Hidden Treasure Art eMagazine Spring 2015 April

Hidden Treasure Art eMagazine is designed to promote and support artists in the UK and abroad. Through the Magazine, artists will be
connected directly with potential buyers and more than 1500 British and another 500 European galleries.

hiddentreasure

Art eMagazine / Spring 2015 April

How to Submit Images When Entering
Online Art Competitions?

A captain who adores the ocean
An interview with
Capt. Stjepko Mamic painter

You become better with age On the Cover
Raymond Quenneville
An Article by: Hilarie M. Sheets
HT Art Magazine Publishing I April 2015

Georgia Szollosi Ellis - director and editor

Jurors:
Georgia Szollosi Ellis Painter - director and editor
Mike P. Ellis - art collector and advisor
Zsolt Pinter - graphic designer and painter
Valeria Kovacs - co-editor and curator

Cover: La Plage
Raymond Quenneville
oil on canvas
40 x 30 in
2014

Back: Niko
by Kirsten Høst
oil on canvas
57 x 74 cm

Hidden Treasure Art eMagazine / Spring 2015 April
is published by HT Art Magazine Publishing
Promotion and Publication London, UK

www.ht-artmagazine.com [email protected]

Copyright 2013-2015 by HT Art Magazine Publishing.
All rights reserved. All artists featured in Hidden
Treasure Art Magazine Yearbook 2015 retain the
copyright for each of their individual images. All
rights reserved. No part of this book may be repro-
duced or translated in any form or by any means,
electronic or mechanical, including photocopy-
ing, recording or by any information storage and
retrieval system without written permission from the
copyright owners.

The Arts Do Live...

“...continuously, and they live literally by faith;
their names and their shapes and their uses and
their basic meanings survive unchanged in all
that matters through times of interruption, di-
minishment, neglect; they outlive governments
and creeds and the societies, even the very
civilization that produced them. They cannot
be destroyed altogether because they repre-
sent the substance of faith and the only reality.
They are what we find again when the ruins are
cleared away.” - Katherine Anne Porter

With great pride and an even greater sense of
duty and responsibility we would like to pres-
ent the first volume of the Hidden Treasure Art
eMagazine / Spring 2015 April.

Our mission is to connect and build a bridge
between artists and art lovers by providing and
presenting a high quality source of visual art
and design through our book, website, maga-
zine and other publications. We are dedicated
to bringing happiness and recognition to the
artists and joy, beauty and satisfaction to the
art lovers let them be collectors, buyers, galler-
ies, curators or others taking pleasure in art and
design.

We believe that Hidden Treasure Art eMaga-
zine has much to offer both to the Artist and to
the Readers.

Georgia Szollosi Ellis
director, editor and curator

Artists

Daniele..................................................16
Danny Van der Elst...............................58
David Sheldon......................................12
Donnedieu De Vabres.........................46

Francesco Sandrelli..............................32

Gabi Domenig ................................ ....10
Germán Guerra Gonzalez...................60
Graehound

Igor Nelubovich....................................48
Ivana Dollejs .................................... ......6

Kirsten Høst....................................... ....14

Lassere...................................................55
Linda Rusco...........................................50

MariaFerrara.........................................52
Maysha S.................................................8
Mike Decesare......................................72
Moni Art.................................................38

Pauline Silberman.................................24
Portraits of Treasured Memories..........18

R. Geoffrey Blackburn..........................30
Raymond Quenneville.........................20
Ryan Leitao...........................................66

Wioletta Weselowski.............................68

Paintings
Drawings
Mixed Media

Ivana Dolejs She was born in 1961 in the Czech
Republic. She lives and creates
Kings of the Bird Empire in Prague. Until thirty three years
oil on canvas of age she was employed as a
70 x 70 cm financial clerk. To paint she start-
2010 ed when she was nearly thirty six
years old. Together with her three
years old daughter they created
colour aquarelle abstracts, and
at that time she experienced for
the first time that strange, myste-
rious force, which literally led her
hand. Since then the painting
became an unseparable part of
her life, and the meaning of her
life too. She works with her sub-
conscious, intuition. With the use
of imagination by music and of
meditation she penetrates into
the unconscious.

contact: Ivana Dolejs
[email protected]

Eyes of the Truth
oil on canvas
70 x 70 cm
2014

6 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

Snake’s Kiss
oil on canvas

90 x 100 cm
2012

Waterman
oil on canvas
70 x 70 cm
2010

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 7

Maysha S

Lebensbeginn
mixed media
70 x 70 cm
2014

Maysha S born as Maysha
Franziska Sattelberg 1983 in
Berlin, growing up in the Neth-
erlands and Bremen, is an Art-
ist and Illustrator, living and
working now in Hamburg. She
set her main focus on Acrylic
painting in an abstract way.
Surrealism elements can also
be found in her paintings. The
Colours Maysha S uses most-
ly are very deep, strong and
powerful.

Wise
mixed media
70 x 70 cm
2014

8 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

www.maysha-s.com
contact: Maysha Franziska Sattelberg

[email protected]
Germany

Firedance
mixed media
70 x 70 cm
2014

She get her Inspiration for painting
by travelling through Europe and
Africa. Maysha S had already sev-
eral international Exhibitions. Most of
them in the United States and south-
ern Europe. Colour is life that is what
she says and Maysha means life,
with her Art she want to show the
beauty of life!

