Proflux technology was developed by a team of scientists and researchers at Bradford University in the U.K. as a potential "game-changer" for the heavy oil industry. In 2005 Oilflow Solutions was launched in Aberdeen, Scotland, to develop and commercialize the technology of the Proflux suite of operations, which provides a revolutionary integrated solution to mobilizing heavy oil.
Realizing the need to be better presented in the marketplace and identifying Calgary as the key core market for the application, Oilflow Solutions Canada was formed in 2008 and its centre of operations established here under the leadership of Mike Crabtree, who relocated from the U.K. along with his key scientists and technical specialists.
Crabtree left Oilflow Solutions this year to start his own oil production company and Fred Meyer, who has served 31 years in the oil and gas industry, has taken over as CEO.
Meyer worked for Schlumberger for 27 years in positions including field engineer in Alberta, British Columbia and Newfoundland and district manager of its operations on the East Coast before moving to a sales position in Egypt. He was transferred back to Canada at the start of the Hibernia project and then lived in Bolivia as country manager for a time before leaving Schlumberger in 2007.
Since then, Meyer served as president of TestAlta Services and sales manager for Calmena Energy Services before joining Oilflow Solutions in May of this year.
Its own R&D laboratories are located in northeast Calgary, where four PhDs and a reservoir engineer are on staff, but Meyer is moving his executive and sales office into Calgary Place downtown to be closer to the major oil companies who have been introduced to Oilflow Solutions' unique, patented chemistry.
Through its family of polymer-based products it is looking to be a global leader in unlocking heavy oil by increasing oil production; reducing downtime costs; reducing energy consumption and environmental impact; and increasing reserves.
By reducing flowing viscosity, Proflux is being used in wells to improve production, in pipelines to transport heavy oil, and it improves oil recovery in reservoirs.
Friendly to the environment, Proflux is non-toxic and biodegradable and in some applications, both field-produced water and the product can be recycled. collector of works by Calgary artist Paul Van Ginkel, using his western imagery paintings not only to show off on his office walls but also as graphics for his annual reports.
This year, Ward spoke with Van Ginkel on the possibility of creating a charity calendar. Ward agreed to pay the cost for producing 1,000 calendars that use 20 of the artist's paintings and donate 100 per cent of the proceeds to HOPEthiopia, an organization committed to the restoration of both the people and the land of Ethiopia.
Painted Pony hosted a calendar launch in its office in October and to date, Van Ginkel informs me that more than $40,000 has been raised for the charity.
A public showing and sale will be held at Merlot Vinotecca on Friday and Saturday, when Van Ginkel will be in attendance.
A thank you party was held yesterday at Canada's Sports Hall of Fame, the impressive new facility at Canada Olympic Park that shares the compelling stories of outstanding achievements in Canadian sports.
It was held in honour of Claire Buffone-Blair, who has stepped down from her position as president and CEO after achieving her target of opening the hall on time, under budget and fully financed. She says she has experienced rather a hectic time as director of operations for the Own the Podium initiative and readying and opening the hall, and says she now needs to spend more time with her young family.
2011年11月24日星期四
2011年11月8日星期二
Local artists offer accessible art at Metcalfe show
Three Ottawa artists are “recessionizing” the business of fine art at their very first art show this coming Saturday, Nov. 12 and Sunday, Nov. 13 at the Metcalfe Town Hall on Victoria Street.
Deborah Lyall, Barbara Carlson and John Benn have come together after years of friendship to showcase their artwork that, while distinct in their styles and media, share two important commonalities: local content and accessibility.
“Our thing is to have art that’s affordable for the everyday person to buy. It’s kind of like recessionizing the way that you sell art, to have it more accessible to people who are on budget,” explained Greely framer and relatively new artist Lyall, who creates vintage fashion-inspired graphics working from old Ottawa Citizen catalogues, advertisements and photos.
