martes, 27 de enero de 2015

lunes, 26 de enero de 2015

Dariusz Zawadzki

                   “Sanctuarium” - Oil painting 
http://cromoforalapalomaonlinegallery.blogspot.com.es/2014/02/dariusz-zawadzki.html?spref=fb

Viktor SAFONKIN


 http://cromoforalapalomaonlinegallery.blogspot.com.es/…/vik…

Kryseis retouche


Dirk Dzimirsky

                                          Unused Truth, 59x59 inches


JOSH SUDA


 http://cromoforalapalomaonlinegallery.blogspot.com.es/...

Arantzazu MARTINEZ

                       N2 su mano
 http://cromoforalapalomaonlinegallery.blogspot.com.es/...

viernes, 16 de enero de 2015

CHRISTIAN SCHLOE


See more http://cromoforalapalomaonlinegallery.blogspot.com.es/2013/11/christian-schloe.html

Tomer HANUKA





Tomer Hanuka (born 1974) is an award-winning Israeli illustrator and cartoonist.
At age twenty-two, Hanuka moved to New York City. Following his graduation from the School of Visual Arts, he quickly became a regular contributor to many national magazines.

ZHONG BIAO
























Born 1968 in Chongqing, China. Associate professor at the Sichuan Fine Arts Institute. Lives and works in Sichuan, China.

JULIEN SPIANTI


http://cromoforalapalomaonlinegallery.blogspot.com.es/…/jul…

ROGERIO TIMOGEO




Marble chains



ROBERTO FERRI



http://cromoforalapalomaonlinegallery.blogspot.com.es/2013/11/roberto-ferri_9983.html

domingo, 11 de enero de 2015

Jane Lafarge HAMILL



















An excerpt from ARTnews June 2013, written by Greg Lindquist............."Jane Lafarge Hamill's exhibition emoticon consisted of mostly half-length portraits, some depicted frontally, others painted in profile or from behind. This installation was dazzling and kaleidoscopic. Hamill was able to express her ideas about the limits of expression by abstracting the portrait. As such, her pictures share an emotional distance with the expressive short-hand of the emoticon. The faces of the figures were absent, painted out, or otherwise obfuscated. While the emoticon commonly provides context or tone for quickly written communication, it also creates a cool and ironic detachment from its original expression. Similarly, rather than describing a straightforward countenance, Hamill's canvases find an emotional intensity in a style of painting that nearly obliterates any facial indication...."