http://goo.gl/GCnhq
link to Ulrich de Balbian no 2 of 52585 artists today
link to Ulrich de Balbian no 2 of 52585 artists today
ulrich de balbian
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Wednesday, 29 February 2012
Number 2 of 52585 artists today
http://goo.gl/GCnhq
link to Ulrich de Balbian no 2 of 52585 artists today
link to Ulrich de Balbian no 2 of 52585 artists today
ulrich de balbian
Sunday, 26 February 2012
see slideshow at my site https://sites.google.com/site/artgalleryulrich/home/23-feb-making-the-invisible-visible-by-my-art
https://sites.google.com/site/artgalleryulrich/home/23-feb-making-the-invisible-visible-by-my-art
https://sites.google.com/site/artgalleryulrich/home/23-feb-making-the-invisible-visible-by-my-art
My site for slideshows of work uploaded 26 February
https://sites.google.com/site/artgalleryulrich/home/23-feb-making-the-invisible-visible-by-my-art
My site for slideshows of work uploaded 26 February
work uploaded 26 febr my art makes the invisible visible
26 Feb My art makes the i8nvisible visible. As the philosopher Ludwig Wittgenstein, even in his most rational period, said: that what is mystical cannot be said but only be shown..
Friday, 24 February 2012
24 Feb work uploaded
To see the work as a slideshow go to:
http://goo.gl/t7nXL
work 24 fwbruary slideshow
My ART makes the invisible visible -
My work, executed by means of the code of the traditional painterly discourse (or interpersonal/intersubjective cultural practice) uses the tools (eg technique, style, colors, forms, composition, etc) to make that what is invisible visible.....
How to look at my , or any, work of art -
from ART STUFF November, 2011
1. The Formal Framework - Visual analysis - Technique - Style - Symbolism and metaphor.
2. The Personal Framework - Reflects the artists life - Links to other aspects which may relate to the artists life.
3. The Cultural Framework - The influences of time and place - Connections to contexts and cultural purposes.
4. The Contemporary Framework - Exploring contemporary issues.
http://goo.gl/t7nXL
work 24 fwbruary slideshow
My ART makes the invisible visible -
My work, executed by means of the code of the traditional painterly discourse (or interpersonal/intersubjective cultural practice) uses the tools (eg technique, style, colors, forms, composition, etc) to make that what is invisible visible.....
How to look at my , or any, work of art -
from ART STUFF November, 2011
1. The Formal Framework - Visual analysis - Technique - Style - Symbolism and metaphor.
2. The Personal Framework - Reflects the artists life - Links to other aspects which may relate to the artists life.
3. The Cultural Framework - The influences of time and place - Connections to contexts and cultural purposes.
4. The Contemporary Framework - Exploring contemporary issues.
Thursday, 23 February 2012
23 feb my art makes the invisible visible...
Slideshow of work uploaded 23 Feb - link below
http://goo.gl/8vBn9
23 February. My work by the code of the traditional
painterly discourse or cultural practice uses the tools (eg technique, style,
colors, forms, composition, etc) to make that what is invisible
visible.....
How to look at my , or any, work of art -
from ART STUFF November, 2011
1. The Formal Framework - Visual analysis - Technique - Style - Symbolism and metaphor.
2. The Personal Framework - Reflects the artists life - Links to other aspects which may relate to the artists life.
3. The Cultural Framework - The influences of time and place - Connections to contexts and cultural purposes.
4. The Contemporary Framework - Exploring contemporary issues.
from ART STUFF November, 2011
1. The Formal Framework - Visual analysis - Technique - Style - Symbolism and metaphor.
2. The Personal Framework - Reflects the artists life - Links to other aspects which may relate to the artists life.
3. The Cultural Framework - The influences of time and place - Connections to contexts and cultural purposes.
4. The Contemporary Framework - Exploring contemporary issues.
painter's brushstrokes make invisible visible
Harry Weisburd •
Firas WHAT YOU DON'T KNOW is.. Van Gogh's brushstrokes in his paintings, made the invisible , visible, (at Linkedin group:
http://goo.gl/fDYTs
..... I am not (and no longer) painting -
That is what I attempt to grasp and express....
International Network for the Arts)
http://goo.gl/fDYTs
what and why I am painting
To
try and understand what I am expressing here, first study Paul Klee and
then the abstract paintings of Gerhard Richter. Then you return here
and read what I attempt to express in spatio-temporally restricted
concepts.
1)
for that what you (think you) see (or might, or may or should see) when you look at my work,
2)
or
that what you (think and imagine you) perceive (or may, might or should
perceive) when you represent (create, construct or constitute)
something (for example images or ideas) in your mind (and what you do with it or them in your perception and brain) when you look at my work.
I merely produce marks on a support (paper, canvas, etc). My intention is to create such marks and those things that are constituted by or result from their interaction.
Thus, the only thing that matters is:
that what is on the support -
there is nothing more, or less,
about my work.....
In other words, I am working on that level, or rather that stage when something 'is not yet', that is, prior to coming into existence, to be constituted or created. One can express or label this pre-conceptual (that is prior to being expressed in human spatio-temporally restricted notions) state or stage in different ways, depending on the aspect/s one wishes to identify and emphasize.
In other words, I am working on that level, or rather that stage when something 'is not yet', that is, prior to coming into existence, to be constituted or created. One can express or label this pre-conceptual (that is prior to being expressed in human spatio-temporally restricted notions) state or stage in different ways, depending on the aspect/s one wishes to identify and emphasize.
Astrophysics,
theoretical physics, mathematics, classical music, and other
socio-cultural practices identify different aspects of this 'not yet
being created', or 'coming into existence or be-ing'. Thus it can be
labelled by different terms, for example chaos, or that state or stage
Wittgenstein refers to as 'mystery', that what can only be directly
shown and not expressed (and caught) in human spatio-temporally
restricted concepts. That state or stage that Paul Klee refers to when
he says that he is as much part of the living as the dead and as that
what is not yet - close to , to being created, but never close enough.
The state of prayerfulness, of Pure Consciousness or Awareness of the present arising moment of the mystics.