While Lyall uses recycled paper, repurposed fabrics and other multimedia materials to create her fun – and often very funny – graphics, Carlson spends her time extrapolating fun and whimsical creatures, objects and fashion pieces out the junk she finds on the ground around Ottawa. Objects are scanned into their digital form, where she then works them into animated drawings from her very unique imagination.
“If you look at things you can recognize the items. If you look up close,” Lyall said.
One of Carlson’s drawings hanging in Lyall’s house is called the “homemade highrise,” an image of a towering brick apartment building made up of photos of many different houses, walk-ups and apartments around the city.
“A beautiful mind, this woman has,” Lyall added.
Carlson’s husband John Benn is perhaps the most traditional of the three, creating ‘plein air’ oil paintings of various landscapes and scenes found in Ottawa South.
Plein air painting sounds just like what it is: the artist takes his materials, sits outside in the elements and paints the scene in front of him from start to finish.
“The man is amazing. He paints outside in the cold. He will be outside being eaten by bugs all day, and it’s done in a short amount of time. Plein air painting tends to be a little more coarse,” Lyall explained.
Benn used to be a well-known etcher in the capital as well, creating intricate scenes and landscapes around Ottawa.
“It’s a really good mix, the three of us together. I think it will be an interesting show,” Lyall said.
Lyall grew up in an antique shop and now runs a picture framing business out of her log cabin home near Greely, where she is famous for making shadow boxes to display heirlooms and cherished items.
Now 50, after 20 years of framing other peoples’ art, she decided last year to start making her own.
She was inspired by her grade six teacher Bob Robb, who taught her at Blossom Park Public School and kept in touch throughout her life until he died this year.
“He always encouraged me in art, and he always said ‘How come you’re not doing it?’ I thought framing was going to be it for me. But I got this bug to start doing my own stuff about a year ago. I started working with fabric and multi media work and this is what’s happened,” she said, gesturing to the chaotic studio hung with dozens of her signature vintage silhouettes. Postage stamp-inspired cameos, variations on old-fashioned underclothes, colourful flowers, old trucks and vintage formalwear pop out of their frames around the room, outlined in black and backed with bright colours.
A quilt comprised of ornate paper stars is dedicated to Robb, whose funeral Lyall spoke at several months ago, and whose family will be at the art show. Prints of individual quilting squares will be on sale for $40.
“This gentleman always said to us, ‘Don’t live on the sidelines of your life; reach.’ So, of course, I made stars,” she said.
Deborah Lyall, Barbara Carlson and John Benn have come together after years of friendship to showcase their artwork that, while distinct in their styles and media, share two important commonalities: local content and accessibility.
“Our thing is to have art that’s affordable for the everyday person to buy. It’s kind of like recessionizing the way that you sell art, to have it more accessible to people who are on budget,” explained Greely framer and relatively new artist Lyall, who creates vintage fashion-inspired graphics working from old Ottawa Citizen catalogues, advertisements and photos.
While Lyall uses recycled paper, repurposed fabrics and other multimedia materials to create her fun – and often very funny – graphics, Carlson spends her time extrapolating fun and whimsical creatures, objects and fashion pieces out the junk she finds on the ground around Ottawa. Objects are scanned into their digital form, where she then works them into animated drawings from her very unique imagination.
“If you look at things you can recognize the items. If you look up close,” Lyall said.
One of Carlson’s drawings hanging in Lyall’s house is called the “homemade highrise,” an image of a towering brick apartment building made up of photos of many different houses, walk-ups and apartments around the city.
“A beautiful mind, this woman has,” Lyall added.
Carlson’s husband John Benn is perhaps the most traditional of the three, creating ‘plein air’ oil paintings of various landscapes and scenes found in Ottawa South.
Plein air painting sounds just like what it is: the artist takes his materials, sits outside in the elements and paints the scene in front of him from start to finish.
“The man is amazing. He paints outside in the cold. He will be outside being eaten by bugs all day, and it’s done in a short amount of time. Plein air painting tends to be a little more coarse,” Lyall explained.