Dancer
mixed media
70 x 70 cm
2014

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 9

Gabi Domenig

www.domenigartdesign.at
contact: Gabi Domenig
[email protected]
Austria

Flower Meadow Dreams
Down at the Water Lily Pond

acrylic on canvas
140 x 100 cm
2015

Born in Lienz, Austria. Gabi Domenig
was attracted to fine arts in an early
age. Her love for painting encouraged
her to take classes in nude painting,
color theory, drawing and compo-
sition. Following her first exhibition in
1999, where she presented 20 large
pastel paintings, she started to paint
with acrylics on canvas. Gabi is pri-
marily concerned with the representa-
tion of man and women which shows
through her artworks. She tries to cap-
ture moments and to build up emo-
tional tensions. The viewer should feel
something of her passion when she
paints. For her art should be life-affirm-
ing and beautiful, touching and con-
necting. Her characters send out var-
ied emotions such as pride, pain, love,
sadness, loneliness, joy and longing.

10 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

The figures are mostly located in a
particular environment cutout. The ex-
pression of the eyes should animate
the viewer to enter in a deeper com-
munication with the figures in the pic-
ture. Flowers, plants, animals, patterns
and landscape sections are decora-
tive parts, but are usually situated in the
background. Because of her intensive
color palette and the figurative painting
she is attributed to the Neo-Expression-
ism. You can find her images in private
collections, in international art books,
art magazines and online art galleries.

Queen of Fashion
Time Out in the
Flamingo Park
acrylic on canvas
140 x 100 cm
2015

Birthday Garden Party
Waiting for the Clown

acrylic on canvas
140 x 100 cm
2015

Image on the
bottom left

Sunday Walk
on the Golden Beach
acrylic on canvas
140 x 100 cm
2015

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 11

David Sheldon

www.davidsheldon.co.za
contact: David Sheldon Horwitz
[email protected]
Switzerland

X-Static Process
mixed media
90 x 90 cm
2013

Influenced by graphic art and textile de-
sign, the motif depends on calculative de-
tail, sometimes dealing with traditional Af-
rican themes. The main medium is acrylic,
applied in several layers ultimately achiev-
ing a bold, lustrous finish. Other materials in-
clude oils and metallic leaf. The colour pal-
ette is predominantly monochromatic with
a prevalence using blue hues. Heavy pat-
terning connecting the background and
foreground emphasise equal importance
while the overlapping of designs suggest our
human complexities and different personas.

Chaplin
acrylic, and metallic leaf
70 x 100 cm
2015

12 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

Non-conformist and constantly
evolving, David’s work demon-
strates a tendency to re-invent
style and technique influenced
by pop culture and current trends
focussing primarily on abstract
expressionism and pop art. The
contrasting nature of these gen-
res depicts both sides of his perso-
na. His abstract is organic, often
muted in tones, emulating move-
ment and resonance. Dramatic
and iridescent, yet calming and
dimensional, the process is often
unpredictable, inspired by aquat-
ic themes, the earth and space.
The fundamental focus relies on
the study of the chemical reac-
tion using water and oil based
materials, including enamels,
varnishes, inks, oils and industrial
paints. In comparison, his genre of
figurative pop art, often iconic in
subject matter is methodical and
precise, involving projection and
stencilling incorporating strong
linear and geometric shapes.

African Woman
acrylic and metallic leaf
20 x 50 cm
2014

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 13

Kirsten Høst

www.hoestart.com
contact: Kirsten Høst
[email protected]
Danmark

Getting the
Harvest Home

oil on canvas
50 x 50 cm
2013

As One
oil on canvas
40 x 50 cm
2014

Kirsten Høst is a Danish artist, now liv-
ing in Denmark, who has embarked on
a new phase of her life and work, after
spending 30 years in London, UK. This
new phase emanates from a confident
and sure belief and trust, that there is a
plan for each one of us, if we allow our
true gifts to unfold naturally. This trust has
allowed her to find a new vision and a
new voice working with oil painting and
watercolour/ink/collages.

14 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

Kirstens work is strongly influenced by The Second
geometry, which she sees reflected in Snow Queen
all aspects of our universe. This theme oil on canvas
was reinforced by her meticulous study
and admiration of the great renais- 60 x 80 cm
sance painters in the museums in Italy, 2015
where she has spent longer periods of
time, especially in Firenze, Perugia and
Venezia. Kirsten`s work frequently starts
with a geometric shape and with an
open mind, and inspiration develops a
life and vibration of its own.

Her work has been exhibited in London,
Paris, Edinburg, Copenhagen, Philadel-
phia, and New York in the U.S.A, and
will be in 2015 exhibited in Palermo and
Firenze in Italy, Paris in France and in
Barcelona in Spain.