Wednesday, 22 February 2012
Tuesday, 21 February 2012
smaller and larger works
Our brains have the habit of 'looking at' smaller works,
as if it is an object (to be perceived),
while it treats larger works differently, namely,
one experiences larger work as if one is part of it,
or inside it. (Think of the very large scenes of a group of people,
landscapes etc of the old masters, or the Impressionist, such as
Monet's waterlilies....).
as if it is an object (to be perceived),
while it treats larger works differently, namely,
one experiences larger work as if one is part of it,
or inside it. (Think of the very large scenes of a group of people,
landscapes etc of the old masters, or the Impressionist, such as
Monet's waterlilies....).
Latest Work 21 February
Minimalist colors, forms, etc
See this link for a slideshow
or merely go to my site
See this link for a slideshow
or merely go to my site
and look at the LEFT on top for
LATEST WORK 21 February.
Thank you for looking at my work -
my life, my reason for living ,
and I hope you find as much enjoyment in it as I did and do creating it,
Ulrich de Balbian
I post here 3 of my latest work -
Monday, 20 February 2012
Work uploaded 20 February, 2012
Work uploaded on 20 February, 2012 at my website
go to page 17, 19 and 20 February
or direct link to that page on my website
https://sites.google.com/site/artgalleryulrich/home/2012-febr-more-new-work
Sunday, 19 February 2012
Google Ulrich de Balbian for galleries with my work
GOOGLE my name for more sites and galleries with my work
http://en.wikipedia.org/wiki
http://en.wikipedia.org/wiki
= Ulrich de Balbian Abstract painter ==
Recent, 2011, photo of Ulrich de Balbian
Ulrich de Balbian Abstract painter.(Born 1944 from French-Dutch and German parents, as well as British nationality). His work are in collections in many countries and can be seen on many online galleries.He lives and has ateliers in several countries. Use Google or any search engine to find it. His work sell for up to $10 million [[1]]; [[2]];[[3]];An offer for GBP9900010 was made for this lot no 782361, for the work by Ulrich de Balbian (Painter, xx-xx1) [[4]];New York Times, Guardian, Independent, Los Angeles Times, Le Monde, Beijing, China, Taiwan Art News, Hong Kong Art News: Works by Ulrich de Balbian…An offer for GBP9900010 was made for this lot no 782361, for the work by Ulrich de Balbian (Painter, xx-xx1), [[5]];$15,000,000 auction record Ulrich de Balbian [6]; Ulrich de BALBIAN:meilleure offre 1 209701euros..... - Marrast (n° 6JJP2, il y a 17 jours)[7]; [8];
Born 1944 from parents (father Dutch-French)(mother German), in several countries where his parents lived and worked, thus diverse education and knowledge of several languages. Father veterinarian, mother medical doctor. University degrees in Art, social sciences, Philosophy, religion. Worked as researcher in sociology and sociological theory, as well as lecturer in art, religion and philosophy. Initial art education in the line of Paul Klee, Kandinsky, and French Expressionist such as Monet, and contemporary painters influenced by them. Studied the major world faiths, especially their mystics strand or spirituality. Created and moderate several Yahoo list on this subject and act as spiritual director to a number of individuals, such as serious laity, priests and bishops (Dominic Filipowicz Polish-America at beatsmyth@yahoo.com can provide information on this, as well as Prod Dr Claudio Sanchez-Escobar, ansanes@us.es, Dr Verster, academic and hermit, benoinim@gmail.com).
He intentionally choose to work as a painter, rather than any of the more gimmicky and fashionable genres of the day such as performance art or installations.He has ateliers in several countries, including France, Spain and South Africa and has British nationality, among others. He believes that it is still possible to develop the genre of painting itself and sums up his work as follows:
The Right Reverend Dr Ulrich de Balbian ; has ateliers in several countries, including South Africa. He researches western painterly techniques and the structures of the western painterly code or discourse through the ages; especially interested in Bauhaus, Klee, Kandinsky, Picasso, Expressionists, some Impressionists such as Monet, and the contemporary artists influenced by them. In every work of mine I share with you one aspect of my aesthetic ideals and vision. Principles and factors that hopefully will introduce eternally lasting qualities into and transform the discourse of painting, like the works of the handful of serious artists have done over the ages. Lectured and published books and articles in philosophy (eg ontology and epistemology), theology, world religions, art, social sciences and other subjects. Spiritually (or theologically) especially interested in the mystical traditions (of prayer, contemplation and thesis or the unity experience)in Christianity (Western, Eastern and Oriental Orthodoxy), Vedanta's self-realization, Buddhism's satori, Sufism. Been a contemplative solitary (spiritual hermit) and spiritual director/teacher for several decades, in the UK, Spain, France, etc.[35]One of fifteen books by Ulrich de Balbian Verster [36] [37]Auction of his works for up to $4million [38]Another of the 15 books by Ulrich de Balbian Verster on culture and more specifically Art [39][40][41] [42]
Recent Abstract paintings, using Acrylic as medium, mostly done on AMEDEO Art paper, but some on canvas, sacking and linen. From February, 2012 some recent work will be placed on this site [[43]]
fully in the present her and now - as the one universal Real Self (of Vedanta),
or the enlightened cosmic Buddha mind,
or the Love of the Beloved of the Sufis,
or the Holy Spirit of "Hashem', etc etc... Latest news. Work of Ulrich de Balbian sold at auction for up to GBP 10,000,000. Bourse : Forum - ARTPRICE.COM [http://www.boursica.com/forum.../artprice-com.p...} - France - Translate this page ulrich de Balbian:meilleure offre 1 209701 euros - Marrast (n° 6JJP1, à 16h40) ... 2eme tableau à l'instant de Balbian à 1.209.940e - Ppier (n° 6JJTE, à 19h06) ...[[45]]; $15,000,000 auction record Ulrich de Balbian [46];
New Styles: Non-figurative postmodern, often wrongly referred to as Abstract art, consisting of both, initially non-dual(istic), non-conceptual or pre-conceptual (without or prior to thinking and/or reasoning) as well as finally reasoning. As developed, explored and written on by Ulrich de Balbian Verster in his 15 books on culture and more specifically the painting genre of visual art [47][48] [49]; for a description of NS (new styles)ES (End of all Styles) as described in his books:)To try and understand what I am expressing here, first study Paul Klee and then the abstract paintings of Gerhard Richter. Then you return here and read what I attempt to express in spatio-temporally restricted concepts.
..... I am not (and no longer) painting - 1) for that what you (think you) see (or might, or may or should see) when you look at my work, 2) or that what you (think and imagine you) perceive (or may, might or should perceive) when you represent (create, construct or constitute) something (for example images or ideas) in your mind (and what you do with it or them in your perception and brain) when you look at my work.