Benn used to be a well-known etcher in the capital as well, creating intricate scenes and landscapes around Ottawa.
“It’s a really good mix, the three of us together. I think it will be an interesting show,” Lyall said.
Lyall grew up in an antique shop and now runs a picture framing business out of her log cabin home near Greely, where she is famous for making shadow boxes to display heirlooms and cherished items.
Now 50, after 20 years of framing other peoples’ art, she decided last year to start making her own.
She was inspired by her grade six teacher Bob Robb, who taught her at Blossom Park Public School and kept in touch throughout her life until he died this year.
“He always encouraged me in art, and he always said ‘How come you’re not doing it?’ I thought framing was going to be it for me. But I got this bug to start doing my own stuff about a year ago. I started working with fabric and multi media work and this is what’s happened,” she said, gesturing to the chaotic studio hung with dozens of her signature vintage silhouettes. Postage stamp-inspired cameos, variations on old-fashioned underclothes, colourful flowers, old trucks and vintage formalwear pop out of their frames around the room, outlined in black and backed with bright colours.
A quilt comprised of ornate paper stars is dedicated to Robb, whose funeral Lyall spoke at several months ago, and whose family will be at the art show. Prints of individual quilting squares will be on sale for $40.
“This gentleman always said to us, ‘Don’t live on the sidelines of your life; reach.’ So, of course, I made stars,” she said.
2011年6月29日星期三
Gaithersburg Fine Arts Festival Draws Over 75 Artists
Artists from all over the East Coast gathered in the parking lot outside Macaroni Grill in the Washingtonian Center for the annual Gaithersburg Fine Arts Festival on June 25 and 26.
The festival featured over 75 booths with the work of painters, sculptors, metal workers, wood workers, glass artists, potters, photographers, fiber artists and jewelers from Maryland, Virginia, Washington, DC, North Carolina, Florida and Vermont, among others.
"I drove 15 hours to get here," said Kimberlee Forney of Burlington, Vermont. She made the trip to visit a friend and participate in the art festival. Forney, whose mother grew up in Gaithersburg and whose grandfather was an astronomer employed at the historic Gaithersburg Latitude Observatory, counts over 500 original acrylic paintings in what she describes as a her signature style.
"As I was painting a realistic portrait of Janis Joplin, an abstracted image of musicians came to my head. Ever since, I have been painting musicians, sheep, cows and couples in this new style. It makes people smile and laugh," said the Burlington artist who makes prints and bags from her original acrylic paintings.
Baltimore-based film photographer Bill Wierzalis keeps a dying art alive. He shoots film on a 40-year-old camera and develops his photographs in a darkroom.
"It's about spending more time with my art to make it my own," he said. "I pretty much know what I want before I click the shutter. I really stress composition because there's no close editing in Photoshop with this process."
Wierzalis's wife is from Reggio, Italy, and the artist has traveled the country far and wide to capture quaint waterfronts, cobblestone alleys, outdoor markets and rolling landscapes in Venice, Rome, Siciliy and other picturesque destinations that tell their own story.
Another Baltimore artist, Christos J. Palios, pays homage to the burgeoning art of digital photography and digital manipulation. He composes fisheye panoramics of aging urban artifacts and contemporary structures printing them at large scales.
When asked about how he chooses his subject matter, Palios referenced serendipity.
"Whatever I was to see personally, that's what ends up making it into my photographs," said the artist who takes frequent outings in search of his next piece of urban cultural landscape. "Retro Bus," an image of an abandoned 1970s bus, emerged from a trip to a junkyard in his native Greece and required 387 individual photographs to piece together.
Edward Loedding of Vermont began his career as an oil painter and then took his work into the digital medium. For many years, he created giclee prints of work by other artists, but now he focuses primarily on his own prints. He photographs flowers close-up and prints digital limited editions on a printer modified to accomodate twelve colors and pure pigment.