Two Women
oil on canvas
100 x 86 cm
2013

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 15

Daniele Olive Trees in Chianti
oil on canvas
50 x 60 cm
2005

www.danieleatelier.it
contact: Daniele Vannucci
[email protected]
T: +39 5841921530
Italy

Daniele Vannucci was born in Florence, where “breathes” the colors and forms of
the beautiful city’s art. He lived a period in the Chianti countryside. The new enchant-
ed destination take him by the hand and lead him through new paths, which give
him a clear impression of the pictorial expressions of that moment. Subsequently, his
work leads him close to Rome, on the hills of Sabina, from which you can see Rome
at a certain distance. The sea of olive trees from Fara in Sabina, that dominate the
Eternal City, the gentle hills that slope down towards the plain of the Tiber and the

heart-breaking sunsets, so
evidently, influence again
his new works. He current-
ly lives in Viareggio, where
the city’s Carnival is able to
give him a new artistic path
where you can read the
unique essence of life that
flutters in Versilia.

Sunset in Chianti
oil on canvas
70 x 70 cm
2010

16 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

Already some effects are
clearly visible in his works
made in the early years of
his stay in Riviera. His works
are characterized by a
careful study of the sub-
ject, by careful observation
of the relationship between
light and shadow, enriched
with intense colors and pic-
torial traits not clearly de-
fined, leaving the viewer the
freedom to interpret the be-
coming of the work.

Carrara, Marble Quarry
oil and acrylic on canvas

150 x 150 cm
2014

Rendezvous
in via Veneto
oil on canvas

60 x 50 cm
2014

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 17

Portraits of Treasured Memories

www.facebook.com/treasurethememories
contact: Deborah Nicholas
[email protected]
United Kingdom

Debbie Nicholas is a portrait artist based in
Hampshire, U.K. She has always been a lov-
er of art so about 6 years ago she decided
to look into step by step books and teach
herself how to draw realistically. She is most
skilled at using graphite pencils but also uses
colored pencils and pastels. Debbie strives
to get a realistic portrait and works from pho-
tos mainly. If you enjoy her artworks, feel free
to pop over to her page and follow her at
www.facebook.com/treasurethememories.

It Wasn’t Me
coloured pencils on
Bristol Board Smooth paper

A4
2014

18 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

Kyrie
graphite pencils on
Bristol Board Smooth paper

A4
2012

Bottom Right
Marshmellow
graphite pencils on
Bristol Board Smooth paper
A3
2015
Bottom Left
Shm All Mines Hidden Treasure
graphite pencils on
Bristol Board Smooth paper
A4
2015

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 19

Raymond Quenneville

www.raymondquenneville.qc.ca
contact: Raymond Quenneville
[email protected]
Canada
Born in 1956 in Trois-Rivières, Quebec (Canada), Ray-
mond Quenneville is a self-taught artist who has been
painting for over 35 years. In 1992, after having explored a variety of media, he went
back to oil painting, and decided to pursue his own unique style in expressing land-
scape and light.
By playing with complementary colours, Raymond Quenneville accentuates con-
trasts and creates impressive luminous effects. In his landscape paintings, subtle val-
ues variations almost make visible the fine consistency of the air itself and create an
illusion of depth that is convincing to the eye. He likes to paint peaceful environ-
ments, expressing serenity and equanimity of places where it is good to stop and just
be for a moment.
Raymond Quenneville has held many solo exhibitions and participated in numerous
collective exhibitions and symposia. Winner of several awards he has received many
special mentions from juries and the public. He is a member of the Institut des arts
figuratifs (IAF), of the Society of Canadian Artists (SCA) and of the Mondial Art Aca-
demia (MAA).

20 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

Un Hiver Pas Comme Les Autres
oil on canvas
18 x 36 in
2011

Sans Trop Réfléchir
oil on canvas
30 x 40 in
2013

On the Left

Retrouvailles
oil on canvas
18 x 36 in
2013

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 21

Raymond Quenneville
Les Blues I oil on canvas I 18 x 36 in I 2011

22 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

Good News

for those who wish to participate in Hidden Treasure Art Mag-
azine Yearbook 2016. Artists can decide until the 30th of Oc-
tober, 2015 if they like to be included in Hidden Treasure Art
Magazine Yearbook 2016.

If you wish to participate in Hidden Treasure Art Magazine Year-
book 2016, the same rules apply as for the Yearbook 2015 one.
You can chose, whether you like to be part of our eMagazine
(with two pages for 55.00 GBP) and later, if you decide to par-
ticipate in the Yearbook 2016, you can be included without
having to be selected and you pay less, since the participa-
tion fee for the eMagazine is part of the yearbook fees (Two
Books with 1 page + Post&Packaging, Handling Fee and Bank-
ing Transaction Fees)

So, you will be part of the eMagazine with two full pages, the
eBook (the electronic version of the Yearbook with one page)
and the paperback format of Hidden Treasure Art Magazine
Yearbook 2016 (with one page) also you will receive a Free
Membership in our Online Art Gallery (with two artworks and
link to your website).

