Tuesday, May 29, 2012

SCENES FROM THE ANCIENT GRAECO-ROMAN WORLD



Henryk Siemiradzki
Source polona.pl
From en.wikipedia.org


Henryk Siemiradzki (15 November 1843 – 23 August 1902)was born to a Polish noble szlachta family of a military physician, Hipolit Siemiradzki, and Michalina (nee Prószyńska) in the village of Bilhorod (Białogród), or Novobelgorod (now Pechenegi, sources vary) near the Ukrainian city of Kharkiv under the Russian Empire. His parents were close friends with Adam Mickiewicz's family. Henryk Siemiradzki studied at Kharkiv Gymnasium where he first learned painting under the local school teacher, D.I. Besperchy, former student of Karl Briullov. He entered the Physics-Mathematics School of Kharkov University and studied natural sciences there with great interest, but also continued to paint. After graduating from the University with the degree of Kandidat he abandoned his scientific career and moved to Saint Petersburg to study painting at the Imperial Academy of Arts in the years 1864–1870. Upon his graduation he was awarded a gold medal. In 1870–1871 he studied under Karl von Piloty in Munich on a grant from the Academy. In 1872 he moved to Rome and with time, built a studio there on via Gaeta Avenue, while spending summers at his estate in Strzałkowo near Częstochowa in Poland. Siemiradzki was active in the period of foreign Partitions of Poland, and best remembered for his monumental Academic art. He was particularly known for his depictions of scenes from the ancient Graeco-Roman world and the New Testament, owned by national galleries of Poland, Russia and Ukraine.
(en.wikipedia.org)


‘Le Repos, De’
From artmight.com


Rome Village
From allartclassic.com


‘Am Brunnen, bezeichnet H. Siemiradzky, Öl auf Leinwand’
Source Dorotheum
From commons.wikimedia.org


‘Wasserträgerin in antiker Landschaft mit Olivenbäumen’
The Patrician Siesta Images
From onokart.files.wordpress.com


‘Phrine al festival di poseidone agli eleusinia’ (detail)
Source sailko
From commons.wikimedia.org


The future victims of the Colosseum
Author M0tty
From commons.wikimedia.org


Siemiradzki went to Munich, at that time the second, after Paris, artistic center of Europe. He was confident enough to work independently, however he visited the studios of other masters, and especially often that of Carl Piloti, the famous historical painter. In Munich, Siemiradzki painted his first big work Roman Orgy in the Time of the Caesars (1872). The picture was bought by the St. Petersburg Academy, and the money helped the artist move to Italy. In Rome, where everything lives and breathes with art, he remained for the rest of his life, visiting Russia only from time to time. In the 1890s Siemiradzki worked for the theater, he designed stage curtains for the Krakow and Lvov theaters, decorated the house of the Philharmonic Society in Warsaw. Henryk Siemiradzki died in 1902 in his estate Strzalkowo, near Czestochowy in Poland, he was buried first in Warsaw, but in a year was re-buried in Krakow in the necropolis of the famous Poles. Though Siemiradzki received his education in Russia, his art can’t be classified as any ‘national’ school. It is international. The painter himself is one of the best representatives of the late European Neoclassicism.
(Olga’s gallery at abcgallery.com)

Monday, May 21, 2012

'THE MASTER OF SUNLIGHT'




Adam Styka
From polishcultureacpc.org


The Stykas
Tadeusz (Tade), Jan Styka (their father), and Adam
From poles.org


Adam Styka (1890 -1959) was born in Kielce, Poland, the younger of two sons of internationally renowned artist, Jan Styka. Although Polish by birth, Adam became a Parisian and later a resident of the United States. During the years he was in Paris he exhibited his works in its most prestigious art galleries and each Spring his paintings were exhibited in the Artists Salon of the Societe des Artistes.
In his early work he revealed his fascination with the life of the North African Arabs. During leisurely wanderings in Northern Africa, when he lived the tent life of the natives. sharing their meals and observing their daily pursuits, he was imbued with a desire to paint the people of the desert in their natural environment. His keenness of observation and force of expression led in a few short months to the mastery of a new technique. He captured the effects of the dazzling African light which sharpens outlines and endows colors with greater brilliance. He learned how to render the vibrations of the Atmosphere - the heat mist which veils with illusion the sun scorched African landscape. The paintings of Egyptian landscapes and of the natives are thrilling memories of ardent light and warm and strong color; he uses the brush with the hand of a master well acquainted with the art of oil painting.
(poles.org)