I merely produce marks on a support (paper, canvas, etc). My intention is to create such marks and those things that are constituted by or result from their interaction.
Thus, the only thing that matters is:
that what is on the support -
there is nothing more, or less,
about my work.....
In other words, I am working on that level, or rather that stage when something 'is not yet', that is, prior to coming into existence, to be constituted or created. One can express or label this pre-conceptual (that is prior to being expressed in human spatio-temporally restricted notions) state or stage in different ways, depending on the aspect/s one wishes to identify and emphasize.
Astrophysics, theoretical physics, mathematics, classical music, and other socio-cultural practices identify different aspects of this 'not yet being created', or 'coming into existence or be-ing'. Thus it can be labelled by different terms, for example chaos, or that state or stage Wittgenstein refers to as 'mystery', that what can only be directly shown and not expressed (and caught) in human spatio-temporally restricted concepts. That state or stage that Paul Klee refers to when he says that he is as much part of the living as the dead and as that what is not yet - close to , to being created, but never close enough.
The state of prayerfulness, of Pure Consciousness or Awareness of the present arising moment of the mystics.
That is what I attempt to grasp and express.... [[50]]; 41.113.220.224 (talk) 06:23, 17 February 2012 (UTC) hermitmonk 12:06, 27 January 2012 (UTC) hermitmonk 09:39, 7 February 2012 (UTC)hermitmonk 05:44, 8 February 2012 (UTC)hermitmonk 05:50, 8 February 2012 (UTC)
...it goes you well, as you live creatively at every arising moment and be the pure, unrestricted awareness and One consciousness or the One, Universal Real Self, that all creatures, each in its own way, have the potential to be.....
The words on his tombstone, Klee's credo, placed there by his son Felix, say, "I cannot be grasped in the here and now, For my dwelling place is as much among the dead, As the yet unborn, Slightly closer to the heart of creation than usual, But still not close enough."
“ Art does not reproduce the visible; rather, it makes visible. ”
—Paul Klee.
Some of Ulrich de Balbian's work and ideas have similarities with that of the German artist Gerhard Richter [[51]].
The daily practice of painting : writings and interviews, 1962-1993 Author: Gerhard Richter; Hans-Ulrich Obrist Publisher: Cambridge, Mass. : MIT Press ; London : Anthony d'Offay Gallery, 1995. Edition/Format: Book : EnglishView all editions and formats Summary: Gerhard Richter, born in Dresden in 1932, is one of the foremost painters of his generation. A great deal has been written about the bewildering heterogeneity of his work over the past 30 years, his seemingly willful and defiant movement between abstract and figurative modes of representation and his use of a variety of methods of applying paint to canvas. And Richter himself is the master of the paradoxical.From www.worldcat.org [[52]].
Acrylic on creased canvas with frayed edges and multiple glaces.
The following painting by Ulrich de Balbian was seen in a dream by him, then constructed and a painting in oil media on canvas was made of the construction (thus it should be included in 'New Genres' art).
Two other New Genres, mixed media works by the same artist. The Jacaranda project as described by the artist on several online Art galleries for example Saatchionline, Art Break, Art Majeur, etc :
"I had a dream of a house where I should commence a Jacaranda project. This consisted of finding the house in a country and area where the Genus Jacaranda of the 49 species of the Bigoniaceae family could be planted. I found the country, and area and the house that I bought. I then constructed the hedge as in my dream and planted the Jacaranda plant I dreamed of. Then I painted the hedge with the Jacarandas in bloom in Oil. Here is the result - 1 of 5 paintings." As can be seen from this description, the artist had to study ecology to find regions where this type of plant grows, the searched the country and the regions to find the house he dreamed of, then constructed the hedge as viewed in his dream and planted the Jacaranda plants. Then he painted this construction in oil, as can be seen in the image here. The entire process of his searching, gardening etc was filmed. Another project is his Fairy Circle project. Some of these works were sold for $1,000,000.
Another development by Ulrich de Balbian is his Four Styles Project. Each project consists of the same work re-created in many different styles. Each picture is one of more than 100 of a STYLES PROJECT ONE, TWO, THREE or Four. The white in the picture is the canvas that is unpainted and the light is not caused by bad photography, but intended and painted. These paintings are painted on flat canvas and not on 3D boxes. This is a quotation from Saatchionline.com [[53]]. I have obtained images from a few of these works from the artist and will upload them here.
= Ulrich de Balbian Abstract painter ==
and can be seen for example at [[9]]The world directory of Artists [[10]] [[11]]some rare 'older'( work prior to 2010 are either in a few vast private collections or lost when the artist moved between countries)work from 2010 are shown on this site. [[12]] [[13]] [[14]] [[15]] [[16]] [[17]] [[18]] [[19]] [[20]] [[21]] [[22]] [[23]] [[24]] [[25]] [[26]] [[27]] [[28]] Art-3000: Художник Ulrich de Balbian[[29]]. [[30]] 1, Link Korppikotka Korppikotka vie sinut vähemmän tunnettuihin paikkoihin, 240. 2, Link Dr. Ulrich de Balbian Eteläafrikkalainen taiteilia Dr. Ulrich de Balbian [[31]] [[32]] Site at Google [[33]] Ulrich de Balbian's work at Auction , Art Clair Dimanche 15 janvier, 2012 [[34]], Vient ensuite une toile du peintre anglais francais contemporain Ulrich de Balbian (Aerial map of dreamland) mise à prix pour 970 800 euros ou une aquarelle de Paul Cézanne (Vénus et Cupidon) pour 141 570 euros. Estimated prices, 2011-2012 only, see www.artprice.com, classifieds, artists.
Born 1944 from parents (father Dutch-French)(mother German), in several countries where his parents lived and worked, thus diverse education and knowledge of several languages. Father veterinarian, mother medical doctor. University degrees in Art, social sciences, Philosophy, religion. Worked as researcher in sociology and sociological theory, as well as lecturer in art, religion and philosophy. Initial art education in the line of Paul Klee, Kandinsky, and French Expressionist such as Monet, and contemporary painters influenced by them. Studied the major world faiths, especially their mystics strand or spirituality. Created and moderate several Yahoo list on this subject and act as spiritual director to a number of individuals, such as serious laity, priests and bishops (Dominic Filipowicz Polish-America at beatsmyth@yahoo.com can provide information on this, as well as Prod Dr Claudio Sanchez-Escobar, ansanes@us.es, Dr Verster, academic and hermit, benoinim@gmail.com).
