Design Originals is hosting an art show featuring Shenandoah native, and artist, Julie Gowing Hayes.
The show, titled, “Natural Tendencies” will take place the weekend of Nov. 4, 5 at Design Originals in downtown Shenandoah.
Julie and Lori (Funk) Smith were classmates and are good friends. Additionally, Julie’s husband, Ron Hayes, was a next-door neighbor with Smith and her sister, Melinda Kirby, who own Design Original.
“We’re excited that she’s coming,” said Kirby, “She’s very talented.”
An opening reception will be held from 5 to 7 p.m. Friday, Nov. 4, followed by an art show from 9 a.m. to 1 p.m. on Saturday, Nov. 5. Hayes will also be painting on a work in progress on Saturday.
Hayes said she has been drawing and painting for as long as she can remember. In fact, art class was her favorite class and her senior year, she spent at least half of her day in the art room.
“When I went to Iowa State I majored in fashion design, which allowed me to mix two of my favorite things: art and sewing. After a 20-year hiatus from art while juggling career and family, I received my degree in Studio Art at Salem College in Winston-Salem, N.C.,” said Hayes.
In addition to her art business, Hayes is a technical design consultant currently contracted with Hanesbrand, Inc. working in seamless intimate apparel. She is also the co-founder of the Piedmont Outdoor Painting Society.
When it comes to painting, Hayes said she enjoys working mostly in oil and watercolor. As for what she enjoys painting the most, Hayes explained it is landscapes from life.
“I find that photos just do not do justice to the light and color that I can see when I’m on location. I’m also drawn to flowers, fruit and dogs. For me, with the dogs, it’s about the eyes.”
Hayes said she paints in oil for both her plein air and studio work, although she does use watercolor exclusively for studio work.
“Oil is much more forgiving than watercolor, but the approach is almost opposite - with oil I work from dark to light and with watercolor light to dark, which at times can be confusing when switching from one medium to the other.”
Although oil paint is not as easy to travel with as watercolor, it allows more flexibility to adjust a composition in process whereas watercolor doesn’t.
“I also like the textural quality of oil paint.”
While at Design Originals, Hayes will have numerous paintings on display for sale. She will also be doing demonstrations. Part of the proceeds from the sale of art will be donated to the Shenandoah High School Art Department.
Julie and Ron have two children, Jarrod, and Jeff. Julie is the daughter of Jack and Pauline Gowing of Bella Vista, Ark., and formerly of Shenandoah. Ron is the son of Lue (Rex) Hickman of Shenandoah and the late George Hayes of Shenandoah.
2011年10月31日星期一
2011年5月22日星期日
Paintings of Portland expected to fetch up to £47k at auction
TWO paintings of Portland by a prolific British artist are expected to fetch up to a combined £47,000 at auction.
John Piper’s works will go under the hammer later this month in Christie’s sale of 20th century British and Irish Art.
The late artist’s oil painting entitled ‘Portland’ has been estimated at between £25,000 and £35,000, while his oil and collage piece called ‘Portland Bill’ is estimated to make between £8,000 and £12,000.
Piper, who died aged 89 in 1992, celebrated the British landscape and its architecture in his work, best known for his abstract work and paintings of churches, castles and stately homes.
The 20in by 24in canvas ‘Portland’ is signed by Piper and dated 1953.
Speaking in an exhibition catalogue about his painting, he describes the island as a place ‘too extraordinary for words on the map’.
He said: “My discovery of Portland was very important to me. I think it was in the late 1920s that I first went there in a very old Morris Cowley with Miles Marshall.
“I am a map-lover and Portland looks too extraordinary for words on the map, so does the adjoining Chesil beach. At that time Portland Bill was much more untidy, with great blocks of stone lying about on the low quarry shore in magnificent disarray.
“The derricks for loading the blocks onto the boats stood among a very small scatter of beach huts, dominated by the great triangular, pyramidal sea-mark and the black and red striped lighthouse.
“The foreshore is now more ship-shape, holidaymakers come in crowds.
“Inland too there is a lot of development but the character remains: large-scale, airy, maritime, naval, above all workaday, and not picturesque, except by accident.”
The 6inx8in ‘Portland Bill’ is dated 1950 and is to be sold with a copy of the letter from Piper to the current owner, dated August 22, 1975.
The letter said: “The small painting you sent a photograph of, was one of quite a series I did at the time – about 1950 – of the same subject, more or less.
“That is, of blocks of newly quarried stone at Portland [Dorset] lying on, or near, the beach, beside fishermen's huts.
“They [the pictures] were of all shapes and sizes and some in oil, some in gouache, some pen and ink and watercolour.”
Both paintings will go up for auction on May 26 at Christie’s, London, along with three other of Piper’s paintings.
John Piper’s works will go under the hammer later this month in Christie’s sale of 20th century British and Irish Art.
The late artist’s oil painting entitled ‘Portland’ has been estimated at between £25,000 and £35,000, while his oil and collage piece called ‘Portland Bill’ is estimated to make between £8,000 and £12,000.
Piper, who died aged 89 in 1992, celebrated the British landscape and its architecture in his work, best known for his abstract work and paintings of churches, castles and stately homes.
The 20in by 24in canvas ‘Portland’ is signed by Piper and dated 1953.
Speaking in an exhibition catalogue about his painting, he describes the island as a place ‘too extraordinary for words on the map’.
He said: “My discovery of Portland was very important to me. I think it was in the late 1920s that I first went there in a very old Morris Cowley with Miles Marshall.
“I am a map-lover and Portland looks too extraordinary for words on the map, so does the adjoining Chesil beach. At that time Portland Bill was much more untidy, with great blocks of stone lying about on the low quarry shore in magnificent disarray.
“The derricks for loading the blocks onto the boats stood among a very small scatter of beach huts, dominated by the great triangular, pyramidal sea-mark and the black and red striped lighthouse.
“The foreshore is now more ship-shape, holidaymakers come in crowds.
“Inland too there is a lot of development but the character remains: large-scale, airy, maritime, naval, above all workaday, and not picturesque, except by accident.”
The 6inx8in ‘Portland Bill’ is dated 1950 and is to be sold with a copy of the letter from Piper to the current owner, dated August 22, 1975.
The letter said: “The small painting you sent a photograph of, was one of quite a series I did at the time – about 1950 – of the same subject, more or less.
“That is, of blocks of newly quarried stone at Portland [Dorset] lying on, or near, the beach, beside fishermen's huts.
“They [the pictures] were of all shapes and sizes and some in oil, some in gouache, some pen and ink and watercolour.”
Both paintings will go up for auction on May 26 at Christie’s, London, along with three other of Piper’s paintings.
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