grew up in Bergen, a historical city off Norway. At the countryside, in a house by a fjord. A great starting-point for me to begin drawing.



     So I did. I have always loved to create, to draw. To make something with my own
two hands. Since I could hold a pencil, I discovered I could create new world out off nothing.

Selflearned over all this years, constantly trying and failing. To always improve, and discover new ways to express myself on paper. The result, I think, is that I have discovered my very  own way off technique.
     My life is not very interesting. My innerlife, however, is constantly in unbalance.
wanting to express my inner world, my mind, and my mood. The way I see and comprehend life. That is what Im trying to transfer on to paper.

I chose the mysterious theme to express what I feel in the depths of me. it is also a way of imagining the darkness and a dark world in which everyone thinks but no one want to belong it. I try through my drawings to show  the hidden face of the world.

     I have no formal education.However, years off developing my skills in my own way, I hope  to have resulted in something unique, something not seen before.
    
     Art is to be subjective for all. We all see things based on our own experiences and perceptions. That is why I hope that my drawings will give something to someone.  In the past I have had some displays of my work. Been elected "artist off the month" by an 
art-club, and nominated for awards.










     
Contact: 
Artpage on facebook, Skattene mine.
By steve foreman ismael

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                    Rodrigo Munoz Leiva 


                                                                             Tempera sobre papel 24 cm x 35 cm (2002)



BIOGRAPHY

Born in Santiago de Chile 1968. Presently living in Madrid, Spain. He studied graphic design and painting at the Fine Art Society of Santiago, participated in the workshops of the Carmen Silva and Pedro Lukawecki Chilean artists. The workforce has been developed and worked on graphic design, interior design, advertising and marketing. But his passion has always been the art, particularly painting, to which he has dedicated most of his life. Starting from childhood to draw comic book characters, developing later in the drawing and painting using different types of techniques and media. Its main source of inspiration is nature, synthesized in the organic world, a journey that goes from microcosm to macrocosm reflected in his paintings. Among its main artistic influences they can quote Roberto Matta, Basquiat, Kandinsky, the Bauhaus, Yayoi Kusama, Moebius, Milo Manara, Rilke, surrealism, fouvismo and German Expressionism.



CONCEPT

As a visual artist I pick my work of nature, is that feeling of eternal movement,
mysterious and unrepeatable infinity of organic forms in all the landscapes, unique and limitless, as the subconscious where no one can determine the horizon, where the imagination is lost within the limits.
In my work as an artist I always look for that touch of life doomed to perpetuate mainly by the force of the infinitely diverse nature, which conflicts with the intervention the insatiable human transformation of the environment, this change economic, political and social takes us on a path of no return. Within these realities, swimming freely seas insconciente sometimes stormy and sometimes the cosmos in search of balance, as such a symmetry of a tree. A painting is the energy that is by growing to maturity,
You should taking the time you need.


                Técnica mixta sobre tela 90 cm x 130 cm (2008)



TECHNICAL

Due to its cross professional development, your job opportunities are wide, dominates several painting techniques from the most traditional such as oil, pastel, watercolor others as simple as pen bic pen, paints for industrial use such as automobiles, furniture or craft as a land of color.

EXHIBITIONS

1990. Group exhibition, Society of Fine Arts, Santiago de Chile.
2002. Group exhibition, Boulevard Lavaud, Santiago de Chile.
2005. Individual exhibition, Barrio Brasil Cultural Center, Santiago de Chile.
2006. Individual exhibition, Brazilian Cultural Center 547, Santiago, Chile.
2012. Individual exhibition, Cultural Center Alpedrete, Madrid, Spain.
2013. Individual exhibition, Cultural Center Castilla El Escorial, Madrid, Spain.
2014 Individual exhibition, Cultural Center Moralzarzal (16/01/14 to 14/02/12), Madrid, Spain.