He intentionally choose to work as a painter, rather than any of the more gimmicky and fashionable genres of the day such as performance art or installations.He has ateliers in several countries, including France, Spain and South Africa and has British nationality, among others. He believes that it is still possible to develop the genre of painting itself and sums up his work as follows:
The Right Reverend Dr Ulrich de Balbian ; has ateliers in several countries, including South Africa. He researches western painterly techniques and the structures of the western painterly code or discourse through the ages; especially interested in Bauhaus, Klee, Kandinsky, Picasso, Expressionists, some Impressionists such as Monet, and the contemporary artists influenced by them. In every work of mine I share with you one aspect of my aesthetic ideals and vision. Principles and factors that hopefully will introduce eternally lasting qualities into and transform the discourse of painting, like the works of the handful of serious artists have done over the ages. Lectured and published books and articles in philosophy (eg ontology and epistemology), theology, world religions, art, social sciences and other subjects. Spiritually (or theologically) especially interested in the mystical traditions (of prayer, contemplation and thesis or the unity experience)in Christianity (Western, Eastern and Oriental Orthodoxy), Vedanta's self-realization, Buddhism's satori, Sufism. Been a contemplative solitary (spiritual hermit) and spiritual director/teacher for several decades, in the UK, Spain, France, etc.[35]One of fifteen books by Ulrich de Balbian Verster [36] [37]Auction of his works for up to $4million [38]Another of the 15 books by Ulrich de Balbian Verster on culture and more specifically Art [39][40][41] [42]
Recent Abstract paintings, using Acrylic as medium, mostly done on AMEDEO Art paper, but some on canvas, sacking and linen. From February, 2012 some recent work will be placed on this site [[43]]
[[44]]Short statement by the artist from the previous link at Saatchionline:
I now , since 2 years ago, paint most of the time -
that is if mundane matters, like walking my 4 American Pitbulls, or
being in union or dark/infused contemplation with "Hashem" ('the eternal',
the name, the source and ground of all) -
or caring for the MANY individuals who night and day arrive at my hermit's
hideout - allow it.
All work shown here are from 2010 onwards (so far more than 500),
as all work prior to that are either lost (because of my residence in a
number of countries), or en masse in some private collections. .
Money itself does not concern me as I live under a vow of poverty and own
VERY little, and it goes to charities in developing countries.
Well, I hope that some aspects of my aesthet(ical? I never know which
of the 2 are the appropriate adjective? As aesthetic/al are always confused
by most people) vision and ideals (truths that are eternal, lasting, universal
and permanent - and are expressed in insights in all cultural practices,
be they sciences, music, humanities, arts, spirituality, etc) do come across
to the 'viewer' of, or rather participants and co-creators, of my work -and develop the potential of every individual to be:
fully in the present her and now - as the one universal Real Self (of Vedanta),
or the enlightened cosmic Buddha mind,
or the Love of the Beloved of the Sufis,
or the Holy Spirit of "Hashem', etc etc... Latest news. Work of Ulrich de Balbian sold at auction for up to GBP 10,000,000. Bourse : Forum - ARTPRICE.COM [http://www.boursica.com/forum.../artprice-com.p...} - France - Translate this page ulrich de Balbian:meilleure offre 1 209701 euros - Marrast (n° 6JJP1, à 16h40) ... 2eme tableau à l'instant de Balbian à 1.209.940e - Ppier (n° 6JJTE, à 19h06) ...[[45]]; $15,000,000 auction record Ulrich de Balbian [46];
New Styles: Non-figurative postmodern, often wrongly referred to as Abstract art, consisting of both, initially non-dual(istic), non-conceptual or pre-conceptual (without or prior to thinking and/or reasoning) as well as finally reasoning. As developed, explored and written on by Ulrich de Balbian Verster in his 15 books on culture and more specifically the painting genre of visual art [47][48] [49]; for a description of NS (new styles)ES (End of all Styles) as described in his books:)To try and understand what I am expressing here, first study Paul Klee and then the abstract paintings of Gerhard Richter. Then you return here and read what I attempt to express in spatio-temporally restricted concepts.
..... I am not (and no longer) painting - 1) for that what you (think you) see (or might, or may or should see) when you look at my work, 2) or that what you (think and imagine you) perceive (or may, might or should perceive) when you represent (create, construct or constitute) something (for example images or ideas) in your mind (and what you do with it or them in your perception and brain) when you look at my work.
I merely produce marks on a support (paper, canvas, etc). My intention is to create such marks and those things that are constituted by or result from their interaction.
Thus, the only thing that matters is:
that what is on the support -
there is nothing more, or less,
about my work.....
In other words, I am working on that level, or rather that stage when something 'is not yet', that is, prior to coming into existence, to be constituted or created. One can express or label this pre-conceptual (that is prior to being expressed in human spatio-temporally restricted notions) state or stage in different ways, depending on the aspect/s one wishes to identify and emphasize.
Astrophysics, theoretical physics, mathematics, classical music, and other socio-cultural practices identify different aspects of this 'not yet being created', or 'coming into existence or be-ing'. Thus it can be labelled by different terms, for example chaos, or that state or stage Wittgenstein refers to as 'mystery', that what can only be directly shown and not expressed (and caught) in human spatio-temporally restricted concepts. That state or stage that Paul Klee refers to when he says that he is as much part of the living as the dead and as that what is not yet - close to , to being created, but never close enough.
The state of prayerfulness, of Pure Consciousness or Awareness of the present arising moment of the mystics.
That is what I attempt to grasp and express.... [[50]]; 41.113.220.224 (talk) 06:23, 17 February 2012 (UTC) hermitmonk 12:06, 27 January 2012 (UTC) hermitmonk 09:39, 7 February 2012 (UTC)hermitmonk 05:44, 8 February 2012 (UTC)hermitmonk 05:50, 8 February 2012 (UTC)
[edit] Quotes
And that you yourself realize the inner peace and balance that I was granted. Thanks for using your time, when you could have done many other things, but, perhaps my work enable you to interact with 'the eternal', or the ground and source of all, as it is, hopefully, allowed to be manifested and channeled in some of my work....it goes you well, as you live creatively at every arising moment and be the pure, unrestricted awareness and One consciousness or the One, Universal Real Self, that all creatures, each in its own way, have the potential to be.....