"I am essentially printing with paint," said Loedding who has titled his collection "Visual Choreography." "It's all about the dance of lights and shadows."
His prints are crisp and vibrant, and he can replicate them at any size up to 120 inches. Loedding still prints digital reproductions of about twelve other Vermont artists, including Forney's work.
An infinitely popular subject for artists, flowers offer many creative avenues. Erica Eriksdotter of Reston, Virginia converts bridal bouquets into original artwork.
"They are great as anniversary or wedding gifts," said the artist who is preparing to drop off her painting of the Crown Princess's bridal bouquet at the Royal Palace in Sweden, her native country.
Creating a pastiche of light and shadow, Nihal Kececi of Bethesda, often uses just a palette knife to apply oil paint to the canvas. Whether painting whirling dervishes, dramatic landscapes, or impressionistic figures, Kececi masks the known with the unknown and explores the transcendental. She is currently showing recent work at the Blueberry Gallery in Alexandria, Virginia through July 2011.
Jacobe Noonan of Northern Virginia takes a more direct approach to his acrylic paintings.
"Mine is simple. I paint objects from everyday life. Things at my house or anything that inspires me," said the artist who renders anything from coffee cups to wine glasses and oranges and pears from a real-life perspective.
Archie Smith traveled from North Carolina to lure visitors into his tent full of hand-crafted musical instruments by demonstrating how to play a bowed psaltery, which according to the artist gives access to each note in one location along its taught strings. Smith will return to the local area on October 15 and 16 for the Bethesda Row Festival.
Robert Friedenberg of Roundhill, Virginia explores an imaginary world through pen and ink illustrations.
"Some have called my work techno-primitivism," said Friedenberg. "But it basically comes out of my imagination. I love putting smaller pictures inside of bigger ones."
Friedenberg calls his business Not Wolf Productions after his dog, which is a shepherd husky malamute mix. Featured in many of the artist's detailed and whimsical illustrations, his dog is often mistaken for a wolf by the general public.
Other artists from the Washington, DC metropolitan area in the festival included: Gary Carver, Carol Fogelsong, Ric Grossman, Kelvin Henderson, Stacey Krantz, Smadar Livne, Kirk Lutz, Xiong Tan and Kathy Thompson.
According to the organizer's website, Paragon Art Festivals offers artists and corporate sponsors the opportunity to showcase their work and expertise in the heart of densely-populated Montgomery County where the median income is $106,000 as of the 2007 census.
The Washingtonian Center, a vibrant hub of activity, provides access to 530,000 sq ft of retail and over 200,000 sq ft of entertainment uses.
Booth spaces for artists cost $375 and provide ample space to exhibit artwork of any size.
With central headquarters in Centerpoint, New York, Paragon Arts Festivals organizes fifteen major arts festivals up and down the East Coast. Upcoming in Maryland is the Silver Spring Arts Festival on September 17 and 18, 2011.
The festival featured over 75 booths with the work of painters, sculptors, metal workers, wood workers, glass artists, potters, photographers, fiber artists and jewelers from Maryland, Virginia, Washington, DC, North Carolina, Florida and Vermont, among others.
"I drove 15 hours to get here," said Kimberlee Forney of Burlington, Vermont. She made the trip to visit a friend and participate in the art festival. Forney, whose mother grew up in Gaithersburg and whose grandfather was an astronomer employed at the historic Gaithersburg Latitude Observatory, counts over 500 original acrylic paintings in what she describes as a her signature style.
"As I was painting a realistic portrait of Janis Joplin, an abstracted image of musicians came to my head. Ever since, I have been painting musicians, sheep, cows and couples in this new style. It makes people smile and laugh," said the Burlington artist who makes prints and bags from her original acrylic paintings.
Baltimore-based film photographer Bill Wierzalis keeps a dying art alive. He shoots film on a 40-year-old camera and develops his photographs in a darkroom.