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 23

Pauline Silberman

www.paulinesilbermanpaintings.com
contact: Pauline L. Silberman
[email protected]
United States

Armageddon
Artifact:
Spear
charcoal on paper
24 x 30 in
1998

Pauline Silberman knew from a very young age
that drawing and painting could not be sepa-
rated from her life. She is a Faculty Emerita from
the School of the Art Institute of Chicago where
she taught almost 30 years in Continuing Studies
and Special Programs. She presently belongs to
the Women’s Caucus for Art, Chicago Society
of Artists, Artist’s Breakfast Group, and a former
Board Member of the Renaissance Society at
the University of Chicago Pauline received her
BA in English Literature at Wayne State University in Detroit, Michigan followed by an
MAE at Concordia University in Lake Forest, Illinois in Interdisciplinary Arts. She is in
private collections as well as Duke University Medical Center in Durham, NC and Co-
lumbia College, Chicago, IL. Pauline and her husband, a professor at the University
of Chicago have three adult children.

Armageddon
Artifact:
Axehead
charcoal on paper
24 x 30 in
1998

24 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

Megiddo Artifacts was inspired by Armageddon Artifact:
a trip to the historical site in Israel Double Axehead
that we call Armageddon. There I charcoal on paper
contemplated relics in situ of long- 24 x 30 in
ago lives affected by war. The first 1998
series, in oils, depicts vessel shards;
the second, in charcoal and pas-
tels, other fragments of antiquity:
weapons, tools, and jewelry. The
artifacts embody our humanness
as well as that of those who made
them and used them: despite
the passage of time, they remain,
forming a bond between us and
those of the millennia past.

Armageddon
Artifact:
Jewelry Box Cover
pastel on paper
30 x 50 in
2012

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 25

You Become who have enjoyed gallery and muse-
Better with Age um shows over the last year include
Wayne Thiebaud (92) at Acquavella,
At what age do people hit their stride Robert Irwin (84) at Pace, Anthony
professionally? Categorically speaking, Caro (89) at the Yale Center for British
athletes, engineers, politicians, televi- Art, Malcolm Morley (81) at the Par-
sion writers, salesmen, and actresses rish Art Museum, Yayoi Kusama (84) at
all have varying norms and shelf lives, the Whitney Museum, Alex Katz (85) at
sometimes affected by physical attrib- the Yale School of Art, John Baldessa-
utes or societal expectations. Seeming- ri (81) at Marian Goodman, and Philip
ly immune to ageist perceptions and Pearlstein (turning 89 in May) at Betty
traditional notions of retirement are art- Cuningham. Thornton Dial (85) had a
ists. A historical look reveals that a strik- retrospective that traveled to several
ing number have been highly produc- American museums, the San Francisco
tive and turned out some of their best Museum of Modern Art mounted a sur-
work late into old age, including Bell- vey of Jasper Johns (who turns 83 on
ini (who died at 86), Michelangelo (d. May 15), Betye Saar (86) filled a room
89), Titian (d. between 86 and 103, de- of the National Academy Museum
pending on your source), Ingres (d. 86), with her birdcage sculptures, and an
Monet (d. 86), Matisse (d. 84), Picasso exhibition of Claes Oldenburg’s (84)
(d. 91), O’Keeffe (d. 98), and Bourgeois work is currently on view at the Muse-
(d. 98). um of Modern Art in New York.

“All the case histories point in “Being an artist is a way of life”
one direction - the extraordi-
nary flowering of artistic genius says 82-year-old Faith Ringgold, who
in old age” has a solo show opening in June at the
National Museum of Women in the Arts
Thomas Dormandy wrote in his book in Washington, D.C. and just closed
Old Masters: Great Artists in Old Age. one at ACA Galleries. “It’s not about
While Dormandy rejected the attrac- ‘I’m going to major in this and get my
tive idea of creativity as an antidote to degree, and then I’ll go to work, and
physical or mental decline - “it is con- then I’ll retire.’ It is something one has
tradicted by the facts” - he explored a passion for, does, and then becomes
the powerful inner shifts in old age that - and can do it literally until they pass
propelled many artists to new heights, away. It’s an old-age thing. You be-
whether it’s Monet painting his “Water come better with age.” Ringgold is
Lilies” when he was almost blind after currently creating an online museum
cataract surgery, or Matisse inventing of her work since 1948 that will provide
his paper cutouts in his last years when games for people to create their own
confined to his bed and a wheelchair. art - an entirely new venture for her.
The numerous recent exhibitions of
actively working artists age 80 and up “I do think some young peo-
would bear out this anecdotal corre- ple have the mistaken notion,
lation between longevity and crea- especially today, that they’re
tive production. New “Old Masters” supposed to be successful
right away”