The words on his tombstone, Klee's credo, placed there by his son Felix, say, "I cannot be grasped in the here and now, For my dwelling place is as much among the dead, As the yet unborn, Slightly closer to the heart of creation than usual, But still not close enough."
“ Art does not reproduce the visible; rather, it makes visible. ”
—Paul Klee.
Some of Ulrich de Balbian's work and ideas have similarities with that of the German artist Gerhard Richter [[51]].
[edit] Quotes
“One has to believe in what one is doing, one has to commit oneself inwardly, in order to do painting. Once obsessed, one ultimately carries it to the point of believing that one might change human beings through painting. But if one lacks this passionate commitment, there is nothing left to do. Then it is best to leave it alone. For basically painting is idiocy.” (From Richter, 'Notes 1973', in The Daily Practice of Painting, p. 78.)The daily practice of painting : writings and interviews, 1962-1993 Author: Gerhard Richter; Hans-Ulrich Obrist Publisher: Cambridge, Mass. : MIT Press ; London : Anthony d'Offay Gallery, 1995. Edition/Format: Book : EnglishView all editions and formats Summary: Gerhard Richter, born in Dresden in 1932, is one of the foremost painters of his generation. A great deal has been written about the bewildering heterogeneity of his work over the past 30 years, his seemingly willful and defiant movement between abstract and figurative modes of representation and his use of a variety of methods of applying paint to canvas. And Richter himself is the master of the paradoxical.From www.worldcat.org [[52]].
[edit] Work
Examples of his work Fascination fascinated, The extreme lightness of BEing, I'm so bold you can't miss me, With a centrepoint- Aerial view, or Blacks Browns Purple Yellow and by Ulrich de Balbian. [[An iconic example of a painting by a modern master in which almost the entire range of techniques for the Acrylic medium is employed;for example: opaque, transparent, washes, colors direct from the tube as well as mixing previous to application and on the support, sweeping as well as controlled strokes, large and minute, spirited, vigorous as well as controlled composition, thick and thin application, mixed with white to lighten the tone, or darkened, saturated and unsaturated, dry-brush and scumbling, over textured dry ground or the clean support, different types of blending, opaque, cross-hatching, wet-in-wet, on wet paper, with a damp brush, optical blending, glazing, all prima, etc.]] For more of his works Google and for details about Ulrich de Balbian see 'D" under requested biographies Visual Artists or Painters.
File:Mysterious city of the mystics z a.jpg
Mysterious city of the Mystics work by Ulrich de Balbian
"I had a dream of a house where I should commence a Jacaranda project. This consisted of finding the house in a country and area where the Genus Jacaranda of the 49 species of the Bigoniaceae family could be planted. I found the country, and area and the house that I bought. I then constructed the hedge as in my dream and planted the Jacaranda plant I dreamed of. Then I painted the hedge with the Jacarandas in bloom in Oil. Here is the result - 1 of 5 paintings." As can be seen from this description, the artist had to study ecology to find regions where this type of plant grows, the searched the country and the regions to find the house he dreamed of, then constructed the hedge as viewed in his dream and planted the Jacaranda plants. Then he painted this construction in oil, as can be seen in the image here. The entire process of his searching, gardening etc was filmed. Another project is his Fairy Circle project. Some of these works were sold for $1,000,000.
File:Jacaranda 2a.jpg
Jacaranda project 1 painting of the hedge and plants constructed and cultivated by Ulrich de Balbian
NS (New Styles) ES (End of all Styles) = NSES
http://en.wikipedia.org/wiki/Wikipedia:Requested_articles/Arts_and_entertainment/Visual_arts
..... I am not (and no longer) painting - 1) for that what you (think you) see (or might, or may or should see) when you look at my work, 2) or that what you (think and imagine you) perceive (or may, might or should perceive) when you represent (create, construct or constitute) something (for example images or ideas) in your mind (and what you do with it or them in your perception and brain) when you look at my work.
I merely produce marks on a support (paper, canvas, etc). My intention is to create such marks and those things that are constituted by or result from their interaction.
Thus, the only thing that matters is:
that what is on the support -
there is nothing more, or less,
about my work.....
In other words, I am working on that level, or rather that stage when something 'is not yet', that is, prior to coming into existence, to be constituted or created. One can express or label this pre-conceptual (that is prior to being expressed in human spatio-temporally restricted notions) state or stage in different ways, depending on the aspect/s one wishes to identify and emphasize.
Astrophysics, theoretical physics, mathematics, classical music, and other socio-cultural practices identify different aspects of this 'not yet being created', or 'coming into existence or be-ing'. Thus it can be labelled by different terms, for example chaos, or that state or stage Wittgenstein refers to as 'mystery', that what can only be directly shown and not expressed (and caught) in human spatio-temporally restricted concepts. That state or stage that Paul Klee refers to when he says that he is as much part of the living as the dead and as that what is not yet - close to , to being created, but never close enough.
The state of prayerfulness, of Pure Consciousness or Awareness of the present arising moment of the mystics.
That is what I attempt to grasp and express.... [[4]];
http://en.wikipedia.org/wiki/Wikipedia:Requested_articles/Arts_and_entertainment/Visual_arts
Artistic schools/styles
- New Styles: Non-figurative postmodern, often wrongly referred to as Abstract art, consisting of both, initially non-dual(istic), non-conceptual or pre-conceptual (without or prior to thinking and/or reasoning) as well as finally reasoning. As developed, explored and written on by Ulrich de Balbian Verster in his 15 books on culture and more specifically the painting genre of visual art [1][2] [3]; for a description of NS (new styles)ES (End of all Styles) as described in his books:)To try and understand what I am expressing here, first study Paul Klee and then the abstract paintings of Gerhard Richter. Then you return here and read what I attempt to express in spatio-temporally restricted concepts.
..... I am not (and no longer) painting - 1) for that what you (think you) see (or might, or may or should see) when you look at my work, 2) or that what you (think and imagine you) perceive (or may, might or should perceive) when you represent (create, construct or constitute) something (for example images or ideas) in your mind (and what you do with it or them in your perception and brain) when you look at my work.