"It's about spending more time with my art to make it my own," he said. "I pretty much know what I want before I click the shutter. I really stress composition because there's no close editing in Photoshop with this process."
Wierzalis's wife is from Reggio, Italy, and the artist has traveled the country far and wide to capture quaint waterfronts, cobblestone alleys, outdoor markets and rolling landscapes in Venice, Rome, Siciliy and other picturesque destinations that tell their own story.
Another Baltimore artist, Christos J. Palios, pays homage to the burgeoning art of digital photography and digital manipulation. He composes fisheye panoramics of aging urban artifacts and contemporary structures printing them at large scales.
When asked about how he chooses his subject matter, Palios referenced serendipity.
"Whatever I was to see personally, that's what ends up making it into my photographs," said the artist who takes frequent outings in search of his next piece of urban cultural landscape. "Retro Bus," an image of an abandoned 1970s bus, emerged from a trip to a junkyard in his native Greece and required 387 individual photographs to piece together.
Edward Loedding of Vermont began his career as an oil painter and then took his work into the digital medium. For many years, he created giclee prints of work by other artists, but now he focuses primarily on his own prints. He photographs flowers close-up and prints digital limited editions on a printer modified to accomodate twelve colors and pure pigment.
"I am essentially printing with paint," said Loedding who has titled his collection "Visual Choreography." "It's all about the dance of lights and shadows."
His prints are crisp and vibrant, and he can replicate them at any size up to 120 inches. Loedding still prints digital reproductions of about twelve other Vermont artists, including Forney's work.
An infinitely popular subject for artists, flowers offer many creative avenues. Erica Eriksdotter of Reston, Virginia converts bridal bouquets into original artwork.
"They are great as anniversary or wedding gifts," said the artist who is preparing to drop off her painting of the Crown Princess's bridal bouquet at the Royal Palace in Sweden, her native country.
Creating a pastiche of light and shadow, Nihal Kececi of Bethesda, often uses just a palette knife to apply oil paint to the canvas. Whether painting whirling dervishes, dramatic landscapes, or impressionistic figures, Kececi masks the known with the unknown and explores the transcendental. She is currently showing recent work at the Blueberry Gallery in Alexandria, Virginia through July 2011.
Jacobe Noonan of Northern Virginia takes a more direct approach to his acrylic paintings.
"Mine is simple. I paint objects from everyday life. Things at my house or anything that inspires me," said the artist who renders anything from coffee cups to wine glasses and oranges and pears from a real-life perspective.
Archie Smith traveled from North Carolina to lure visitors into his tent full of hand-crafted musical instruments by demonstrating how to play a bowed psaltery, which according to the artist gives access to each note in one location along its taught strings. Smith will return to the local area on October 15 and 16 for the Bethesda Row Festival.
Robert Friedenberg of Roundhill, Virginia explores an imaginary world through pen and ink illustrations.
"Some have called my work techno-primitivism," said Friedenberg. "But it basically comes out of my imagination. I love putting smaller pictures inside of bigger ones."
Friedenberg calls his business Not Wolf Productions after his dog, which is a shepherd husky malamute mix. Featured in many of the artist's detailed and whimsical illustrations, his dog is often mistaken for a wolf by the general public.
Other artists from the Washington, DC metropolitan area in the festival included: Gary Carver, Carol Fogelsong, Ric Grossman, Kelvin Henderson, Stacey Krantz, Smadar Livne, Kirk Lutz, Xiong Tan and Kathy Thompson.
According to the organizer's website, Paragon Art Festivals offers artists and corporate sponsors the opportunity to showcase their work and expertise in the heart of densely-populated Montgomery County where the median income is $106,000 as of the 2007 census.
The Washingtonian Center, a vibrant hub of activity, provides access to 530,000 sq ft of retail and over 200,000 sq ft of entertainment uses.
Booth spaces for artists cost $375 and provide ample space to exhibit artwork of any size.