26 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

says Ringgold, adding that many wom- that you didn’t have in your earli-
en artists don’t receive acclaim before er years,” Stuart says. “You’ve made
60, especially women of color. “There’s more things, you’ve honed your craft,
a great deal of racism and sexism in the you’ve experienced more books,
art world. If you’re going to drop out you’ve experienced more criticism or
early, you’re going to miss the whole praise. You don’t need to worry about
thing.” Cuban-born painter Carmen what people think. There’s that kind of
Herrera, for instance, spent decades freedom.”
working unwaveringly on her hard-
edge abstractions before selling her Joan Semmel, 80, feels relief in not hav-
first canvas in 2004, at age 89, to the ing to hustle and put herself out there
collector Ella Fontanals-Cisneros. Since in the same way she did when she was
then, Herrera, who turns 98 this month, younger. “In the work itself, you know
has experienced a flurry of interest in who you are as an artist,” she says.
her work and shows at Lisson Gallery. She’s gratified by the current interest
in her work, with an exhibition of her
“I admire long-term careers” self-portraits from the last decade up
through June 9 at the Bronx Museum
says Duane Michals, 81, who just had a of the Arts and a show of her most re-
show at DC Moore Gallery of 19th-cen- cent nudes juxtaposed with very ear-
tury tintypes that he playfully embel- ly figurative paintings up through May
lished with various styles of modernist 25 at Alexander Gray in New York.
painting. He had painted on photo- “You’re not struggling with finding your
graphs during the 1980s but cycled voice and doubting everything you do
back to it a couple years ago in an en- in quite the same way as when you’re
tirely new way. “Anyone can be the fla- younger. It’s all part of self-accept-
vor of the month or the year,” he says. ance.”
“I really admire people who evolve.
What I’m doing now I wouldn’t have “Working becomes your own
imagined five years ago. I’d like to think
that five years from now I might be do- little Eden”
ing something I can’t imagine now.”
Thiebaud says, while acknowledg-
“If you’ve lasted this long in the ing the challenge of overcoming the
game, you probably are mak- traps of what others think and say.
“You make this little spot for yourself.
ing a living” You don’t have to succeed. You don’t
have to be famous. You don’t have to
says Michelle Stuart, who recently be obligated to anything except that
turned 80 and now proudly admits her development of the self.”
age (she used to lie about it). In July,
Stuart has a survey of paintings, sculp- Risk taking seems to be a common trait
ture, and photographic works from among these artists, not just in old age
1968 to the present going on view at but throughout their lives. “Artists are
the Parrish Art Museum in Water Mill, like gamblers,” says Stuart. “Who else
New York. She agrees with Ringgold would walk into life without a job, no
that experience counts. “Experience credit? You’ve got to have that little
certainly gives you insights into things extra frisson of adventure.”

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 27

Morley has always eschewed working own naked body. “Early on, I was inter-
in any one predictable style. Being an ested in a non-idealization of the body,
artist is “a perpetual renewal, it’s always the body as one really experiences it,”
for the first time,” says the artist, widely she says. “Age, then, was a natural part
credited with jump-starting bothpho- of the way I was working. I felt it was
torealism and Neo-Expressionism. “It’s important to focus on the changes in
rather like my dog. When you throw the the way we look as a natural formation
ball, she runs for it as if she’s never run rather than something undesirable.”
for it before, and it must be the millionth
time.” Over the last decade, Morley Semmel’s recent paintings, with layers
has faced several health crises but has of shifting views of her face and body,
rallied and come back, taking new di- are much more psychologically com-
rections in his painting. “I seem to be plex than her earlier hard-edge can-
a cat with nine lives,” he says, adding vases, which cropped out her face.
that it’s impossible to know whether his
development would have been similar “These new paintings are real-
if none of his mishaps had happened. ly concerned with the under-
standing of the self in one’s total
For Ellsworth Kelly, who turns 90 this humanity rather than in one’s
month, the connection between phys-
ical and mental health has only be- sensuality”
come stronger with age. “Recently, I
have had some physical challenges she says.
related to aging, though I accept it,
and it has given me an added surge Other painters find the motivation to
for continuing to create new work,” he work every day in the legacy of paint-
says. Kelly has two new sculptures in his ing itself. “I have to up the ante con-
current exhibition at the Barnes Foun- tinuously,” says Morley. “I have a big
dation in Philadelphia. ambition to sit in the pantheon of the
greats. Whether or not it occurs, of
“Making art has always been a course, other people will have to de-
cide.” Thiebaud feels sustained by his
necessity” ongoing dialogue with the history of
the medium. “It’s great to have the
“I don’t know if being an artist is mak- community of that long tradition of
ing me live longer,” says Semmel. “But painting, which, however small a part
certainly in terms of keeping me vital you have in it, is a comforting kind of
and interested and alive in the sense life,” he says. Currently, he’s working
of how I live my life, being an artist is on paintings of mountains, synthesiz-
undoubtedly a very important part of ing memories and characteristics of
that - even when I’m not well. Normally, various types of mountain formations
I work standing. If I can’t stand, I sit - but experienced in his youth. “I must say, I
I still work. That engagement is very im- don’t feel very successful,” he says.
portant.”
“I’m still trying to figure the damn things
For Semmel, aging has become a cen- out. This probably helps me to keep go-
tral subject in the work itself. Since the ing - new problems, new sensibilities,
1970s, she has painted pictures of her new challenges.”

