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NOW FOR YOUR VIEWING PLEASURE…
"TASTEY MORSELS"
OR
"EAT RIGHT, FEEL GREAT"
BY ARTISAN
TONY VAN HASSELT
A.W.S.
AMERICAN WATERCOLOUR SOCIETY
ORIGINAL ART / OA
OOAK / ONE OF A KIND
DEPICTS A FARM FRESH SPREAD
STILL LIFE
A BOTTLE OF VINO
TOMATOES
CAULIFLOWER
GREEN PEPPERS
MUSHROOMS
PICKED STRAIGHT FROM MEMA'S GARDEN FRAMED UNDER GLASS
THIS IMAGE MEASURES ABOUT 25" X 31"
IT CAN BE SHIPPED FOR LESS WITH OUT THE FRAME AND MEASURES ABOUT 21" X 27"
GREAT ACCENT FOR ANY
COTTAGE KITCHEN
OR
PATIO BISTRO
Tony grew up in the Netherlands, coming to America in 1955 as a teenager. His life's journey as an artist has elements shared with many other artists who utilize their artistic skills in the commercial art (graphic design) field to support their love of painting.
After coming to the United States Tony served eight years in the Army Reserve and lived in Tulsa, Oklahoma. In rural Oklahoma the window dressing jobs were slim, so a change in direction led to work for a lithographer, followed by employment in an advertising agency.
In Tulsa he found a mentor and friend in artist Jay O'Malia. Tony took courses from Jay once a week and their friendship grew, leading to their first workshops in 1963.
At Jay's encouragement Tony "moved mountains" to move to New York in 1965 to study under Jay's former teacher, Frank Reilly, a dynamic instructor who was referred to as "the number 1 art teacher in America." Reilly had left the Art Students League to start the Frank Reilly School of Art. Mr. Reilly's figurative work echoes artists such as N.C. Wyeth and Howard Pyle who brought fine art sensibilities to the commercial art clients of their day.
Attending art school in the winter, he spent his evenings planning summer workshops in Europe. Finally, "After gaining some travel and organizing experience, I contacted nationally known artists whose paintings and books I admired and soon had watercolorists such as Rex Brandt, John Pike, Herb Olsen, Edgar A. Whitney and others teaching the workshops I organized."
In 1972, Tony van Hasselt was elected to the American Watercolor Society and in 1992, with Judi Wagner, he co-authored the Watercolor Fix-It Book. They introduced the "8 Building Blocks of Painting" concept to simplify creating, analyzing, and fixing paintings that have gone astray.
Tony has been featured in American Artist, Southwest Art, Australian Artist, and his paintings have graced the covers of the Watercolor Magic and Artist's Magazine. His work can be found in the books of veteran watercolor artists Rex Brandt, Valfred Thelin, Ron Ranson, and Edgar A. Whitney.
Tony van Hasselt, A.W.S. loves to paint a Plein Air and watercolor is his favorite medium. Living in Maine, its coastline offers an infinite source of inspiration and subject material, while teaching assignments and travels give him the opportunity to explore and paint other exciting areas of the globe.
Gallery representation is primarily along the East Coast, on Amelia Island, Florida, St. Simons Island, Georgia, Charleston, South Carolina, Southport, North Carolina, several galleries in Maine as well as the local Boothbay Harbor Gallery and Framers.
FYI
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A still life (plural still lifes) is a work of art depicting mostly inanimate subject matter, typically commonplace objects which may be either natural (food, flowers, dead animals, plants, rocks, or shells) or man-made (drinking glasses, books, vases, jewelry, coins, pipes, and so on). With origins in the Middle Ages and Ancient Graeco-Roman art, still-life painting emerged as a distinct genre and professional specialization in Western painting by the late 16th century, and has remained significant since then. Still life gives the artist more freedom in the arrangement of elements within a composition than do paintings of other types of subjects such as landscape or portraiture. Early still-life paintings, particularly before 1700, often contained religious and allegorical symbolism relating to the objects depicted. Some modern still life breaks the two-dimensional barrier and employs three-dimensional mixed media, and uses found objects, photography, computer graphics, as well as video and sound.
Still life emerged from the painting of details in larger compositions with subjects, and historically has been often combined with figure subjects, especially in Flemish Baroque painting. The term includes the painting of dead animals, especially game. Live ones are considered animal art, although in practice they were often painted from dead models. The still-life category also shares commonalities with zoological and especially botanical illustration, where there has been considerable overlap among artists. Generally a still life includes a fully depicted background, and puts aesthetic rather than illustrative concerns as primary. Still life occupied the lowest rung of the hierarchy of genres, but still has been extremely popular with buyers. As well as the independent still-life subject, still-life painting encompasses other types of painting with prominent still-life elements, usually symbolic, and "images that rely on a multitude of still-life elements ostensibly to reproduce a 'slice of life'. The trompe-l'œil painting, which intends to deceive the viewer into thinking the scene is real, is a specialized type of still life, usually showing inanimate and relatively flat objects.
Still-life paintings often adorn the interior of ancient Egyptian tombs. It was believed that food objects and other items depicted there would, in the afterlife, become real and available for use by the deceased. Ancient Greek vase paintings also demonstrate great skill in depicting everyday objects and animals. Peiraikos is mentioned by Pliny the Elder as a panel painter of "low" subjects, such as survive in mosaic versions and provincial wall-paintings at Pompeii: "barbers' shops, cobblers' stalls, asses, eatables and similar subjects". Similar still life, more simply decorative in intent, but with realistic perspective, have also been found in the Roman wall paintings and floor mosaics unearthed at Pompeii, Herculaneum and the Villa Boscoreale, including the later familiar motif of a glass bowl of fruit. Decorative mosaics termed "emblema", found in the homes of rich Romans, demonstrated the range of food enjoyed by the upper classes, and also functioned as signs of hospitality and as celebrations of the seasons and of life. By the 16th century, food and flowers would again appear as symbols of the seasons and of the five senses. Also starting in Roman times is the tradition of the use of the skull in paintings as a symbol of mortality and earthly remains, often with the accompanying phrase Omnia mors aequat (Death makes all equal). These vanitas images have been re-interpreted through the last 400 years of art history, starting with Dutch painters around 1600.
The popular appreciation of the realism of still-life painting is related in the ancient Greek legend of Zeuxis and Parrhasius, who are said to have once competed to create the most lifelike objects, history’s earliest descriptions of trompe-l'œil painting. As Pliny the Elder recorded in ancient Roman times, Greek artists centuries earlier were already advanced in the arts of portrait painting, genre painting and still life. He singled out Peiraikos, "whose artistry is surpassed by only a very few...He painted barbershops and shoemakers’ stalls, donkeys, vegetables, and such, and for that reason came to be called the ‘painter of vulgar subjects’; yet these works are altogether delightful, and they were sold at higher prices than the greatest [paintings] of many other artists.
(THIS PICTURE FOR DISPLAY ONLY)
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