At the Watering Hole
From artrenewal.org


Porter near the island of Philae
From womblegrinchgrumbler.blogspot.com


‘Matka z dziećmi na brzegu rzeki’

‘W wodach Nilu’

Arab
Images from artburda.blogspot.com


Paysage sur le Nil
From rencontrejfm.blogspot.com


‘Au bord du Nil’
From womblegrinchgrumbler.blogspot.com


Ass in Egypt
From artmeteo.com


He completed his formal education at the French Academy of Fine Arts, Academie de Beau Arts, and painted closely under the tutelage of his father, Jan Styka. Each year Adam exhibited his paintings in the Paris' most prestigious galleries such as Salon de Paris, Champs Des Elysses and others in Europe and countries of both Americas, where he constantly was awarded highest accolades. (stykafamilyart.com)


Portrait of Adam Styka by Tadé Styka
Haller's Army Uniform
From artyzm.com

Catching Arizona

Catching Arizona
Images from icollector.com


After graduating from the French Military Academy in Fontainebleau, Adam served in the French artillery during the World War I. He was decorated with a Cross of Merit. Also as a reward, he was granted the French "Nationality Citizenship" and a special assistance from the French Government to visit French colonies in Northern Africa. As the result of these annual journeys, Adam developed an entire genre of Middle-Eastern and Oriental themes. His exquisite ability of captivating and conveying to his paintings faithfully the vibrating strong colors full of contrast of the hot Sahara Desert of Northern Africa, colors harmoniously blended together, made him a master without compare and earned him the appellation, "The Master of Sunlight". Adam's Western paintings of the American Wild West were regarded by art critics such as Dick Owens, as the best Western paintings whenever painted by any artist. Adam Styka passed away on 23rd of September 1959 and is buried in the Alley of the Merit in the cemetery if the "New Czestochowa" of the Pauline Fathers in Doylestown, Pennsylvania.
(stykafamilyart.com)


Friday, May 18, 2012

A SOCIETY PORTRAITIST AND WAR ARTIST



Sir John Lavery (1856-1941) was born in Belfast and attended the Haldane Academy, in Glasgow, and later at the Julian Academy in Paris in the 1880’s. In 1888 he painted Queen Victoria during one of her state visits to the Glasgow International Exhibition, which helped to initiate his career. Lavery’s wife died from tuberculosis in 1891, and in 1909 he remarried to Hazel Lavery, a beautiful Irish-American who was to feature in many of his paintings.
(world-war-pictures.com)


War Aeroplanes Aerodrome Flying

War Ship Navy Sailors Weapons

War Ships Harbour

War Weapons Maunfactory Machinery 
Images from old-print.com


Although appointed as an official war artist, ill-health and a serious car crash during a Zeppelin bombing raid prevented him from travelling to the Western Front. He spent his time in Britain painting planes, boats and airships. In 1921 he was knighted and elected to the Royal Academy, and later that decade made large donations of his work to the Ulster Museum and the Hugh Lane Municipal Gallery.
(world-war-pictures.com)


Stars in Sunlight 
From gallery.limerick.ie


Stars in Sunlight reflects another of Lavery’s subject interests – capturing society women at leisure. He enjoyed painting scenes of fashionable ladies drifting idly in canoes on still waters, relaxing in hammocks, or painting In their elegant gardens. The influence of Impressionism prevails in this painting, executed when the artist was eighty years old. The subjects appear completely at ease, enjoying the pleasures of one another’s company on a sunny afternoon in Hollywood, USA . One of the stars, the woman wearing the red dress, is the Roscommon-born actress, Maureen O’Sullivan, best known for her role as Jane, appearing opposite Johnny Weissmuller, in several Tarzan movies.
(gallery.limerick.ie)