28 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

“Whatever you feel is undone, “When you’re 28, you feel like
you should do” you’ve got infinite time in front
of you, which you just don’t
says Stuart, a piece of advice she have when you’re my age”
gives to artists and nonartists alike. For
her, it meant creating an entirely pho- says Stuart. “You become more cir-
tographic body of work, a medium cumspect about how you spend it.”
she had previously only used for doc- Semmel agrees that time is an impor-
umentation. Her recent large-scale tant factor in why and how she works
grids of images, surreal and cinemat- today. “You know that your time is lim-
ic ruminations on natural phenomena ited, so you don’t want to waste your
and human frailty, were shown last fall time doing work you don’t feel is im-
at Leslie Tonkonow in New York. “It’s portant.” That means she gives herself
that book I always wanted to write, the permission to take occasional days off
storytelling aspect of my psyche that if she doesn’t have something she real-
needed to come out,” she adds. All of ly wants to do.
these artists have maintained consist-
ent, disciplined studio schedules. On the Picture:
Oscar Eduardo Perén Chunai
“You’ve got to do just like the
musicians do, you’ve got to painter
practice every day”
“When I was younger, I had to
Ringgold says. “I plan to do that for the work every day because I might
rest of my life, practice every day.” The not be an artist if I didn’t. - she
luck of the gene pool as well as stay- says. - Now I’m pretty sure.”
ing fit support the stamina and coor-
dination required to remain at the top Article by: Hilarie M. Sheets
of one’s game. Morley says he treats
himself like an athlete in terms of the
seriousness with which he approaches
his physical therapy. Thiebaud plays
tennis three to four times a week,
which he finds akin to the athleticism
of painting. “This mind-body construct
is a very important thing to recognize,”
he says. “The plumb line in the body
gives us a sense of things like grace or
awkwardness or tension. In tennis, af-
ter all, you’re playing on a kind of sur-
face like Mondrian where the param-
eters and limitations are as important
as the spontaneity and freedom of the
body.”

The shift in one’s sense of time that
comes with aging also impacts the stu-
dio routine.

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 29

R. Geoffrey Blackburn

www.rgeoffreyblackburn.com
contact: R. Geoffrey Blackburn
[email protected]
United States

Canyon Jewel
oil on linen
50 x 38 in
1982

Born in 1947, R. Geoffrey Blackburn began his professional fine arts career in 1970. He
has taught art and worked in various art-related fields his entire professional life. While
in England, in the early 1970’s, he was the principle artist for an international magazine.

30 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

Red Canyons
oil on linen
24 x 30 in
1979

Although he has studied art both privately and at the University of Utah, he is essential-
ly self-taught. His first recognition as an artist came at the age of eight when his work
won first prize at the annual exhibit at the Old Mission at San Juan Capistrano, CA.

During the last uranium boom of the 1970’s, Blackburn co-owned and operated a min-
ing and exploration company, North American Resources Corp. working out of Moab,
UT, which was how he came to focus on red rock landscapes.

Blackburn’s art has been widely exhibited, collected and has hung in the White House
and appeared on national television. In 1987, he invented a new, user-interactive art
form for which he received a US Patent in 1990. His work is frequently commissioned by
collectors.

Twilight on the Colorado
oil on panel
14 x 24 in
2013

Desert Rules
oil on panel
9 x 15.5 in
2008

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 31

R. Geoffrey Blackburn

Indian Summer
oil on linen
28 x 36 in
2012

Road to Sedona
oil on panel
6 x 21.25 in
2007

HIDDEN TREASURE ART eMAGAZINE / Spring 2015

Red Canyon,
Lander

oil on linen
26 x 36 in
2004

HIDDEN TREASURE ART eMAGAZINE / Spring 2015

Francesco Sandrelli

www.francescosandrelli.it
contact: Francesco Sandrelli
[email protected]
Italy

Donna Antica
oil on canvas
270 x160 cm
2012

Francesco Sandrelli is a self-taught artist Out of Time
from Castiglion Fiorentino, Tuscany. He oil on canvas
had art exhibitions in France, Canada,
UK and the United States. Although he 270 x 160
had a keen interest in drawing since ear- 2012
ly childhood, he began to paint in the
eighties, attending a private school in
Florence. After four years spent in school,
he felt exhausted and went to hospital
for art therapy in painting. From 1994, he
paints again. His works during this period
reflect a ‘grande’ love for his family.

32 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

For a while he paints large canvases, especially in remem- Narcosis
brance of childhood memories, sensations and dreams: his oil on canvas
virtual storytelling mixes fairy tales with inner visions, combin-
ing imperfection with sharpness and abstraction with figu- 270 x 160
rative. Sometimes feeling everything farce around, Franc- 2012
esco is striving to find sense in turmoil through painting.

Cring Out of Beauty
oil on canvas
280 x 160
2011

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 35

Graehound

Durner’s Chandelier
mixed media on Rives Black

44 x 30 in
2014

www.graehound.com
contact: Graehound
[email protected]
215 E Douglas Street #313
61701 Bloomington, IL
United States
T: + (1) 3098382982

Suspension
mixed media on Bristol
6.25 x 9 in

2014

34 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

Graehound currently works predominantly in
mixed media to create illustrative pieces that
promote nuanced discussion between the
broader concepts of disability and identity. She
has an affinity for detail and enjoys the medi-
tative quality of both creating and observing
layered imagery. She holds a BFA in Studio Art
from Northern Illinois University with an empha-
sis in Drawing and is currently enrolled in the In-
terdisciplinary Studio Art Masters programme at
Goddard College.

