Today, the bird has taken on many versions.
The one below is the latest.
Its appearance follows the small original more closely.
It walks through open space with just a few elements.
These are the type of tulips that first came to the Netherlands from Persia.
They can be seen in 17th century Dutch still lives.
In their curvy shapes and gentle coloring they form a counterpoint to the pitchblack thick and heavy feathers of the bird.
Thursday, October 22, 2009
First Things First
I meant to show what became of the first bird in my painting of a long time ago, see older post.
But I was side-tracked, as you can see below.
But now, that the harvests are in, I can bring you a version of the bird as it appears today.
But I was side-tracked, as you can see below.
But now, that the harvests are in, I can bring you a version of the bird as it appears today.
Wednesday, September 9, 2009
ORIGIN OF THE BIRD
How did the bird get into Arie's art?
One day, many years ago, snow fell in Dallas, Texas, a very rare event.
As Arie was sitting at the window watching the white spectacle unfold,
a black crow landed close to the window,
as amazed about the white powder as Arie was.
It stayed around, looking in, even as Arie fetched his sketchbook and penciled him down.
Some days later, the crow-sketch became embedded into the snow-landscape seen below.
There it stayed for many years, a small bird, merely contoured in the white texture of the snow.
Many years later, Arie lifted him from this canvas and developed him as an independent subject matter of his art work.
Since then, he has appeared as theme in many variations.
Stay tuned for some of them.
One day, many years ago, snow fell in Dallas, Texas, a very rare event.
As Arie was sitting at the window watching the white spectacle unfold,
a black crow landed close to the window,
as amazed about the white powder as Arie was.
It stayed around, looking in, even as Arie fetched his sketchbook and penciled him down.
Some days later, the crow-sketch became embedded into the snow-landscape seen below.
There it stayed for many years, a small bird, merely contoured in the white texture of the snow.
Many years later, Arie lifted him from this canvas and developed him as an independent subject matter of his art work.
Since then, he has appeared as theme in many variations.
Stay tuned for some of them.
Tuesday, August 25, 2009
Thursday, August 13, 2009
Quick Trip to the South
One week was spent at the beach in Cancun, with a trip down the Mexican Riviera. The colors of the water, sand, sky, birds and people were extraordinary. I unpacked my sketchbook and watercolors and set to work.
Monday, July 27, 2009
The Ducati Bike
The Ducati bike below is one of three belonging to Scott Metcalfe, who
is a photographer by profession and easy rider by avocation. He shoots the photographs of Arie’s studio and the paintings that go into Arie’s exhibition catalogues.
In an exercise of reciprocation, Scott brought his Ducati to Arie’s studio to be enhanced by Arie’s imagery. Scott had disassembled the bike in several parts, and Arie set to work on them.
The Ducati left side shows a flock of crows checking out a Pegasus.
The Ducati right side presents a woman’s profile with blonde hair surrounded by floating blossoms.
Close-ups to follow.
is a photographer by profession and easy rider by avocation. He shoots the photographs of Arie’s studio and the paintings that go into Arie’s exhibition catalogues.
In an exercise of reciprocation, Scott brought his Ducati to Arie’s studio to be enhanced by Arie’s imagery. Scott had disassembled the bike in several parts, and Arie set to work on them.
The Ducati left side shows a flock of crows checking out a Pegasus.
The Ducati right side presents a woman’s profile with blonde hair surrounded by floating blossoms.
Close-ups to follow.
Sunday, July 26, 2009
Friday, July 24, 2009
In Zürich, Switzerland
Former German Chancellor Gerhard Schröder attended the opening of Arie Van Selm's exhibition in Winterthur/Zürich, Switzerland. Mr. Schröder gave the introductory speech. He found the large, expressive—yet generic—women's profiles especially interesting. The photograph shows Arie Van Selm in animated conversation with the Chancellor. They are standing in front of the painting "Vanadium Lady.”
Sunday, July 19, 2009
Two Themes
In 2005, Van Selm integrated the two themes, the female profile and the Tango-Bird, into one motif. The bird profile appears as an echo of the female profile, throwing her an inquisitive look. The bird may also appear floating ahead of the female profile with his tail tickling her nose. The bird variously entertains, frightens, nerves, tickles, the woman, with other possible relationships left to the viewer’s mindset.
Two-Tone Ambiance
Then, the Tango-Bird, as Van Selm calls him because of his self-confident strut, became a parallel subject matter to the women’s profiles. The bird represents something of a masculine principle in relation to the female profile. He is light-footed, playful and quirky. Some of his features mirror elements of the profiles. His feathers, for example, often repeat the swooping gesture the of the woman’s hair.
Profiles
When asked why he chose to paint human heads in profile, Van Selm explains it like this: The frontal face depends too much on individual features that largely obscure form. The profile, however, works with the contour line that encircles a clear and meaningful space. One line can designate form and likeness, create abstract contour and human expression simultaneously.
The solo women's profiles appeared first in the 1990s in large, canvas-filling format. These are the confident, self-assured women of today. With their forward-urging profile, they trail an assertive swoop of hair that curls up over their heads into an uplifting roundness. At times, the profiles show a double outline, an inner and outer life, so-to-speak. The heads seem to jet out of their space due to their powerful form and bold color.
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