The first wounded 
From world-war-pictures.com


The Glasgow Exhibit 
From tate.org.uk


Sir John Lavery was born in poverty. Pulling him-self up by his bootstraps, he trained as a painter, spending time in Glasgow, London and, as was very much the trend at that time, Paris. Lavery was rewarded for his efforts, becoming a successful portraitist and an official war artist. Throughout his career he also considered himself a documentary artist, and undertook to create portraits of all members of the Irish delegation in 1921 when negotiations for the Irish Treaty were taking place. In fact, so pleased were the Irish government with the help both Lavery and his wife Hazel offered them during this period that they invited him to paint a portrait of Hazel to feature on the old Irish Pound note. Her portrait appeared on the note until the 1970s. While living in France , Lavery developed a fondness for landscapes, and his works suggest the influences of the Impressionists Edouard Manet, Edgar Degas and James McNeill Whistler. 
(gallery.limerick.ie)


The Opening of the Modern Foreign and Sargent Galleries 
King George V, Accompanied by Queen Mary 
Tate Gallery 
From tate.org.uk


The Modern Foreign and Sargent Galleries at the Tate were opened by King George V amid great pomp and ceremony on 26 June 1926. The galleries were financed by Sir Joseph Duveen, director of the Duveen Galleries in New York and son of the celebrated art dealer, J.J. Duveen. Duveen commissioned the Irish-born artist Sir John Lavery to record the event. Lavery had established a reputation as a society portraitist and painter of rapid, lively oil sketches of groups of people in interiors. He was also experienced in painting royal occasions of this type, having recorded the state visit of Queen Victoria to the Glasgow International Exhibition of 1888. This painting is a preliminary study made on the spot for a larger, more detailed painting, also in the Tate collection, which shows the same event from a different angle. Here Lavery adopts a high viewpoint, taking in the entire length of the Turner Gallery, where the ceremony took place. The sketch is rapidly executed in Lavery's fluid, easy style. According to the Evening News, reporting on the event, it took only twenty minutes for the sketch to take definite form: 'For several minutes the King and Queen watched Sir John Lavery at work and both remarked on the astonishing speed with which the picture was being carried out…The artist explained,…"For pictures of this kind to be of any value…they must be done at once; otherwise the atmosphere of the moment is lost."' The visitors and dignitaries are merely indicated with flickering brushstrokes and bold splashes of pigment; and, despite the proliferation of dark suits, the rich red walls and the warm palette of the Turners add colour and vibrancy to the scene. King George V and Queen Mary are visible in the background, slightly raised up on a dais and framed by Turner's Dido and Aeneas behind them. The eye is drawn into the picture, past the empty chairs, following the diagonal line of the wooden pews, and finally resting on the Queen, resplendent in a Chinese silk dress and white crinoline straw hat. 
(Frances Fowle at tate.org.uk)


The Opening of the Modern Foreign and Sargent Galleries 
Tate Gallery 
From tate.org.uk


Appropriately, the location for the ceremony was one of the Turner Galleries at the Tate, which were presented by Duveen's father. A smaller sketch of the event, recorded from a different viewpoint, is also in the Tate collection. As a leading member of the Glasgow Boys, he was commissioned to record the state visit of Queen Victoria to the Glasgow International Exhibition of 1888, and he also painted the Royal Family at Buckingham Palace in 1913. The picture is extremely formal, but executed in Lavery's fluid, easy style. The rich red of the walls and carpet and the warm palette of the Turner landscapes add colour and vibrancy to a potentially static image. The artist has painstakingly recorded every individual present. King George V and Queen Mary are shown seated on the dais, the queen's white dress balanced in intensity by the woman in red in the right foreground of the picture. Lord D'Abernon, then Chairman of the Trustees of the Tate Gallery, stands before them, no doubt delivering his welcome speech. Duveen is shown standing on the extreme left of the picture, his hand resting on the back of his wife's chair; and to balance him, Samuel Courtauld, an important early collector of Impressionist and Post-Impressionist art, and whose gifts to the Modern Foreign Collection at the Tate were also celebrated at this time, is seated in the near foreground of the picture, to the right of the woman in red. Other dignitaries include Charles Aitken, the Director of the Tate Gallery, and the Scottish writer and art critic D.S. MacColl. Duveen was closely associated with Lavery from the early 1920s and was responsible for introducing his work to the American public. In 1925 The Duveen Galleries held an exhibition of Lavery portraits, interiors and landscapes which toured America. Later in 1931 Duveen commissioned a large group portrait of a Royal reception at Buckingham Palace.
(Frances Fowle at tate.org.uk)
In 1929 John Lavery made substantial donations of his work to both The Ulster Museum and the Hugh Lane Municipal Gallery and in the 1930s he returned to Ireland. He received honorary degrees from the University of Dublin and Queen's University of Belfast. He was also made a free man of both Dublin and Belfast. A long-standing member of Glasgow Art Club, Lavery exhibited at the club's annual exhibitions, including its exhibition in 1939 in which his The Lake at Ranelagh was included. He died in County Kilkenny, aged 84, from natural causes. He was buried in Putney Vale Cemetery.
(Wikipedia, the free encyclopedia)