CONTACT

tel 00 34 640288726











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MOSSI

Burkina Faso, west Africa
Neighboring people: Dogon, Bisa, Kurumba 

Cel whatsapp +5521981838334
Mail: laquintine@gmail.com


The Mossi make both political art and spiritual art. Figures are used by the ruling class to validate political power, and masks are used by the conquered peoples to control the forces of nature. Each year at the annual celebrations of the royal ancestors, figures of the deceased kings are displayed. On many occasions each year, especially during the long dry season from October to May, masks appear to honor the spirits of nature that control the forces of the environment. The several mask styles reflect the diversity of the population before the 15th century invasion. Long tall masks in the north are made by the descendants of the conquered Dogon population, while red, white, and black animal masks in the southwest are made by descendants of the conquered Gurunsi people


The Mossi states were created about 1500 A.D., when bands of horsemen rode north from what is now northern Ghana into the basin of the Volta River and conquered several less powerful peoples, including Dogon, Lela, Nuna, and Kurumba. These were integrated into a new society call Mossi, with the invaders as chiefs and the conquered as commoners. The emperor of the Mossi is the Moro Naba, who lives in the ancient and contemporary capital, Ouagadougou. In the centuries between 1500 and 1900 the Mossi were a major political and military force in the bend of the Niger River and were effective in resisting the movements of Muslim Fulani armies across the Sudan area of west Africa. In 1897 the first French military explorers arrived in the area and staked French colonial claims. During the sixty years of French colonial rule the Mossi population was exploited as a source of human labor for French plantations in Côte d'Ivoire. In 1960 Burkina Faso gained its independence from the French. The first elected president Ouezzin Coulibaly was succeeded by Maurice Yameogo, a Mossi. In 1967 a coup-d'état put in place a military government that has ruled with infrequent change ever since.

The Mossi are unique in Burkina Faso for their centralized and hierarchical political system. The nakomse are the ruling class and are directed descendants of the first invaders from the south. At the apex of political hierarchy is the Moro Naba (emperor), whose palace is in Ouagadougou, the capital of Burkina Faso. Nabas (chiefs) rule over each of the regions of Mossi country and pay homage to the emperor. Each chief presides over a political hierarchy of local officials who are responsible for raising armies, levying taxes, etc. The nyonyose are the descendants of the conquered peoples who lived in the region before the Mossi arrived.

The descendants of the conquered nyonyose (farmers) honor nature spirits that provide them with supernatural power to control the weather, disease, crop failure, and general well-being. These are the "invented spirits" that become important as the congregation faces a particular affliction and which decrease in influence as the problem is solved. These spirits are often represented by masks and figures that make them visible and concrete. The spirits themselves provide, through the diviner, the religious laws that govern the community and so provide a system of sacred rule. The creator god Wennam is associated with the sun and with the nakomse (political hierarchy). The spiritual power of the nyonyosebased on nature spirits is in direct opposition to the secular power of thenakomse based on the horse and associated with the sun. Among the most important religious celebrations are annual sacrifices to honor the memories of the royal ancestors, when each and every male head of a household reaffirms his dependence on the benevolence of the chief and his ancestors for health and well-being of his family.


By Steve Foreman ismael
s. afrca uima

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Becky Roesler

United states, America

Contact: becky@beckyroeslerart.com
Site Web: http://www.beckyroeslerart.com/


Becky Roesler was born in Indiana and moved to Texas when she was just a few months old. She grew up near Houston with a love of nature and a crazy obsession with crayon color names. Becky always knew she was an artist. She won her first art awards in 1960’s interscholastic art competitions, and began studying art through the Houston Museum of Fine Art and local college libraries while in her teens. It was here that she found her all-time favorite painting, Bonaventure Pine, by Neo-Impressionist artist, Paul Signac, which still brings her to tears whenever she sees it. Becky became a professional floral designer and attended University of Houston until she moved to New Braunfels, Texas in the late 1970's. She earned a bachelor’s degree at Southwest Texas State University in 1982, then worked in corporate business management while creating art and operating an antiques business in her spare time. Becky became a full-time artist in 2000, and is now happily making richly layered and joyful paintings filled with ecstatic color and positive energy.
                                                                                                          Indelicate balance 20x30x1.5 in

                                     Resume

Education

Bachelor of Applied Arts and Sciences, With Honors, Texas State University, San Marcos, Texas, 1982.

Publications

Becky Hicks-Roesler: In Full Color, Animal Attraction, by Deborah Secor, The Pastel Journal Magazine, Issue No. 56, June 2008.