I merely produce marks on a support (paper, canvas, etc). My intention is to create such marks and those things that are constituted by or result from their interaction.
Thus, the only thing that matters is:
that what is on the support -
there is nothing more, or less,
about my work.....
In other words, I am working on that level, or rather that stage when something 'is not yet', that is, prior to coming into existence, to be constituted or created. One can express or label this pre-conceptual (that is prior to being expressed in human spatio-temporally restricted notions) state or stage in different ways, depending on the aspect/s one wishes to identify and emphasize.
Astrophysics, theoretical physics, mathematics, classical music, and other socio-cultural practices identify different aspects of this 'not yet being created', or 'coming into existence or be-ing'. Thus it can be labelled by different terms, for example chaos, or that state or stage Wittgenstein refers to as 'mystery', that what can only be directly shown and not expressed (and caught) in human spatio-temporally restricted concepts. That state or stage that Paul Klee refers to when he says that he is as much part of the living as the dead and as that what is not yet - close to , to being created, but never close enough.
The state of prayerfulness, of Pure Consciousness or Awareness of the present arising moment of the mystics.
That is what I attempt to grasp and express.... [[4]];
Artistic schools/styles
- New Styles: Non-figurative postmodern, often wrongly referred to as Abstract art, consisting of both, initially non-dual(istic), non-conceptual or pre-conceptual (without or prior to thinking and/or reasoning) as well as finally reasoning. As developed, explored and written on by Ulrich de Balbian Verster in his 15 books on culture and more specifically the painting genre of visual art [1][2] [3]; for a description of NS (new styles)ES (End of all Styles) as described in his books:)To try and understand what I am expressing here, first study Paul Klee and then the abstract paintings of Gerhard Richter. Then you return here and read what I attempt to express in spatio-temporally restricted concepts.
..... I am not (and no longer) painting - 1) for that what you (think you) see (or might, or may or should see) when you look at my work, 2) or that what you (think and imagine you) perceive (or may, might or should perceive) when you represent (create, construct or constitute) something (for example images or ideas) in your mind (and what you do with it or them in your perception and brain) when you look at my work.
I merely produce marks on a support (paper, canvas, etc). My intention is to create such marks and those things that are constituted by or result from their interaction.
Thus, the only thing that matters is:
that what is on the support -
there is nothing more, or less,
about my work.....
In other words, I am working on that level, or rather that stage when something 'is not yet', that is, prior to coming into existence, to be constituted or created. One can express or label this pre-conceptual (that is prior to being expressed in human spatio-temporally restricted notions) state or stage in different ways, depending on the aspect/s one wishes to identify and emphasize.
Astrophysics, theoretical physics, mathematics, classical music, and other socio-cultural practices identify different aspects of this 'not yet being created', or 'coming into existence or be-ing'. Thus it can be labelled by different terms, for example chaos, or that state or stage Wittgenstein refers to as 'mystery', that what can only be directly shown and not expressed (and caught) in human spatio-temporally restricted concepts. That state or stage that Paul Klee refers to when he says that he is as much part of the living as the dead and as that what is not yet - close to , to being created, but never close enough.
The state of prayerfulness, of Pure Consciousness or Awareness of the present arising moment of the mystics.
That is what I attempt to grasp and express.... [[4]];
I suddenly
realized that what I always took for granted seems to be the exception
rather than the rule: I do not paint for collectors, buyers, curators,
gallery owners, art reviewers and critics and others in the art industry
who lives OFF art. No, I paint for the handful of other serious
artists, especially those who are yet to be born, and who live FOR art.
In other words, I assist in the making , maintenance and development of
art (or more specifically the painting discourse and intersubjectivity)
history .
From ART STUFF - why art? (for artists, students, collectors/viewers -
I have long been an advocate for Art Students (and Artists for that matter) doing lots of work and focusing more on quantity than quality (to a degree and depending on what medium they are working in etc.) so they can work fast through issues and not get bogged down in the ‘is it ok’ scenario.
What do you want from art?
As a Student, or Artist, whichever position you are in, stop and have a think for a bit. What do you want from Visual Art.. and perhaps why do you want it.
Lets explore a little. Oh and feel free to give me feedback via the comments as I think this is a hot topic to think about.
Student
Learn about various materials and processes
Develop an understanding/appreciation of creative processes
Develop a body of work
Learn about the theory and history of Visual Art
Explore the cultural and or other implications of Visual Art
To explore and or respond to your subject matter
To develop concepts, issues and notions about your art in a contemporary context (self - wider community - global)
Other?
Artist
To explore and or respond to your subject matter
To develop concepts, issues and notions about your art in a contemporary context (self - wider community - global)
To perhaps make $$ from the sale of your works
To experience the responses your audience has about your works
As a device to build your status…
Other?
Note at the Artist’s level the wants can be different to the student’s but there is a solid overlap.
Would working on these points assist or hinder the people involved? or would it provide a springboard for further discussion, development etc…
Art seems to be more about a person making objects as part of an ongoing process than it is about creating things of beauty,
Don’t expect Art to soothe your soul, it may in fact disrupt your soul, interrupt your rational thinking and aggravate you to no end.
Perhaps “Art” is therefore more about moving or adjusting people intellectually and or emotionally more than it is about notions of Aesthetic sensibility…
Matrix concept
Coming to terms with the wide array of works and styles in the art world is a challenge at times, this “matrix” MAY provide some useful starting points for us to explore with. Where do you “fit” as an Artist? Using the comments facility at the end of the post, feel free to add information I can use to improve this.
Note it is intended to provide a guide to appreciating various “categories” of art in the market place rather than a device to indicate if a style “better than another”. Perhaps it’s “best” use may be for a beginning investor or collector wanting to appreciate what they are looking at and if it may have a possibility of increasing in value due to critical and or peer review.
This “matrix” has been through several versions starting at No: 7 (the previous 6 were for my eyes only and took a while to gain a format which I felt worked for a wider public audience.) this one is currently version 9.1.
12/2/10
Analytical Frameworks
I have just been introduced to the Visual Art Analytical Frameworks which is a device utilised to analyse artworks for students studying Visual Art at VCE (Australia) levels. This framework device looks at four areas to analyse works buy and it can offer readers of the matrix another way of exploring artworks, I would like to think the two could be utilised together to enable a faster understanding and greater depth of analysis could happen.
