AURICA - New Erotic Book- by Paloma de la Torre ( Cromofora La)

TASTING
I touch your mouth then
Thin profiled raindrops flapping and 
flushing my tongue .... 
I touch your mouth and 
unfortunate action 
Sweeps in moderation, subtly
holding the feather
in which suspended was inquine of roses ...
I touch your mouth and
my tongue jumps
In pirouette to your taste ...

Toco tu boca y con ella el aleteo
De finas gotas de lluvia perfiladas
A ras de mi lengua….
Toco tu boca y desventurada
Arrasa la acción en moderación, sutilmente...
Sosteniendo la pluma en la que quedó
Suspendida, inquine de rosas…
Toco tu boca y salta mi lengua
En pirueta hacia tu sabor…

Poem by Paloma de la Torre ( Cromofora La)©
Incluido/From AURICA ( a la venta/ on sale en/at palomad1@hotmail.com or a través de privado/ under requesting by sending aprivate)

HANJO SCHMIDT

Born in Germany.

Hanjo Schmidt works on the basis of photographs without actually copying them. He never gives the motif precedence over the process of painting in the way realism or, even more so photorealism does. 
He paints in acrylic and often uses a cheap brush applying paint in rather crude, fast strokes. His style is loud and dominant, the colours are based on what you can see but are often carried to an extreme. These are expressive paintings, and the act of painting pushes so to speak, the motifs to the background. Not for one second is there any doubt that Hanjo Schmidts art is about painting, about applying colours to canvas.
The surprising thing is that even with these crude, raw brush strokes the model is defined in a perfectly precise way. Shining eyes, pupils with sharp contours, a sinewy neck or boney shoulder blades: everything is unambiguously defined, and yet this is a type of painting that does not attempt to create the illusion of a realistic one-to-one copy of the subject matter.
The fact that we can always clearly recognize the subject matter yet at the same time know we are actually looking at a painting is a contradiction that is the real challenge in the works of Hanjo Schmidt.
As you all know, we are constantly confronted by images that want to seduce. Whether they are advertisements, posters or other media images, the majority of the motifs are designed to be grasped quickly. The message is intended to be decoded in an instant and then remembered. Hanjo Schmidts paintings, on the other hand, resist the merely consuming eye. The faces disintegrate into individual sections, or units. The paintings develope a life of their own, formatating subtexts, establishing networks, seas of color and dancing lines. This is somewhat disturbing and irritating, and forces the viewer to dwell on the picture and to take their time to get to know it. Instead of fast consumption you have to pause and dedicate yourself to seeing.
What is more, Hanjo Schmidt exaggerates expressively what he sees in contrast to the smoothing-out of commercial pictures with the help of Photoshop. He emphasizes and underlines everything the cosmetic industry would try to hide. These faces are not normed or standardised but belong to individuals. Thus Hanjo Schmidts paintings are the departure from the smooth evenness of the beautiful facade to the core of the human being in their essence..
Even if the backgrounds are suptle and soft, the pictures still resonate in a minor key there is something pathetic and pitiful about these people. They seem to have been thrown into the world and somehow be at the mercy of themselves. You can sense the tragedy of the human being not only having to bear the world but also themselves. This is why dissecting the motifs into individual units of the paintings bears a corresponding meaning: The people that we encounter are not coherent entities, nor are they one-dimensional puppets in a standardised world but multi-faceted personalities full of contradictions.
Thus the bodies and faces in Hanjo Schmidts paintings represent the human being per se: an ambivalent existence, beautiful and at the same time ugly, vulnerable and brusque, searching and denying, showing and hiding. Our look at the paintings is like a look in the mirror reflecting upon ourselves.

Adrienne Braun
Extract from the introduction to Faces, Weil der Stadt, 2008

Education:

Educated at the Staatliche Kunstschule and the Hochschule fuer Technik in Bremen, Germany.
Living and working in Stuttgart/Germany.

ANNA WYPYCH KLIMKOWSKA

Born in 1986. Anna studied at Academy of Art in Gdansk, Poland and earned her master’s degree in 2011. She now lives and works in Sopot, Poland.

Anna Wypych won a Grand Prix in the national contest “Artistic journey Hestia” 2010 as a result, and spent a month in New York. She received a state scholarship seven times: the Ministry of Culture, the Marshal of the Pomeranian and the Mayor of Gdansk. For all semesters during the studies She received scholarships for high grades. Presented his works in museums and galleries in Poland but also abroad, including: V International Student Art Triennial, Marmara University, Faculty of Fine Arts, Istanbul, Turkey, “European contemporar Tapestryand Textile Art” Acadérmie royale des Beaux-Arts de Bruxelles, Belgium; series of exhibitions under the “kunstbrucke 2″ Ost-Europa-Forum für Wirtschaft, Technologie und Kultur eV, Berlin, Germany, “Kunst modell” Passau, Germany.

DANIELE GALLIANO

PAVLOVA MARIA

PASCAL VILCOLLET

CESAR SANTOS New Series showed between

See more at http://cromoforalapalomaonlinegallery.blogspot.com.es/2013/11/cesar-santos.html

CESAR SANTOS, 1982, Cuban-American. His art education is worldly, and his work has been seen around the globe, from the Annigoni Museum in Italy and the Beijing museum in China to Chelsea NY. Santos studied at Miami Dade College, where he earned his associate in arts degree in 2003. He then attended the New World School of the Arts before traveling to Florence, Italy. In 2006, he completed the Angel Academy of Art in Florence studying under Michael John Angel, a student of artist Pietro Annigoni.

Santos’ work reflects both classical and modern interpretations juxtaposed within one painting. His influences range from the Renaissance to the masters of the nineteenth century to Contemporary Art. With superb technique, he infuses a harmony between the natural and the conceptual to create works that are provocative and dramatic.

"I conceive pictures that represent my deepest and most irrational perceptions. Through this I aspire to show images that transmit the impression of paintings of the past, but are imbued with contemporary, fresh concepts as well as my own personal philosophy.

My artistic energy drives me to arrange elusive figures and objects in conceptual designs, yet rendering them in a believable and convincing way. I bring both worlds - theoretical and naturalistic - into communion: taking objects out of their natural context to create a new environment for them, a new reality or world for us.

My tools are imagination and technique; they are the essence and the basis of my work. Oils and linen are my favorite materials: they are malleable, translucent, durable and organic. Unconventional ideas and images reach a unified framework in complex compositions; the technique used to achieve this form is "neo-academic", applying physical texture through thick paint, which is juxtaposed against smooth translucent areas. Timeless and linear techniques, current yet individual approaches to depict today's fleeting images.

The most challenging aspect of my creation is to establish a dual system of communication, a dialog in which form and color are equal participants, united by the eye of the active viewer. In a suggestive and theatrical way I seek to raise questions, to entice one to probe the imagery that I present and attempt to decipher it's meaning." CS

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