Selected Exhibitions

2015     Chico Art Center Gallery, 9th Annual Contemporary Women Exhibition, Chico, California.
2015     Williams Tower Gallery, Visual Arts Alliance 32nd Juried Open Exhibition, Houston, Texas.
2009     Coppini Academy of Fine Arts, Texas Pastel Society Juried Exhibition, San Antonio, Texas.   
2008     New Braunfels Art Gallery, 43rd Annual Artoberfest Fine Art Show, New Braunfels, Texas.
2007     New Braunfels Art Gallery, 42nd Annual Artoberfest Fine Art Show, New Braunfels.Texas,First Place Award.
2007     New Braunfels Art Gallery, Texas Art Exhibition, New Braunfels, Texas, Honorable Mention Award.                            
2007     New Braunfels Art Gallery, Contemporary Art Exhibition, New Braunfels, Texas.
2007     Palette & Chisel Academy of Fine Arts, Pastels Chicago National Juried Exhibition, Chicago Pastel Painters Society, Chicago, Illinois, Southeastern Pastel Society Award.
2007     San Antonio Art League Museum, 77th Annual San Antonio Artists Exhibition, San Antonio, Texas.
2007     Chase Bank Building Corridor of Art, Austin Pastel Society 7th Annual Juried Membership Exhibition, Austin, Texas.
2007     The Von Liebig Art Center, International Association of Pastel Societies 10th Juried Exhibition, Naples, Florida.
2006     New Braunfels Art Gallery, 41st Annual Artoberfest Fine Art Show, New Braunfels, Texas.
2006     New Braunfels Art Gallery, Small Treasures Exhibition, New Braunfels, Texas.
2006     Expo New Mexico, Pastel Society of New Mexico 15th Annual National Pastel Painting Exhibition, Albuquerque, New Mexico, New Mexico Watercolor Society Award.
2006     Umpqua Valley Art Center, Pastel Society of Oregon 15th Biennial National Exhibition, Roseburg   Oregon, Pastel Society of America Award.
2006     Place St. Charles, Degas Pastel Society 11th Biennial National Exhibition, Kenner, Louisiana.
2006     Charles Sumner School Museum, Maryland Pastel Society Shades of Pastel National Open Exhibition, Washington, D.C.
2006     International Association of Pastel Societies 9th Juried Exhibition, www.pastelinternational.com,            First Place Award.
2006     Harbor Gallery, Northwest Pastel Society 20th International Open Exhibition, Gig Harbor,  Washington.
2006     Creative Arts Center, Pastel Painters Society of Cape Cod, 11th Annual National Exhibition For Pastels Only On Cape Cod, Chatham, Massachusetts.
2006     Long Beach Art Gallery, Works On Paper, Long Beach Arts National Exhibition, Long Beach,   California.
2006     San Antonio Art League Museum, 76th Annual San Antonio Artists Exhibition, San Antonio, Texas.
2006     Chase Bank Building Corridor of Art, Austin Pastel Society 7th Annual Juried Membership Exhibitition Austin, Texas, Second Place Still Life Award.
2006     Jewish Community Center, Alabama Pastel Society, Pastels 2006 You’ve Got The Magic Dust National Exhibition, Birmingham, Alabama.
2006     New Braunfels Art Gallery, 2005 Artists Of The Year Exhibition, New Braunfels, Texas.
2005     New Braunfels Art Gallery, December Artist of the Month, New Braunfels, Texas, exhibit of 24  paintings.
2005     Charles W. Eisemann Center, Pastel Society of the Southwest 24th Juried Membership Exhibition, Richardson, Texas.
2005     New Braunfels Art Gallery, 40th Annual ARTFest Fine Arts Show, New Braunfels, Texas, Best In Pastel Award.  
2005     Degas Pastel Society 14th Juried Membership Exhibition, Hammond, Louisiana.
2005     Chase Bank Building Corridor of Art, Austin Pastel Society 6th Annual Juried Membership Exhibition, Austin, Texas.

Gallery Affilations:

New Braunfels Art Gallery, New Braunfels, Texas, 2002 to 2009.
Verve Art Boutique, New Braunfels, Texas, 2005.
Robot Art Gallery, San Antonio, Texas, 2005.
Artrageous Art Gallery, New Braunfels, Texas, 2003 to 2004.