1. The Formal Framework - Visual analysis - Technique - Style - Symbolism and metaphor.
2. The Personal Framework - Reflects the artists life - Links to other aspects which may relate to the artists life.
3. The Cultural Framework - The influences of time and place - Connections to contexts and cultural purposes.
4. The Contemporary Framework - Exploring contemporary issues.
If you were to follow these frameworks for analysing artworks I guess it would be possible to negate various aspects of hobby and simple decorative work and find yourself wanting more from an art piece when you realise there is more to be had than just the formal framework. A viewer could do well to use these four points in discussing works with artists and soon be able to asses the merit or otherwise of the artist and their works.
What do you want from art?
As a Student, or Artist, whichever position you are in, stop and have a think for a bit. What do you want from Visual Art.. and perhaps why do you want it.
Lets explore a little. Oh and feel free to give me feedback via the comments as I think this is a hot topic to think about.
Student
Learn about various materials and processes
Develop an understanding/appreciation of creative processes
Develop a body of work
Learn about the theory and history of Visual Art
Explore the cultural and or other implications of Visual Art
To explore and or respond to your subject matter
To develop concepts, issues and notions about your art in a contemporary context (self - wider community - global)
Other?
Artist
To explore and or respond to your subject matter
To develop concepts, issues and notions about your art in a contemporary context (self - wider community - global)
To perhaps make $$ from the sale of your works
To experience the responses your audience has about your works
As a device to build your status…
Other?
Note at the Artist’s level the wants can be different to the student’s but there is a solid overlap.
Would working on these points assist or hinder the people involved? or would it provide a springboard for further discussion, development etc…
All work shown here are from 2010 onwards (so far more than 500),
as all work prior to that are either lost (because of my residence in a number of countries), or en masse in some private collections. See the link at South African Artists, for work from 2010.
The price of my work on other sites can be seen to be up to $3,000,000 etc, but this site seems to allow as maximum price only $30,000.
Well, I hope that some aspects of my aesthet(ical)? I never know which of the 2 are the appropriate adjective? As aesthetic/al are always confused by most people) vision and ideals (truths that are eternal, lasting, universal and permanent - and are expressed in insights in all cultural practices, be they sciences, music, humanities, arts, spirituality, etc) do come across to the 'viewer' of, or rather participants and co-creators, of my work -
and develop the potential of every individual to be:
fully in the present her and now -
as the one universal Real Self (of Vedanta),
or the enlightened cosmic Buddha mind,
or the Love of the Beloved of the Sufis,
or the Holy Spirit of "Hashem', etc etc...
And that you yourself realize the inner peace and balance that I was granted.
Thanks for using your time, when you could have done many other things, but, perhaps my work enable you to interact with 'the eternal', or the ground and source of all, as it is, hopefully, allowed to be manifested and channeled in some of my work.
...it goes you well, as you live creatively at every arising moment and be the pure, unrestricted awareness and One consciousness or the One, Universal Real Self, that all creatures, each in its own way, have the potential to be.....
The words on his tombstone, Klee's credo, placed there by his son Felix, say, "I cannot be grasped in the here and now, For my dwelling place is as much among the dead, As the yet unborn, Slightly closer to the heart of creation than usual, But still not close enough."
“ Art does not reproduce the visible; rather, it makes visible. ”
—Paul Klee.
Someone asked me Why I paint? To me it is necessary like breathing, blood flowing through my veins, my heart pumping, eating and sleeping -
a quote why I paint - Gerhard Richter is considered to be the 'best' artist at present - money wise sells 67 million pounds a year - said in one of his books:
“One has to believe in what one is doing, one has to commit oneself inwardly, in order to do painting. Once obsessed, one ultimately carries it to the point of believing that one might change human beings through painting. But if one lacks this passionate commitment, there is nothing left to do. Then it is best to leave it alone. For basically painting is idiocy.” (From Richter, 'Notes 1973', in The Daily Practice of Painting, p. 78.)
I agree with the - one must believe in what one is doing - an inward commitment-
and I have this commitment a 100% as it replaces the 2 other ways of BE-ing that are essential to me - why and now I live and am-
one is obsessed with it - not the right word, but shows the intensity of the commitment -
the passionate commitment
otherwise painting is ridiculous, nonsense, irrelevant and cannot fee one starving child (although a couple of now million dollar sellers in the 1920's in Paris exchanged their paintings for a loaf of bread -
Richter talks about painting - the dying out or long dead genre - thus a few of us keep it going
rather than doing installations and other fashionable genres
Read Less
From ART STUFF - why art? (for artists, students, collectors/viewers -
I have long been an advocate for Art Students (and Artists for that matter) doing lots of work and focusing more on quantity than quality (to a degree and depending on what medium they are working in etc.) so they can work fast through issues and not get bogged down in the ‘is it ok’ scenario.
What do you want from art?
As a Student, or Artist, whichever position you are in, stop and have a think for a bit. What do you want from Visual Art.. and perhaps why do you want it.
Lets explore a little. Oh and feel free to give me feedback via the comments as I think this is a hot topic to think about.
Student
Learn about various materials and processes
Develop an understanding/appreciation of creative processes
Develop a body of work
Learn about the theory and history of Visual Art
Explore the cultural and or other implications of Visual Art
To explore and or respond to your subject matter
To develop concepts, issues and notions about your art in a contemporary context (self - wider community - global)
Other?
Artist
To explore and or respond to your subject matter
To develop concepts, issues and notions about your art in a contemporary context (self - wider community - global)
To perhaps make $$ from the sale of your works
To experience the responses your audience has about your works
As a device to build your status…
Other?
Note at the Artist’s level the wants can be different to the student’s but there is a solid overlap.
Would working on these points assist or hinder the people involved? or would it provide a springboard for further discussion, development etc…
Art seems to be more about a person making objects as part of an ongoing process than it is about creating things of beauty,
Don’t expect Art to soothe your soul, it may in fact disrupt your soul, interrupt your rational thinking and aggravate you to no end.
Perhaps “Art” is therefore more about moving or adjusting people intellectually and or emotionally more than it is about notions of Aesthetic sensibility…
Matrix concept
Coming to terms with the wide array of works and styles in the art world is a challenge at times, this “matrix” MAY provide some useful starting points for us to explore with. Where do you “fit” as an Artist? Using the comments facility at the end of the post, feel free to add information I can use to improve this.
