Stereo Pictures


Sebastian Kruger

In the early 1980’s Krüger studied painting and graphic arts, and then quickly moved into the professional art world where his iconic ‘personality portraits’ continue to captivate famous collectors and audiences across the continents. Krüger approaches nearly all of his subjects with a level of respect and sincerity contrasting the often extreme exaggeration of their features. The result is the creation of visually and psychologically explosive ‘Krugerized’ portraits.

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March 25, 2008 Posted by | art | Leave a comment

Ernie Barnes

Sometime last year i presented u my “new discovery” (@ that point in time) : Justin Bua!!!

A few months ago i finally could buy his book The Beat of Urban Art – The Art of Justin Bua and since i got it im all over it!IT IS AMAZING!!!

Right now its like 3:40 AM and im all over the book!(is this obsession?)…but ‘neway when i got to the Jazz Quintet picture , my mind took me back in time like 3 or 4 years when one of my friends(Dephu !!!big ups bro!!!) introduced me (than) to a fantasy world…the world of Ernie Barnes

so as usual a likkle sum sum ’bout Ernie Barnes than ill post the link to his website where u can and i hope u will as well as i hope u will check justin’s website!



Ernest Eugene Barnes Jr. was born July 15, 1938, in a poor section (“the bottom”) of Durham, North Carolina. His father, Ernest Barnes Sr., worked as a shipping clerk at Liggett Myers Tobacco Company and his mother, Fannie Mae Geer, was employed as a domestic for Frank Fuller Jr., a wealthy Southern attorney who would guide Barnes into the world of art.

On days when Fannie Mae allowed her son to accompany her to work, Fuller would talk to young Ernest “about art and life. He would call me into his study and allow me to look through his art books. I enjoyed this room of polished, mahogany walls with leather chairs, shelves of leather-bound books and the sound of classical music. He would tell me about the various schools of art, his favorite painters, the museums he visited and other things my mind couldn’t quite comprehend at the age of seven,” the artist recalls. So it was particularly surprising when Fuller, as a member of the local school board, voted against school desegregation. “He told my mother he didn’t think ‘the Whites are ready.'”

By the time Barnes entered the first grade, he was familiar with the works of such masters as Toulouse-Lautrec, Delacroix, Rubens, and Michelangelo. By the time he entered junior high, he could appreciate, as well as decode, many of the cherished masterpieces within the walls of museums — although it would be a half dozen more years before he was allowed entrance because of his race.

Unusual for a lower-middle class child growing up in the segregated South of the 1940s, Barnes’ mother believed in education and exposure to the arts. “She tried to get me to do all the things that would make me a culturally enriched person. She pushed me in the direction of art and music. I took lessons in tap dancing, saxophone, trombone, violin and piano,” he says, noting with a laugh that he mastered none of them. Early on, however, he showed a talent for art. “I was never in class. I was always off somewhere decorating stuff.”

Overweight and extremely introverted, Barnes was a target for ridicule from the time he started the first grade through his junior year in high school, continually seeking refuge in his sketchbooks.

“They hated me,” he says of his classmates. “My mother escorted me to school ten times before I could accept the fact that I had to stay there. I couldn’t conform easily to the athletic ideal and was made to feel inadequate. I wasn’t able to fight, to run fast, nor was I picked for rough games. I was introverted and shy. If there was a day that I did not come home in tears because of a fight, it could be attributed to sickness, the weekend, or it was rained out. I was beaten so severely, my mother requested that I be allowed to leave school fifteen minutes before the other kids, and permission was granted.

“When I was at home and drawing, I was happy. My senses addressed themselves naturally to the discovery of what I could make happen on paper. It was so easy. From the shrouded mists of my sensitivity, I made friends with lines, allowing them to flow into things belonging to my immediate environment; the trees, clouds, birds and people. In school, nobody laughed and made fun of me when I was drawing. They just watched in silent awe.”

At the age of 13 came the rude awakening that the only way of getting a girlfriend was by exerting his prowess through sports. Even then, he says, “the athlete was respected as the finest embodiment of one’s African heritage. There were those convinced that the only way to heaven was with a football or basketball. Most definitely a bat. On any given day, the number one question on the block was, ‘Hey, man. What did the Mays do today?’ or ‘Did you see the way the brother was running?’ Any Black male worth giving the time of day owed it to his race to at least make an attempt to hit ‘The Gipper’ as soon as he touched the ball.”