Today, Becky Roesler is an award-winning, professional artist who enjoys creating bold and vibrant abstract paintings in acrylic, pastel, and mixed media. Her colorful artwork is exhibited in many national art shows, select galleries, and in homes and businesses in almost every state in the U.S.A. Becky lives and works beside a river near New Braunfels, Texas with her husband, pets, giant trees, and some sneaky wildlife.
                                                                                                                                                 octopus Garden 24x30x1.5 in



                                                                                           putting on my party hat 24x24x1.5 in




























                                                                                                                                     A litle goes a long way 24x24x1.5

                                                                                                                string theory 16x20x0.8 in
                                                                                                                                                 Wild Thing 24x30x1.5 in

                                                                                                     until we meet again 30x30x1.5 in 

                                                                                                                ready willing 24x24x1.5 in

 By steve forman ismael
+Becky Roesler  +Galerie Meitner +Galeria Estação +Museum of Fine Arts, Boston +Galeries Lafayette +Erin Muller Barber 
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MUMUYE

Nigeria, west Africa
Neighboring people: Bata,  Chamba , Mama

Cel whatsapp +5521981838334
Mail: laquintine@gmail.com





Until the 1970s most Mumuye sculpture was misattributed to their neighbors the Chamba. Their style is distinctive, assuming a long narrow pole-like style. They also use bush cow masks like those of their neighbors.
The Mumuye were pushed into their current locale during the Fulani holy wars, which extended from the 17th century into the early 19th century. Along with their neighbors, with whom they have much in common, they fled southwards into the hills of eastern Nigeria where they divided into small communities that remained relatively isolated from one another. The Benue River Valley had very little to offer to Europeans in terms of natural resources, and so they remained relatively isolated from colonialist enterprise.
Mumuye are farmers, although the soil in this area is not exceptionally fertile. During the dry season from October to March nothing can be grown on the desolate scrub-like land. Millet is the staple crop in the region and is used to make flour and beer. The uncertainty of harvests in this region have led to the development of various prayers and offerings that are made during both planting and harvesting cycles in hopes of increasing the annual yield. Hunting is widely practiced to augment the local diet, and game is generally abundant. Each village has its own hunting lands, and permission is required for an outsider to hunt on these lands.
The relative isolation of individual communities remains today. For the most part, small villages are made up of one or two extended families and the spouses who have married into those families. Individual lineages identify with a totemic spirit that is metaphorically embodied in certain animals. Families that might otherwise be unrelated may develop political ties because they both belong the the same spirit. The result of this sort of relationship is a somewhat decentralized power structure that permits the members of each totem group to retain a degree of power.
The totemic groups mentioned above are of primary importance in Mama religion, for a lineage's membership in a certain group is defined by the group to which their ancestors belonged. Offerings and sacrifices are made to the family ancestors to appease them and to thank them, especially during harvest times. The dancing of bush cow masks is known to be a part of a secret society whose main purpose is to ask the ancestors who are associated with the bush cow for abundance and agricultural fertility. The skulls of ancestors are considered the resting place of their souls. Wooden statues that are carved to represent the dead are placed near the skull of the deceased person. It is believed that the spirit is then able to enter the statue which can be transported into the house where it is involved in the daily lives of the living.

By steve foreman ismael 
source  #Africauima 
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                                      PRAY FOR PARIS 



+PRAYFORPARIS @PRAYFORPARIS
@GALERIESOUTERRAINE
STEVE FOREMAN ISMAEL



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"Nu Couché"

Artiste: Amedeo Modigliani
Naissance : 12 juillet 1884, Livourne, ItalieDécès : 24 janvier 1920, ParisÉpouse : Jeanne Hébuterne (m. 1917)Enfant : Jeanne ModiglianiInfluences : Pablo Picasso, Paul Cézanne, Henri de Toulouse-Lautrec






Cel whatsapp +5521981838334
Mail: laquintine@gmail.com



Une toile d'Amedeo Modigliani, Nu couché, considérée comme une des œuvres majeures du peintre italien, a été adjugée 170,4 millions de dollars (158 millions d'euros) chez Christie's, à New York, lundi 9 novembre. Il s'agit d'un record mondial aux enchères pour une œuvre de Modigliani.

La deuxième toile la plus chère vendue aux enchères

Nu couché, peint en 1917-1918, fait partie d'une série de nus créés par l'artiste alors qu'il résidait à Paris. La toile, qui avait fait scandale lors de sa première exposition, a été adjugée sous les applaudissements d'une salle comble, après neuf minutes d'enchères enfiévrées entre sept acheteurs. C'est un enchérisseur chinois qui l'a emporté au téléphone, a précisé la maison d'enchères, qui avait estimé l'œuvre à 100 millions de dollars (93 millions d'euros).
Le tableau devient le deuxième le plus cher jamais vendu aux enchères, après Les Femmes d'Alger (version O) de Pablo Picasso. Cette toile a été adjugée en mai dernier 179,4 millions de dollars (167 millions d'euros), également chez Christie's à New York.