Seep
mixed media on Bristol

10.75 x 6 in
2014

Lacquerice
mixed media on Bristol
15.75 x 11 in
2015

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 37

Graehound

Inside Voice
mixed media on Bristol
13.75 x 11 in
2015

Perpetually interested in discov-
ering new formes of expression,
Graehound has been includ-
ed in national and international
exhibitions and publications re-
garding her work in several dif-
ferent media, particularly draw-
ing and beadwork.

Sakura
mixed media on Bristol
13.75 x 10.25 in
2015

38 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

Art Website - Do you have one?

If you are an artist, you must proactively market your creations
to the world to become acknowledged and appreciated in
this highly competitive industry. While there are a number of
ways to market your artistry and unique eye including partici-
pating in art shows, exhibits and contests, there is nothing more
effective than creating an art website to market your skills and
exceptional artwork. While beauty is in the eye of the behold-
er, you will give your visitors the visual samples that will affect
their impression on you as both a person and an artist.

While it is true that artists today have many choices as far as
online art marketing is concerned the importance of having a
presence via means of a personal website for your art is more
valid today than ever. If you desire to sell art online it is crucial
to have your own presence if you desire to reap the reward
of your efforts. Having your own artist website is a key factor
toward success if you desire to sell original art online without
having to split profit from eCommerce with others.

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 39

Moni Art Deceleration
acrylic on canvas
Monika Leonhardt
was born near Ber- 40 x 40 cm
lin. After a long 2014
illness, she had reor-
iented herself and
placed painting in
the focus of her life.
In self-paced de-
velopments she first
painted with oil and
watercolour. 2012 then she swapped
to acrylic and mixed media, as well as
she makes experiments with abstract
painting. Her motto is “Every day is
unique” and it is important for you on
capturing certain moods.

www.monika-leonhardt.de
contact: Monika Leonhardt
[email protected]
Germany

Evening
acrylic on canvas
40 x 40 cm
2015

40 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

In The Morning Gray
acrylic on canvas
40 x 40 cm
2015

Wilderness
acrylic on canvas
40 x 30 cm
2012

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 41

How to submit images when entering
online art competitions

“In this series, we will explore the importance of submitting quality images of your
artwork when entering online art competitions. In the first part of these series I
mentioned that artists need to pay attention to lighting when taking pictures of
their artwork. In this edition of the series, I will stress the fact that submitted images
should focus on the artwork itself - anything more is a distraction... and distractions
rarely win online art competitions.

Remember that online art competition
jurors want to view an image of your
art!

Make sure that the image you submit is of the artwork - just the artwork. It should
go without saying that an art competition submission should be of the artwork
itself... nothing less, nothing more. Unfortunately, many artists fail to do this. I’ve
worked with enough online art competition jurors to know that a ‘cluttered’ im-
age stands little to no chance of being selected. Below I will offer some examples
of what I mean by ‘cluttered’ images.

Frames can distract from the strength
of your submitted images

It is not uncommon to find online art competition image submissions that include
the frame around the artwork. The frame, in this context, takes away from the
power of the artwork – it ‘clutters’ the image. The juror(s) must decide if the frame
is considered part of the artwork itself. After all, most online art competitions re-
quest an image of the artwork... NOT an image of framed artwork. Pointblank,
including a frame in the image can cause confusion.
Additionally, any designer can tell you that a bad framing choice can ‘take away’
from an otherwise strong work of art. The same can be said of images of framed
artwork that you submit to an online art competition. You won’t benefit from the
added distraction. Remember to crop the image if you must take an image of a
framed work of art.

Jurors want to see your artwork...

NOT a studio view of your artwork: Another common problem with online art com-
petition image submissions is the fact that some artists choose to take an image of
their artwork on an easel or propped against a studio table. I have viewed online
art competition image submissions that were ‘cluttered’ by coffee a mugs and

42 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

packs of cigarettes placed in front of the artwork! Needless to say, a coffee mug
(or any item for that matter) placed in front of the artwork is a HUGE distraction.
Online art competition jurors don’t want to see your art studio clutter... they want
to view your art.

Jurors don’t want to see you

Over the years I have viewed hundreds of online art competition image submis-
sions that involve the artist standing by his or her artwork, images that include the
fingers and thumbs of someone holding the artwork up, and images that reveal
the shadow of the person taking the photograph. These images - no matter how
great the artwork is - always end up at the bottom of the pile. There is no reason
to be in the image unless the competition specifically requests that. As for finger,
thumbs and shadows - there is no excuse for those additions. Period.
In closing, online art competition jurors - even if the artwork itself is outstanding -
will likely not select images that are cluttered by frames, art studio objects / items,
or body parts. After all, they have to think of the professionalism of the competi-
tion... and ‘cluttered’ images are simply not professional. Can you imagine how
angry the other artists would be if an image of a painting blocked by a coffee
mug ended up selected as Best of Show? Think about that when taking images of
your artwork with online art competitions in mind. Focus on the art.”