Sunday, May 6, 2012

A LIFE OF HUNTING AND PAINTING




Carl Rangius, 1920 - 1925
Taken in Banff, Alberta, Canada
Source Glenbow museum archives
From WIKIPEDIA


A native of Germany, Carl Clemens Moritz Rungius (pronounced Run-gus) studied at several art academies, where he found himself drawn to the work of European animal artists who combined an impressionistic painting style with the European sporting art tradition. To many Europeans of the late 19th century, America represented a land of plenty with boundless opportunities for hunting, an image fueled by popular "Wild West" novels.
In 1895 Rungius leapt at the chance to visit an uncle in the United States, and he immigrated to the United States a year later. From his base in New York, he made frequent hunting and sketching trips to Maine and New Brunswick - and eventually extended his forays to the Rocky Mountain region. He quickly became enamored of the landscape of the American West and its animal life.
Rungius maintained a New York studio and established a summer studio in Banff in 1922. Active in the first half of the 20th century, Rungius is important today because he was an innovator - the first career wildlife artist in America. An avid sportsman, he spent time in the wilderness to enhance his knowledge of animals and environments. His paintings combine both landscapes and wildlife, and they represent an idyllic world where the human imprint on the landscape is invisible. Rungius places his mammals in loosely sketched settings of open vistas and bright skies that reflect his hunting and painting trips to Wyoming, Alaska, and the Canadian Rockies.
In tracing Rungius's legacy, it is useful to examine the similarities other artists share with him. Rungius painted both landscapes and wildlife, and situated the animals in their natural environment. At the time, this technique was new to painting in North America. His consistent use of field studies - both colour and compositional sketches - enhanced his ability to translate colour and atmosphere into his finished studio work, thus creating a seductive vista or image in which the animal seemed "to belong." Artists such as Tucker Smith and Douglas Allen follow this technique - the use of colour is a consistent strategy in their painting. Stylistically, Bob Kuhn, Ken Carlson, Robert Lougheed, and John Schoenherr echo Rungius's impressionistic painting approach while using similar techniques that convey a strong sense of movement. These artists are not copiers of Rungius's methods - they view his work as something that has opened the door to artistic possibilities in the wildlife art genre.
(Kirstin Evenden at tfaoi.com)