Unfortunately, the sensitive young man could not avoid the issue forever. Nature had played a cruel trick; Barnes had grown too tall to overlook. He finally reported to the coach’s office, got weighed, assigned a locker, and outfitted with pads, helmet and practice gear. Dismally out of shape and lacking the killer instinct necessary to survive serious injuries on the field, he quit after two practice sessions.



March 25, 2008 Posted by | art | Leave a comment

ALEX GREY – Visionary Art

Alex Grey was born in Columbus, Ohio on November 29, 1953 (Sagittarius), the middle child of a gentle middle-class couple. His father was a graphic designer and encouraged his son’s drawing ability. Young Alex would collect insects and dead animals from the suburban neighborhood and bury them in the back yard. The themes of death and transcendence weave throughout his artworks, from the earliest drawings to later performances, paintings and sculpture. He went to the Columbus College of Art and Design for two years (1971-73), then dropped out and painted billboards in Ohio for a year (73-74). Grey then attended the Boston Museum School for one year, to study with the conceptual artist, Jay Jaroslav.





March 6, 2008 Posted by | art | 1 Comment

Julian Beever



Julian Beever is an artist who has spent 10 years creating pavement art in Europe, USA and Australia. Many of his creations are optical illusions, such as this one, where Julian appears to be perched on a ledge, waiting for Batman and Robin to climb the building and rescue him.

In reality, there is just pavement in front of him, and the street below together with the expectant crowd, plus the blazing building below him, are all tricks played on the eye (a modern example of trompe l’oeil – a French term that means literally ‘trick the eye’).


While many of his pictures can take a whole day to create, by the next day they are often gone, vanished under the feet of passing pedestrians. It is a very evanescent art form, one that lives mostly through photographs taken at the time.

February 20, 2008 Posted by | art | Leave a comment

M. C. Escher


Maurits Cornelis Escher (June 17, 1898 – March 27, 1972), usually referred to as M. C. Escher, was a Dutch graphic artist. He is known for his often mathematically inspired woodcuts, lithographs and mezzotints. These feature impossible constructions, explorations of infinity, architecture and tessellations.

Early life

Maurits Cornelis, or “Mauk” as he came to be nicknamed[1], was born in Leeuarden, The Netherlands. He was the youngest son of civil engineer George Arnold Escher and his second wife, Sara Gleichman. He was a sickly child, and was placed in a special school at the age of seven and failed the second grade[2]. In 1903, the family moved to Arnhem where he took carpentry and piano lessons until he was thirteen years old.

From 1903 until 1918 he attended primary and secondary school. Though he excelled at drawing, his grades were generally poor. In 1919, Escher attended the Haarlem School of Architecture and Decorative Arts. He briefly studied architecture, but failed a number of subjects (partly due to a persistent skin infection) and switched to decorative arts[2]. Here he studied under Samuel Jessurun de Mesquita, with whom he would remain friends for years. In 1922 Escher left the school, having gained experience in drawing and making woodcuts.

Later life

In 1922, an important year in his life, Escher traveled through Italy (Florence, San Gimignano, Volterra, Siena) and Spain (Madrid, Toledo, Granada). He was impressed by the Italian countryside and by the Alhambra, a fourteenth-century Moorish castle in Granada, Spain. He came back to Italy regularly in the following years. In Italy he met Jetta Umiker, whom he married in 1924. The young couple settled down in Rome and stayed there until 1935, when the political climate under Mussolini became unbearable. Their son, Giorgio Arnaldo Escher, named after his grandfather, was born in Rome. The family next moved to Château-d’Œx, Switzerland where they remained for two years.

Escher, who had been very fond of and inspired by the landscape in Italy, was decidedly unhappy in Switzerland, so in 1937, the family moved again, to Ukkel, a small town near Brussels, Belgium. World War II forced them to move in January 1941, this time to Baarn, the Netherlands, where Escher lived until 1970. Most of Escher’s better-known pictures date from this period. The sometimes cloudy, cold, wet weather of the Netherlands allowed him to focus intently on his works, and only during 1962, when he underwent surgery, was there a time when no new images were created.

On April 30, 1955, Escher was awarded a Knighthood of the Order of Orange-Nassau.