Qui est l'heureux propriétaire du "Nu couché" de Modigliani ?



Liu Yiqian cultive plutôt la discrétion et, jusqu'à présent, c'était un quasi-inconnu hors de Chine. C'est fini ! Le magnat chinois a stupéfait le monde des collectionneurs en s'offrant le Nu couché de Modigliani pour plus de 170 millions de dollars. Et Liu Yiqian a fait une nouvelle fois la démonstration de la puissance financière des collectionneurs chinois, désormais incontournables sur le marché de l'art.

Son histoire tient de l'épopée capitaliste. Âgé de 51 ans, Liu Yiqian est un ancien chauffeur de taxi. Aujourd'hui, il préside le groupe Sunline, est à la tête d'une fortune estimée à 1,38 milliard de dollars par le magazine Forbes et figure à ce titre parmi les super-riches de la Chine communiste. Il a bâti son empire d'abord en jouant à la Bourse naissante de Shanghai dans les années 1990 pour se retrouver, via notamment la finance et l'immobilier, à la tête d'un énorme conglomérat aux activités très diversifiées, incluant chimie et pharmacie.

Une tasse à 36 millions de dollars

Le coup de mardi, s'il est le plus spectaculaire, est loin d'être le premier. Liu Yiqian a commencé à se faire connaître sur le marché de l'art en se lançant dans des acquisitions pour les deux musées qu'il a créés à Shanghai, le Long Museum Pudong et le Long Museum West Bund, ce dernier ayant ouvert l'an passé dans la métropole chinoise. Un porte-parole de l'homme d'affaires a d'ailleurs indiqué mercredi à l'AFP que le Nu couché de Modigliani sera exposé en 2017 au Long Museum de Pudong à l'occasion du cinquième anniversaire de son ouverture.
Liu Yiqian avait déjà acquis en 2014 pour un peu plus de 36 millions de dollars une délicate tasse en porcelaine de l'époque Ming, finement décorée de coqs et de poules. Sa photo en train de déguster un thé dans cette coupe un brin onéreuse avait fait un mini-scandale sur les réseaux sociaux chinois. En avril, le milliardaire s'était offert pour 14,7 millions de dollars un vase bleu de l'époque Song, vieux de 800 ans. Le mois précédent, il avait acquis pour 14 millions de dollars un recueil de calligraphies bouddhistes de l'époque Ming. En 2014 aussi, M. Liu a payé un prix record - 45 millions de dollars - pour un tangka tibétain sur toile du XVe siècle.
Il a justifié certaines de ces acquisitions en invoquant une forme de patriotisme : restituer à la Chine des objets qui avaient été pillés. « Comme les Getty, les Guggenheim ou les Whitneys... Il y a une longue histoire des musées en Occident et peut-être que, maintenant, en Chine, des collectionneurs veulent se faire un nom, pour eux-mêmes et pour marquer l'histoire », avait indiqué à l'AFP à son sujet l'an dernier Clare Jacobson, auteur de Nouveaux Musées en Chine. Une ambition qui n'exclut pas certains ratés. Le personnage s'est retrouvé pris dans une controverse autour de son acquisition, pour 8,2 millions de dollars, d'un rouleau censé être daté de la dynastie des Song (960-1279) : un faux, en réalité, ont conclu des experts chinois réputés.

Éclectisme

L'homme se tient à l'écart des médias, notamment depuis une série du New York Times sur le marché chinois de l'art qui le qualifiait de « nouveau collectionneur ».
Porte-parole du Long Museum, Mme Hu Xiaofei a écarté toute crainte que les autorités chinoises voient d'un mauvais œil le nu de Modigliani qui, il y a quelques années, aurait pu être jugé à caractère « pornographique ». « C'est de l'art, et le devoir du musée, c'est de faire partager à tout le monde les œuvres d'art innovatrices », dit-elle. Son acquisition montre en tout cas l'éclectisme de Liu Yiqian, qui déroule une collection allant des temps anciens à l'époque contemporaine, déclinée avec des artistes chinois comme étrangers. Normal, pour Mme Hu, car le public chinois « ne vit plus dans les années 1970 ou 1980. C'est le XXIe siècle, maintenant ».
+Nu-couché, @nucouché @amedeomodigliani

By steve Foreman
sc: +Francetvinfos +Le Point 





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