Note it is intended to provide a guide to appreciating various “categories” of art in the market place rather than a device to indicate if a style “better than another”. Perhaps it’s “best” use may be for a beginning investor or collector wanting to appreciate what they are looking at and if it may have a possibility of increasing in value due to critical and or peer review.
This “matrix” has been through several versions starting at No: 7 (the previous 6 were for my eyes only and took a while to gain a format which I felt worked for a wider public audience.) this one is currently version 9.1.
12/2/10
Analytical Frameworks
I have just been introduced to the Visual Art Analytical Frameworks which is a device utilised to analyse artworks for students studying Visual Art at VCE (Australia) levels. This framework device looks at four areas to analyse works buy and it can offer readers of the matrix another way of exploring artworks, I would like to think the two could be utilised together to enable a faster understanding and greater depth of analysis could happen.
1. The Formal Framework - Visual analysis - Technique - Style - Symbolism and metaphor.
2. The Personal Framework - Reflects the artists life - Links to other aspects which may relate to the artists life.
3. The Cultural Framework - The influences of time and place - Connections to contexts and cultural purposes.
4. The Contemporary Framework - Exploring contemporary issues.
If you were to follow these frameworks for analysing artworks I guess it would be possible to negate various aspects of hobby and simple decorative work and find yourself wanting more from an art piece when you realise there is more to be had than just the formal framework. A viewer could do well to use these four points in discussing works with artists and soon be able to asses the merit or otherwise of the artist and their works.
What do you want from art?
As a Student, or Artist, whichever position you are in, stop and have a think for a bit. What do you want from Visual Art.. and perhaps why do you want it.
Lets explore a little. Oh and feel free to give me feedback via the comments as I think this is a hot topic to think about.
Student
Learn about various materials and processes
Develop an understanding/appreciation of creative processes
Develop a body of work
Learn about the theory and history of Visual Art
Explore the cultural and or other implications of Visual Art
To explore and or respond to your subject matter
To develop concepts, issues and notions about your art in a contemporary context (self - wider community - global)
Other?
Artist
To explore and or respond to your subject matter
To develop concepts, issues and notions about your art in a contemporary context (self - wider community - global)
To perhaps make $$ from the sale of your works
To experience the responses your audience has about your works
As a device to build your status…
Other?
Note at the Artist’s level the wants can be different to the student’s but there is a solid overlap.
Would working on these points assist or hinder the people involved? or would it provide a springboard for further discussion, development etc…
All work shown here are from 2010 onwards (so far more than 500),
as all work prior to that are either lost (because of my residence in a number of countries), or en masse in some private collections. See the link at South African Artists, for work from 2010.
The price of my work on other sites can be seen to be up to $3,000,000 etc, but this site seems to allow as maximum price only $30,000.
Well, I hope that some aspects of my aesthet(ical)? I never know which of the 2 are the appropriate adjective? As aesthetic/al are always confused by most people) vision and ideals (truths that are eternal, lasting, universal and permanent - and are expressed in insights in all cultural practices, be they sciences, music, humanities, arts, spirituality, etc) do come across to the 'viewer' of, or rather participants and co-creators, of my work -
and develop the potential of every individual to be:
fully in the present her and now -
as the one universal Real Self (of Vedanta),
or the enlightened cosmic Buddha mind,
or the Love of the Beloved of the Sufis,
or the Holy Spirit of "Hashem', etc etc...
And that you yourself realize the inner peace and balance that I was granted.
Thanks for using your time, when you could have done many other things, but, perhaps my work enable you to interact with 'the eternal', or the ground and source of all, as it is, hopefully, allowed to be manifested and channeled in some of my work.
...it goes you well, as you live creatively at every arising moment and be the pure, unrestricted awareness and One consciousness or the One, Universal Real Self, that all creatures, each in its own way, have the potential to be.....
The words on his tombstone, Klee's credo, placed there by his son Felix, say, "I cannot be grasped in the here and now, For my dwelling place is as much among the dead, As the yet unborn, Slightly closer to the heart of creation than usual, But still not close enough."
“ Art does not reproduce the visible; rather, it makes visible. ”
—Paul Klee.
Someone asked me Why I paint? To me it is necessary like breathing, blood flowing through my veins, my heart pumping, eating and sleeping -
a quote why I paint - Gerhard Richter is considered to be the 'best' artist at present - money wise sells 67 million pounds a year - said in one of his books:
“One has to believe in what one is doing, one has to commit oneself inwardly, in order to do painting. Once obsessed, one ultimately carries it to the point of believing that one might change human beings through painting. But if one lacks this passionate commitment, there is nothing left to do. Then it is best to leave it alone. For basically painting is idiocy.” (From Richter, 'Notes 1973', in The Daily Practice of Painting, p. 78.)
I agree with the - one must believe in what one is doing - an inward commitment-
and I have this commitment a 100% as it replaces the 2 other ways of BE-ing that are essential to me - why and now I live and am-
one is obsessed with it - not the right word, but shows the intensity of the commitment -
the passionate commitment
otherwise painting is ridiculous, nonsense, irrelevant and cannot fee one starving child (although a couple of now million dollar sellers in the 1920's in Paris exchanged their paintings for a loaf of bread -
Richter talks about painting - the dying out or long dead genre - thus a few of us keep it going
rather than doing installations and other fashionable genres
Read Less
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$30,000
$59
$30,000
$43
$30,000
$59
$30,000
$59
$30,000
$59
$30,000
$43
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- Ulrich de Balbian commented on SAATCHI ONLINE's Collection
- January 20, 2012 at 1:29 am
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- January 20, 2012 at 1:25 am
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- Ulrich de Balbian uploaded a new piece of art
- January 20, 2012 at 1:09 am
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- Ulrich de Balbian added art to work from 2011
- January 17, 2012 at 6:50 am
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Former academic :philosophy, world religions, (especially the mystical aspect of the religions, not the institutionalized socio-cultural business side) -
Van Gogh's brushstokes in his paintings, made the invisible , visible,..
As Wittgensein 9 during his rational stage said) - show the invisible, don't talk about it, Einstein arrived at the same insight.
I reflected and wrote about this (15 books) a lot - and said something that expresses my own experience/insights - here at my site , see it, but only if you really wish to (https://sites.google.com/site/artgalleryulrich/home/what-and-why-i-am-painting short link:
http://goo.gl/fDYTs )
thanks,
ulrich de balbian