Escher moved to the Rosa-Spier house in Laren in 1970, a retirement home for artists where he had his own studio. He died at the home on March 27, 1972, at 73 years of age.


Escher’s first print of an impossible reality was Still Life and Street, 1937. His artistic expression was created from images in his mind, rather than directly from observations and travels to other countries. Well known examples of his work also include Drawing Hands, a work in which two hands are shown, each drawing the other; Sky and Water, in which light plays on shadow to morph fish in water into birds in the sky; Ascending and Descending, in which lines of people ascend and descend stairs in an infinite loop, on a construction which is impossible to build and possible to draw only by taking advantage of quirks of perception and perspective.

He worked primarily in the media of lithographs and woodcuts, though the few mezzotints he made are considered to be masterpieces of the technique. In his graphic art, he portrayed mathematical relationships among shapes, figures and space. Additionally, he explored interlocking figures using black and white to enhance different dimensions. Integrated into his prints were mirror images of cones, spheres, cubes, rings and spirals.

In addition to sketching landscape and nature in his early years, he also sketched insects, which frequently appeared in his later work. His first artistic work was completed in 1922, which featured eight human heads divided in different planes. Later in about 1924, he lost interest in “regular division” of planes, and turned to sketching landscapes in Italy with irregular perspectives that are impossible in natural form.

Although Escher did not have a mathematical training—his understanding of mathematics was largely visual and intuitive—Escher’s work has a strong mathematical component, and more than a few of the worlds which he drew are built around impossible objects such as the Necker cube and the Penrose triangle. Many of Escher’s works employed repeated tilings called tessellations. Escher’s artwork is especially well-liked by mathematicians and scientists, who enjoy his use of polyhedra and geometric distortions. For example, in Gravity, multi-colored turtles poke their heads out of a stellated dodecahedron.

The mathematical influence in his work emerged in about 1936, when he was journeying the Mediterranean with the Adria Shipping Company. Specifically, he became interested in order and symmetry. Escher described his journey through the Mediterranean as “the richest source of inspiration I have ever tapped.”

After his journey to the Alhambra, Escher tried to improve upon the art works of the Moors using geometric grids as the basis for his sketches, which he then overlaid with additional designs, mainly animals such as birds and lions.

His first study of mathematics, which would later lead to its incorporation into his art works, began with George Pólya’s academic paper on plane symmetry groups sent to him by his brother Berend. This paper inspired him to learn the concept of the 17 wallpaper groups (plane symmetry groups). Utilizing this mathematical concept, Escher created periodic tilings with 43 colored drawings of different types of symmetry. From this point on he developed a mathematical approach to expressions of symmetry in his art works. Starting in 1937, he created woodcuts using the concept of the 17 plane symmetry groups.

In 1941, Escher wrote his first paper, now publicly recognized, called Regular Division of the Plane with Asymmetric Congruent Polygons, which detailed his mathematical approach to artwork creation. His intention in writing this was to aid himself in integrating mathematics into art. Escher is considered a research mathematician of his time because of his documentation with this paper. In it, he studied color based division, and developed a system of categorizing combinations of shape, color and symmetrical properties. By studying these areas, he explored an area that later mathematicians labeled crystallography.

Around 1956, Escher explored the concept of representing infinity on a two-dimensional plane. Discussions with Canadian mathematician H.S.M. Coxeter inspired Escher’s interest in hyperbolic tessellations, which are regular tilings of the hyperbolic plane. Escher’s works Circle Limit I–IV demonstrate this concept. In 1995, Coxeter verified that Escher had achieved mathematical perfection in his etchings in a published paper. Coxeter wrote, “Escher got it absolutely right to the millimeter.”

His works brought him fame: he was awarded the Knighthood of the Order of Orange Nassau in 1955. Subsequently he regularly designed art for dignitaries around the world.

In 1958, he published a paper called Regular Division of the Plane, in which he described the systematic buildup of mathematical designs in his artworks. He emphasized, “Mathematicians have opened the gate leading to an extensive domain.”