David Sheldon
Mandela
acrylic on canvas
100 x 100 cm
2013

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 41

Capt. Stjepko Mamic Interview

Capt. Stjepko Mamic, both a painter and sea captain was born in 1958
in Dubrovnik, Croatia. His paintings are unique, bursting with color creat-
ed with powerful strokes of the palette knife, full of light and positive en-
ergy. He implements an array of media: oil, acrylic,combining them with
glowing effects and golden leaves. He has perfected the techniques
of contemporary painting at the Academy D’Arte Florence, Italy and
Academy du Port Royal in Paris Stjepko is a member of The Croatian
Association of Artists-Dubrovnik and ArtNation International Association.

Triptych Sails
acrylics over golden leaves on linen canvas

80 x 60 cm each
2014

St.Peters Sails
acrylics on linen canvas
82 x 65 cm
2014

42 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

How and when did you start creating art?

I remember, when I was only four years old
I painted with white chalk on the walls, and
that love and passion for arts holds me till
today and hope that will never disappear.

What media and genres do you work in?

I like to paint ocean, underwater, fishes, boats,
sails and marine landscapes. Positive energy and strong colours
are the basis of my paintings. All my paintings have a very positive
impact on the observer, some said that after looking into my paint-
ings for only 10 minutes they felt relaxed, like somehow their bodies
been recharged and refreshed. I use oil paints, acrylic paints, gold
and silver flakes and leaves, various pigments and paints for glass
on canvas. I prefer to work with a palette knives. I like to explore
new techniques and abilities in painting.

Who or what are your influences?

I constantly improves techniques of contemporary art at the Acca-
demia d’Arte in Florence and Academie de Port-Royal in Paris,but
I do not belong to any artistic direction, any school, any group, I
paint for pleasure, for spiritual needs.

What are you working on currently?

Now I’m working on a new series of paintings, colors of lights, which
will be very interesting My goals are to continue to create images
that ordinary people will like, and to work on large/huge formats

Where can people view/purchase your work?

My paintings can be seen in my studio at Dubrovnik, at Artitude
Gallery / Paris, RO Gallery / New York (and I am looking for the
good gallerist in London :-) and on many Web sites, just Google my
name.

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 45

www.artbystjepko.com
www.raguza.net
contact: Capt. Stjepko Mamic
[email protected]
Croatia

Upcoming exhibitions,
shows, publications?

Next exhibition will be in
London 03/05/2015 at the
Royal Opera Arcade Gal-
lery, Pall Mall, than Brussels,
Paris, New York, Sao Paolo
.. next publication, Hidden-
Treasure Art eMagazine /
Summer 2015.

44 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

He has exhibited extensively in individually and with groups around the
globe, Paris, London, Oxford, Berlin, Sao Paolo, New York, Zurich, Basel,
Shanghai, Rome, Palermo, Florence, Berlin, Catania e.t.c. His works are
in the holdings of numerous galleries and private collections worldwide.

He is awarded artist, for his work he received some of the most prestig-
ious award, like: “The best Artist in the world for the stylistic value “ (Eiffel
Tower, Paris), the first Audience award at European exhibition in Den-
mark, “Pour le talent artistique” (European Biennial Paris), Raffaello San-
zio Award (Lecce, Italy), Botticelli Award (Florence, Italy) e.t.c. In 2015
he become Ambassador of culture in the world, for human right.

Rush Hours - Detail
triptych, acrylics on linen canvas
100 x 240 cm
2015

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 47

Donnedieu de Vabres

www.lauredonnedieu.com
contact: Donnedieu de Vabres
[email protected]
France

Laure Donnedieu has discovered the bullfighting envi-
ronment 30 years ago and is interested in it in different
ways. After a first training in various painting workshops,
she were specialized in the bullfighting painting under dif-
ferent formats: traditional bullfighting, horse bullfighting,
bulls at land at the beginning in a very figurative way.
Then, step by step, she has moved to a more abstractive
technique emphasizing on the moves and lights very typi-
cal from the bullfighting culture. For the last 4 years, Laure
has enlarged her scope of practice and is now painting
cities like Paris or New York by using knife and acrylic tech-
niques. She is also interest in street art.

From High Line
acrylic & knife
31,5 x 31,5 cm
2014

Cinco Dias 2
collages, acrylic
and ink on canvas
12 x 36 in
2011

46 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015

Bleu Marine
acrylic & knife
31,5 x 31,5 cm

2014

Feu d’Artifice 2
acrylic & knife
31,5 x 31,5 cm
2015

HIDDEN TREASURE ART eMAGAZINE / Spring 2015 I 49

Igor nelubovich

H 401
acrylic on canvas

145 x 95 cm
2014

www.igornelubovich.com
contact: Igor Nelubovich
[email protected]
Russia

I have always been interested in art, spending hours drawing since early childhood.
I went to Art College, but soon realized that the most important thing for me was
to be able to develop my individual style, not focus on learning the specific things
taught there. I work in oil or acrylic on canvas, and am inspired by the world around
me. I create landscapes which sometimes verge on abstraction. I am continually
searching for perfection, not worrying about particular subjects but rather on com-
posing something that is ‘right’ in an inexplicable sense.

SPB 02
acrylic and
oil on canvas
70 x 112 cm
2013

50 I HIDDEN TREASURE ART eMAGAZINE / Spring 2015