Herd of Antelope
From media.liveauctiongroup.net


Humpback Grizzly
From artfixdaily.com


On the Trail
From millersimagery.com


Grizzly Bear
From jacksonholeartauction.com


Throwing a Steer
From deskarati.com


Carl Rungius was one of the best big-game painters of all time. He was also a believer in creative thought. He's the kind of artist from whom you can learn. He was born in Germany and moved to the USA when he was in his early twenties. From his childhood sketching animals in the Berlin Zoo to his final settling in Banff, Alberta, his was a life of hunting and painting. He went to a lot of trouble to get it right. Before the advent of the fast field telephoto camera that is so useful to wildlife painters today, he was known to build structures to prop dead moose into lifelike positions. His works are drawing driven, based on hard-won know-how of animal anatomy and his love of the outdoors. His pictures have an overall design and cohesiveness that speaks of the draftsman's touch. While his surfaces are painterly and often modern in appearance, his work shows the value of preliminary sketches and preparatory roughs. He was also no stranger to repainting unsatisfactory passages and was known to go back into a work after years of worry.
In a world that was starting to think that creativity developed as you went along, Rungius was an artist who believed in thinking it out in advance. His compositions are filled with calculated lineups, radiating motifs, edge blocks, spot activation and other forms of eye-control. He was also careful colorists. Subtle earth-tones interact with impressionist nuances and reflected light, while delicately rendered negative areas and counterpoint add abstract interest. The difficult problem of animal fur, for example, was divided and designed into zones based on nap, shine and texture. He also mastered ways to show the volume of an animal's body and revelled in the variations of individual markings.
(Robert Genn at clicks.robertgenn.com)


Sheep
From bluehorsearts.blogspot.com


Rungius' reputation as a premier wildlife artist was enhanced considerably by an expedition to the Yukon Territory in 1905. The artwork and social connections that resulted from that trip launched Rungius into the center of America's conservation movement, promoted by such famous American sportsmen as President Theodore Roosevelt. In 1910 he accepted an offer to visit the Canadian Rockies. The opportunities to hunt, explore, and paint the region were so appealing that in 1921 he built a summer studio called "The Paintbox" in Banff, where he worked from April to October of each year until his death in 1959.
(wildlifeart.org)



Saturday, May 5, 2012

A MASTER OF ATMOSPHERE



Abiodun Olaku
From universalstudiosofart.com
Abidodun Olaku has matured from the young and hungry potential to a widely acclaimed master of his own style. His art works have the singular knack of haunting viewers, even after disengaging from them. His resignation from the public sector only created more time and independence to discover his creative being and essence. With over 60 group and joint art exhibitions to his credit since 1985, he has had 3 solo outings, (1993, 2000 and 2004). His work has been shown and collected individually and corporately in many countries in Europe and the United States of America. Many of the up-coming artists in the country have had the privilege of experiencing training or mentorship programmes with Olaku, especially at the Universal Studios of Art, in Lagos, where he is a founding member and trustee. In acknowledgement of this important contribution to the development of the art industry, he was awarded with the Defactori Art Pillar Award for the development of young artists at the French Cultural Centre, Lagos in 2004. Born in 29th December, 1958 in Lagos, Nigeria, Olaku is a member of the Society of Nigerian Artists (SNA) and he is a founding member, trustee and the current Vice-President of the Guild of Professional Fine Artists of Nigeria. He lives and works in Lagos, Nigeria with his family.
(universalstudiosofart.com )


Home Sweet Home
From wordsbody.blogspot.com


Olaku is about the most accomplished master of the illuminated landscape in Nigerian art. Two years before the country gained her independence from colonial rule in 1960, Olaku was born in Lagos during the festive season between Yuletide and New Year celebrations, hence the name Abiodun—a child born during festivals.  Lagos offered Olaku better opportunities, especially in terms of his preparation as an artist. In 1970, he was admitted to the Baptist Academy, a college equipped with facilities for art studies in a country when, at that time, most schools were characterized by the avoidance of that subject. Olaku paid attention to art education, and his passion was for painting. Art pupils in Baptists Academy practised still-life studies, imaginative compositions, and landscape painting, Olaku’s favorite genre. Nobody was totally surprised Olaku decided to study art at the prestigious Yaba College of Technology, where he honed his talent into an instrument of keen observation and vivid expression. But the question that has always faced him is a timeless puzzle for many landscape artists trapped in a schizophrenic topography. On the one hand is the Nigeria of the Victoria Island and Lekki Township, where the standard of living, the architecture, and display of affluence matches the best experiences from the richest parts of the world. On the other hand is the terrain of Maroko, Ajegunle, and Oworonsoki, crippled by poverty, chaos, and debris piled around slum dwellings. Complicating matters is his vivid and photographic recollection of his childhood in the filthy metropolis of Ibadan. Olaku accepts both parts of Nigeria, but not with the hopeless submission of the camera. His work is idealistic rather than merely realistic. He tames the use of light as his allegorical accomplice for musical and poetic compositions that balance natural lights and artificial illuminations. His spotlights, often reflected on murky water surfaces, speak of hope even in forlorn circumstances. The result is a rhythmic choreography of orchestrated luminosity that offers values of light to a sightless and stumbling Nigeria, a sovereign groping for vanishing values.
(thenationonlineng.net)