Overall, his early love of Roman and Italian landscapes and of nature led to his interest in regular division of a plane. He worked in the media of woodcuts, lithographs and mezzotints. In his lifetime he created over 150 colored works utilizing the concept of regular division of a plane. Other mathematical principles evidenced in his works include the superposition of a hyperbolic plane on a fixed 2-dimensional plane, and the incorporation of three-dimensional objects such as spheres, columns and cubes into his works. For example, in a print called “Reptiles,” he combined two and three-dimensional images. In one of his papers, Escher emphasized the importance of dimensionality and described himself as “irritated” by flat shapes: “I make them come out of the plane.”


Escher also studied the mathematical concepts of topology. He learned additional concepts in mathematics from British mathematician Roger Penrose. From this knowledge he created Waterfall and Up and Down, featuring irregular perspectives similar to the concept of the Möbius strip.

Escher printed Metamorphosis I in 1937, which was a beginning part of a series of designs that told a story through the use of pictures. These works demonstrated a culmination of Escher’s skills to incorporate mathematics into art. In Metamorphosis I, he transformed convex polygons into regular patterns in a plane to form a human motif. This effect symbolizes his change of interest from landscape and nature to regular division of a plane.

One of his most notable works is the piece Metamorphosis III, which is wide enough to cover all the walls in a room, and then loop back onto itself.

After 1953, Escher became a lecturer to many organizations. A planned series of lectures in North America in 1962 was cancelled due to illness, but the illustrations and text for the lectures, written out in full by Escher, was later published as part of the book Escher on Escher. In July of 1969, he finished his last work before his death, a woodcut called Snakes. It features etchings of patterns that fade to infinity both to the center and the edge of a circle. Snakes transverse the circle and the patterns in it, with their heads sticking out of the circle.

Many well known museums include original works by Escher in their collections. Some leading public collections include the following: The National Gallery of Art in Washington, D.C., The National Gallery of Canada in Ottawa, The Israel Museum in Jerusalem, The Escher Museum at The Hague, The Netherlands, and the Fine Arts Museums of San Francisco. Escher’s work appears in many of the finest private collections including the Schwartz Collection of Boston, the Walker Collection of San Diego, the Vess Collection of Detroit, the Roosevelt Collection of Palm Beach, the Price Collection of Connecticut, and the Elder Collection of San Francisco.


February 20, 2008 Posted by | art | 1 Comment

David LaChapelle

David LaChapelle (born March 11, 1963 Fairfield, Connecticut, United States) is a photographer and director who works in the fields of fashion, advertising, and fine art photography, and is noted for his
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February 16, 2008 Posted by | art | Leave a comment

Ion Zupcu

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Ion Zupcu was born in Romania in 1960 and came to New York City in 1991. He began his explorations of photography working in a studio in his native city. A few years later, while spending long hours in his living room taking care of his daughter but with the desire to take photographs himself, Mr. Zupcu began to take still-life photographs of vases and flowers. During this same period he came across the still life and staged photography of other artists, an encounter which influenced him greatly.

In New York, while driving a yellow cab, he met the owner of a black and white photo lab and began working for him, learning the tools of traditional black and white printing. In 1993, two events occurred which enhanced his appreciation for and cemented his desire to pursue the art of black and white photography: his first visit to the International Center of Photography and his discovery of the three Ansel Adams books, The Camera, The Negative and The Print.

In 1998, after seven years of separation, he was at last reunited with his daughter and wife in New York, and their arrival awakened in Mr. Zupcu a sense of purpose and new-found motivation. While he had been working primarily with landscape photography, his passion for the still life suddenly reigned and Zupcu began spending long hours shooting, studying and mastering the art of still life printing. His first serious investigation into the genre began in 1999 with a series entitled simply Flowers, which was followed by numerous collections of photographs depicting bottles, fabrics, eggs and portraits. His latest project is entitled Works on Paper. Mr. Zupcu’s prints and sepia-tones all of his own work.

Since his first exhibition in 2000, Ion’s work has become part of many private collections throughout the world. His works is in the permanent collection of Museum of Fine Arts in Houston, the Ialomita County Museum of Art in Romania; the Melveny & Myers Collection and the LLP Collection.


