Waller-Yoblonsky Fine Art

Manso combined two different art movements, the French world of Impressionism ushered in by Bonnard and Cezanne, and the American world that accepted a new way of seeing, abstraction. He exhibited with Pollack, and was a close friend and admired by famed artist Robert Motherwell. Manso sat at the precipice of avant-garde and cutting edge. In the second half of his life, he took on Assemblages, part collages, part paintings. If you don't closely examine the untitled landscape below, it looks like an abstract painting. It is a fluid composition, rich with color, but take a closer look. It consists of torn packing papers in free-form shapes, acrylic paints, and splattered India ink. It is clear that some torn papers were painted with colors first and then ripped into smaller elements, then attached with glue. At other times, he reduced the paper to its most transparent qualities, making the paper look like brush strokes. Once all the elements were assembled, he then in-paints

Christa Reuter Riegen’s interpretation of Henri Matisse’s “The Green Line” (La Raie Verte) also known as Madame Matisse, illustrates Riegen’s ability to capture the fundamental elements of the original painting. She celebrates the iconic painting, making it her own; it is not a duplicate, it is a refreshing portrait of Matisse’s wife. Madame Matisse Acrylic on Canvas 20 X 24" - Framed: 25 X 29" Signed Upper Right: Christa Riegen Dated: 3/2002   At the time of the painting, 1905, Matisse was part of a small modern movement called the les fauves (the wild beasts). The name came from their sheer strident use of color and wild brushstrokes. Matisse’s work would have been rejected by the major salons in Paris with this portrait. He creates no personification of female beauty in his wife’s portrait, it is a highly simplified painting. He uses a green line down the center of her forehead, continuing down her face and then on to her neckline. The green line represents a shadow upon h

Is it possible that Wilson has been creating art for about 60 years? An article published by The Orlando Sentinel newspaper in the early 1980s, Wilson said he had been painting since the early 1960s. It is most likely that he started as a boy. At the time of that interview he had two studios, one in Tennessee and another in Wisconsin. His studies were at the Hunter Museum of Fine Arts in Chattanooga, where he spent two years working on painting and two years drawing. In the interview he said “I drew for two years solid, then got into color”. Wilson has spent years on the art festival circuit, packing up his art booth and moving on to the next street festival, weekend after weekend. During moments of respite, he creates work that fill his booth. There is a long list of accolades and awards by art judges and critics that have observed and judged his work. A quick glance at his lengthy list of awards would have you believe he should qualify for a national life-time achievement aw