Blue Day
From abiodunolaku.com


Sounds of Tranquility
From abiodunolaku.com


Elements
From artnet.com


“I guess I was born an artist, because looking back in time, drawing had always been one of the few things I could do intuitively and effortlessly. For this rare divine gift, I thank God from the bottom of my heart. I do count myself extremely lucky in the 'sense that I developed the capability to make visible some of the kaleidoscopic thoughts that race through a human mind. These invariably are thoughts engendered by man's peculiar experiences in nature ¬experiences triggered off by cultural, religious and social phenomena. Having sourced from the same depth of "creation," and sharing in its mystery, iridescence and evocative prowess, the artist has always been irresistibly and. insatiably drawn back to his roots in pursuit' of impulsive, creative fulfillment. Though my works are obviously animating enough for, the viewer to come to terms with, I believe I remain obliged to "arrest and expose" some of the fleeting thoughts that motivate me, to draw and paint what I do and how I do. . Phlegmatic and compelling as I found this assignment at the start, it has re-awakened me to the conscious importance and relevance of the other side of creative endeavor and documentation. In my effort to leave my own creative prints in the sands of time, I have drawn and painted innocently and unpretentiously. Therefore, I make no excuses when sometimes, I am accused of "slavishly copying nature."
"In my sincerely considered opinion, anyone not influenced by nature must be living in limbo. Unfortunately, some of "us" are too proud to admit (even-remotely) that they copy nature one way or the other. In avoidance of classification of my style of painting (I leave that to the experts) I have concentrated on observing, to the best of my ability, the principles that have unquestionably ensured the endurance of true, successful art through time. These principles include the basic elements of design-drawing, form, colour, tone, arrangement, texture and the philosophy behind each creation. Without these fore-stated factors, art movements would probably be non-existent today anyway. At this point, it is with founded trepidation that I have to acknowledge the menace of pseudo-analysts and ungrounded historians who are having a field day within the narrow confines of art practice, dealership and coverage, and they do a lot of disservice to the practice and growth of visual art in this society, by trying to impose their various strait-jacketed ideas on those who naturally and nobly divulge quite commendable ideas from their innermost creative recesses, forgetting that variety is the spice of life. I would like to borrow a Yoruba adage from a senior colleague and inspiration, Mr. Bisi Fakeye - a universally acclaimed Sculptor - "Gbegi gbegi ti gbegi tan, O ku gbenu gbenu." Meaning: The carver has done his best, the rest is up to the commentator."
(My Experiences by Abiodun Olaku at abiodunolaku.com)


Noite, vista parcial


Sons da paz / Sounds of Peace


À sombra da tranquilidade


Okobaba
All images from joserosarioart.blogspot.com


"I have on a number of occasions expressed uncertainty about how beneficial either to the exhibiting artist or the viewing public the "flood" of exhibitions we now "enjoy" is. Whatever view one may hold about it, there is no denying the fact that the "flood" into which so many ill-prepared young artists has - in bravado - been diving has been encouraging some good, though, diffident artists to put on the swimming trunks. Also, while our few serious art collectors are getting rather weary of the seemingly endless rain of indifferent debut exhibitions, a new and growing class of patrons is being formed and private corporate institutions are more than ever before, now in the forefront of art sponsorship. One artist who by today’s standards would have had no less than 10 one-man shows but who is coming out, solo, for the first time is Abiodun Olaku, I knew him as a student; he was very talented, innovative, and industrious. He graduated as a painter in 1981 and has since been actively engaged in the arts. Viewers will see in his work, a mastery of the media, confident, expressive draughts - manship and sincere originality. Olaku's sincerity is most remarkable; I can see a subtle - very unobtrusive-natural development in his work over the 12 years. Unlike what seems to be the order of the day where young artists jump from one style to the other evidently to catch quick attention, the evolution of his style is steady and sincere. I am proud of him as an ex-student of mine. Source: My Experiences Exhibition brochure (1993).
(A Teacher's view 1 by Prof. Yusuf Grillo at at abiodunolaku.com)