September 12, 2007 Posted by | art | Leave a comment

Rodney Smith Photography


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for more info and other beautiful pics please visit Rodney Smith Photography web site


May 27, 2007 Posted by | art | Leave a comment

Peeta – Graffiti artist and more

I use to write Peeta since 1993. I’ve started to paint in a little town between Venice and Padova (Italy) by my self, without any reference. As i growed up I’ve started to move in Padova and Venice, I met many other graffiti writers, they gave me insight, and my style during the years evolves quikly from a kind of organic style to 3D style. Since 2000 i am a member of the EAD crew from Padova, this crew was born in 1991, it’s a crew with breakers, writers and music. Since 1999, I’ve started to travel around Europe, and I’ve been invited in many shows exibitions and mostly to graffiti jams and meetings, like the Meeting of Styles. Since 2003 I am a member of the FX crew from New York City, this is a really oldschool crew since the 80’s. During the last years I’ve been travelling to US and Mexico, and from 2006 i am a member of the RWK crew from New York. In the last six years I use to paint on canvas, and to do sculptures. Sculpting and painting, but also the photography are, in my opinion, disciplines who helps each other. Everytime i make a sculpture i recive a lot of knowledge about 3D space and shapes, that’s help me to paint in a better way. And while i’m painting i develop new ideas for new sculptures. It’s a kind of circle.

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for more info and pictures please visit :

or just google for peeta

May 9, 2007 Posted by | art | Leave a comment

DAIM – Graffiti art and more


Sorry For The Inconvenience

much love


May 8, 2007 Posted by | art | 4 Comments

der makabere photography




For more pictures please visit :

May 7, 2007 Posted by | art | 1 Comment

THE BEAT OF URBAN ART – the art of justin bua



For over a decade, artist BUA has been making a mark on popular culture with his unique style of Distorted Urban Realism, singlehandedly spearheading a new genre of art. Born and raised by a singlemom in NYC’s untamed Upper West Side, BUA was fascinated by the raw, visceral Manhattan street life and found himself absorbing the essence of the burgeoning culture at places like Rock Steady Park and the Douglas Projects. BUA studied visual art at the High School of Music and Performing Arts (“Fame”) and complemented his education on the streets by writing graffiti and performing worldwide with breakdancing crews such as The New York Express and The Dynamic Breakers. At 16, BUA performed with The New York Express in a show created by famous choreographer Julie Arenal (“Hair”). The show toured all over the world including the Spoleto Festivals in Charleston, South Carolina and Spoleto, Italy where he performed with Rudolf Nureyev. After high school, BUA went on to the Art Center College of Design in Pasadena, California where he earned a B.F.A in Illustration. There, BUA learned the technical skills that allowed him to unleash his creativity. BUA started his career doing slick bottom paintings for the skateboard industry. He came out with a line of fine art posters and quickly made his way into the commercial freelance world. He created numerous CD covers for companies such as Warner Bros., Atlantic Records, Sony Music and BMG Music, as well as advertising work for clients like Weiden and Kennedy and The Nike Corporation. In 1999, BUA animated the opening title sequence for MTV’s “The Lyricist Lounge Show”. Then, in a process that took over two years, BUA conceived, created and wrote “Urbania”, an animation series for Comedy Central. BUA went on to develop the characters and backgrounds for the EA Sports video game, “NBA Street.” He then created the world for Slum Village’s award winning music video, “Tainted”. BUA recently teamed up with EA Sports again as the visual consultant for their new bestselling game, “NFL Street”. BUA’s latest collaboration with PF Flyers brought art onto the streets with his limited edition shoe line released in May 2004. The shoe line sold out within hours of its release and BUA will release his second shoe line and his first apparel line in 2005. BUA’s book, tentatively entitled BUA: The Beat of Urban Art is currently in production. BUA also teaches Figure Drawing in the Fine Arts Department at the University of Southern California (USC). HipHop has clearly become one of the most prevalent cultural movements of our ear as it permeates all facets of global culture from media, music, and fashion to the language we use. BUA’s understanding of the origin and evolution of HipHop makes him the urban art icon he has become. As Crazy Legs says: “BUA’s art is representative of today’s ethnically diverse urban culture. He has a complete grasp of all the elements of HipHop and the inner feeling of its music. BUA truly represents the HipHop movement: the most popular culture of our era.” BUA’s audience is a diverse group that ranges from street kids to former US Presidents, graffiti writers to fine art connoisseurs, rap fans to jazz aficionados. His line of poster is a bestseller in the US and Canadian college markets.


May 7, 2007 Posted by | art | 2 Comments