With central headquarters in Centerpoint, New York, Paragon Arts Festivals organizes fifteen major arts festivals up and down the East Coast. Upcoming in Maryland is the Silver Spring Arts Festival on September 17 and 18, 2011.
2011年6月15日星期三
Not the Ideal Business Partners
MANHATTAN (CN) - An art broker claims antique dealers tricked him into paying more than $20 million for bogus antiques and paintings - including phony paintings supposedly by Manet, Renoir and Monet - and stole $10 million worth of valuables from his office.
In his complaint in New York County Court, Alexander Komolov claims defendants David Segal and Mohamed Serry "were actively pursuing Komolov to utilize his reputation and connections among the buyers of art worldwide."
Komolov also sued Segal and Serry's shell companies Artique Multinational, Artique International and Segal & Segal Holding.
Komolov filed a similar complaint against Segal, Serry and several companies in November 2010.
According to the new complaint, Segal and Serry, who shared an office with Komolov, "represented to plaintiff that they had access to genuine and authentic paintings and antiques acquired through private and estate sales and auctions."
Komolov says that in the autumn of 2009 he paid $15 million for two oil paintings the defendants passed off as a genuine Manet and a Renoir.
He claims that Segal and Serry assured him that "The House of the Artist," supposedly by Edouard Manet, and "Girl in the Garden," attributed to Pierre-Augustine Renoir, were "original, genuine and authentic works by the respective artists."
(Renoir's original "Young Girl in the Garden at Mezy" and Manet's "The House at Rueil" were painted in the late 19th century. "The House at Rueil" is displayed at the National Gallery of Victoria, in Melbourne, Australia.)
Komolov claims that "in order to entice Komolov to purchase the paintings, Segal and Serry produced the paintings and the certificates of authenticity, both dated September 1998 ('certificates'), which were purportedly signed by Mr. Eduard Sebline from the Wildenstein Institute in Paris, a world-renowned art research center."
But an expert in Impressionist art told him the certificates were forged and the paintings not authentic, Komolov says.
He claims Segal and Serry had the signature and letterhead of a New York gallery forged, and used a forged certificate of authenticity to sell him what they called a Monet, for more than $4 million.
"The fraud was discovered when Komolov was reviewing the Christies' auction house November 2007 catalog, where the painting was identified as the artwork of another artist," the complaint states.
"Upon information and belief, this painting was the work of Ferdinand du Puigaudeau and was purchased by Serry from Sotheby's in November of 2007 for $51,400."
Komolov adds: "On or about March 2011, Komolov learned from Mr. Selvyn Paz, a former personal assistant to Serry, who swore in his affidavit that documents, such as certificates of authenticity, were prepared and concocted 'in-house' by Segal and Serry on a regular basis."
Komolov says he paid Segal and Serry another $1.5 million for fake Russian antiques, through Komolov's company High Value Trading, a co-plaintiff.
And after discovering that the paintings and antiques were fake, Segal and Serry refused to return his money, Komolov says.
To top it all, Komolov says, in March 2010, Segal and Serry took several valuable items from his office, including a sapphire ring, an emerald necklace, and two genuine paintings, by Picasso and Maurice Vlaminck, worth close to $10 million.
And he says Segal and Serry bought a condominium from his other co-plaintiff company, Alskom Realty, but failed to pay the balance of $4,059,000 due at closing.
In his complaint in New York County Court, Alexander Komolov claims defendants David Segal and Mohamed Serry "were actively pursuing Komolov to utilize his reputation and connections among the buyers of art worldwide."
Komolov also sued Segal and Serry's shell companies Artique Multinational, Artique International and Segal & Segal Holding.
Komolov filed a similar complaint against Segal, Serry and several companies in November 2010.
According to the new complaint, Segal and Serry, who shared an office with Komolov, "represented to plaintiff that they had access to genuine and authentic paintings and antiques acquired through private and estate sales and auctions."
Komolov says that in the autumn of 2009 he paid $15 million for two oil paintings the defendants passed off as a genuine Manet and a Renoir.