Tuesday, May 1, 2012

THE RYTHMS OF THE TEXAS LANDSCAPE



Spending most of his life in the heart of Texas, Mark Haworth captures a loosely painted realism of light and mood, depicting a singular moment fixed in timeless harmony. Motivated by the subtle nuances of rivers, canyons and vistas, he paints with a conviction of emotion that he hopes to inspire in those who see his work.  He has kept this inspiration in the forefront of his vision as he paints the tapestry of the ever changing Western landscape onto canvas.
(markhaworth.com)
After high school he was apprenticed by the nationally renowned portrait painter, Glenn Bahm. Glenn taught him that one could make a career of painting only through a sound conventional training in art fundamentals and an in-depth study of the old masters. Glenn stressed the importance of color, composition, values, and edges.
Mark entered Sam Houston State University in 1973 to study classical guitar, but by his sophomore year he changed his major to art, graduating in 1977 with a Bachelor of Fine Arts Degree. After college, he primarily focused on commission work, painting several commissioned landscapes from Florida, Louisiana, Texas, the Southwest, and Mountain States.
(beauchampwesternart.com)


Winter Stream Canyonlands

The Watchman
Images from astoriafineart.com


Inspired by the scenery and quality of the silvery light of the Texas Hill Country, Mark Haworth moved to Fredericksburg Texas in 1983. Since that time, he has participated in numerous one man and group gallery shows, as well as in museum exhibitions, throughout the country. (markhaworth.com)
Mark Haworth has an engaging smile and a slender, athletic build. He greets visitors with friendly southern hospitality, and it’s immediately apparent that he enjoys his life and loves his work. One look at his art, and you know the Texas landscape is in his blood. He frequently paints the Texas Hill Country, striving to interpret the essence of its wooded canyons, spring-fed rivers, and hillsides blooming with spring wildflowers. “The scenery here, and the beautiful quality of light as it falls on the land, is constant sources of inspiration,” says the artist.
(southwestart.com)


Rockbound
From southwestart.com


ROCKBOUND, a study in serenity is a fine example of Mark Haworth’s talent for enticing a viewer to linger. The artist found the spot while hiking through Sabinal Canyon in central Texas. “The quiet pond enhanced by the striking play of autumn light, the abundance of different sized rocks and boulders, and the transparency of the reflections on the water held all the elements of mood and light I love to paint,” he notes.
(southwestart.com)


Poppies in the Yard
From artistdaily.com


The above and beyond
From insightgallery.com


Scarlet Regalia

Hunter's Moon

Desert Spring
Images from faso.com



From an artistically gifted family, Mark Haworth left academia with a B.F.A. from Sam Houston State University and then quickly earned recognition as an independent working artist. Haworth has participated in numerous one-person and group shows as well as in museum exhibitions throughout the country. He was selected for the top 100 in the nationally recognized Art for the Parks contest in 2005, and he was selected for the top 200 in 2006. In 2007, Haworth won Best in Show and in 2009, the Artists’ Choice award at the National Western Art Foundation’s Night of Artists sale in San Antonio. He has been featured in Southwest Art, Western Art Collector, Art of the West, and American Artist magazines. Haworth’s painting, El Mercado, was featured on the front cover of the March 2009 issue of American Artist. Haworth is represented by Insight Gallery in Fredericksburg, Texas and Astoria Fine Art in Jackson, Wyoming.
(briscoemuseum.org)
Recent Awards & Honors:
2009: Featured on the cover of American Artist Magazine (March issue)
2009: Featured ‘Guest Artist’ at the prestigious Maynard Dixon Art Show
2009: Artist’s Choice Award – National Western Art Foundation
2007: Best of Show – National Western Art Foundation
2005: Top 100 paintings of the year – National Arts for the Parks Competition Mark has also been featured in American Artist, Art of the West, Southwest Art, and Western Art Collector magazines. (astoriafineart.com)