He claims that Segal and Serry assured him that "The House of the Artist," supposedly by Edouard Manet, and "Girl in the Garden," attributed to Pierre-Augustine Renoir, were "original, genuine and authentic works by the respective artists."
(Renoir's original "Young Girl in the Garden at Mezy" and Manet's "The House at Rueil" were painted in the late 19th century. "The House at Rueil" is displayed at the National Gallery of Victoria, in Melbourne, Australia.)
Komolov claims that "in order to entice Komolov to purchase the paintings, Segal and Serry produced the paintings and the certificates of authenticity, both dated September 1998 ('certificates'), which were purportedly signed by Mr. Eduard Sebline from the Wildenstein Institute in Paris, a world-renowned art research center."
But an expert in Impressionist art told him the certificates were forged and the paintings not authentic, Komolov says.
He claims Segal and Serry had the signature and letterhead of a New York gallery forged, and used a forged certificate of authenticity to sell him what they called a Monet, for more than $4 million.
"The fraud was discovered when Komolov was reviewing the Christies' auction house November 2007 catalog, where the painting was identified as the artwork of another artist," the complaint states.
"Upon information and belief, this painting was the work of Ferdinand du Puigaudeau and was purchased by Serry from Sotheby's in November of 2007 for $51,400."
Komolov adds: "On or about March 2011, Komolov learned from Mr. Selvyn Paz, a former personal assistant to Serry, who swore in his affidavit that documents, such as certificates of authenticity, were prepared and concocted 'in-house' by Segal and Serry on a regular basis."
Komolov says he paid Segal and Serry another $1.5 million for fake Russian antiques, through Komolov's company High Value Trading, a co-plaintiff.
And after discovering that the paintings and antiques were fake, Segal and Serry refused to return his money, Komolov says.
To top it all, Komolov says, in March 2010, Segal and Serry took several valuable items from his office, including a sapphire ring, an emerald necklace, and two genuine paintings, by Picasso and Maurice Vlaminck, worth close to $10 million.
And he says Segal and Serry bought a condominium from his other co-plaintiff company, Alskom Realty, but failed to pay the balance of $4,059,000 due at closing.
2011年6月1日星期三
Dane G. Hansen Memorial Museum to host oil painting workshop
The Dane G. Hansen Memorial Museum takes great pride in hosting a four day painting workshop with David Vollbracht.
Vollbracht will be instructing the class at the Dane G. Hansen Museum, 110 W. Main, Logan, Kansas. These classes will be held July 13 through 16, and will run from 9 a.m. till 4 p.m. with a one hour break for lunch.
The classes are sponsored through the Hansen Museum Continued Education Program and offered at reduced rates to the public. Cost of the workshop is $150.00 with discounts available for Hansen Museum members.
Intermediate and advanced artists may call it for more information or to register by phone.
Vollbracht is a representational landscape painter of the west. His work reflects the quality of light, nature and spirit drawn from the land. For many years he has made trips to various parts of the west to gather reference material for realistic impressions created primarily in oil.
He lives in Medicine Lodge, Kansas and has earned a degree in art from Fort Hays State University.
Vollbracht will be instructing the class at the Dane G. Hansen Museum, 110 W. Main, Logan, Kansas. These classes will be held July 13 through 16, and will run from 9 a.m. till 4 p.m. with a one hour break for lunch.
The classes are sponsored through the Hansen Museum Continued Education Program and offered at reduced rates to the public. Cost of the workshop is $150.00 with discounts available for Hansen Museum members.
Intermediate and advanced artists may call it for more information or to register by phone.
Vollbracht is a representational landscape painter of the west. His work reflects the quality of light, nature and spirit drawn from the land. For many years he has made trips to various parts of the west to gather reference material for realistic impressions created primarily in oil.
He lives in Medicine Lodge, Kansas and has earned a degree in art from Fort Hays State University.
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