Eric Fischl is an internationally acclaimed American painter and sculptor. His artwork is represented in many distinguished museums throughout the world and has been featured in over one thousand publications. His extraordinary achievements throughout his career have made him one of the most influential figurative painters of the late 20th and early 21st centuries.

Fischl was born in 1948 in New York City and grew up in the suburbs of Long Island. He began his art education in Phoenix, Arizona where his parents had moved in 1967. He attended Phoenix College and earned his B.F.A. from the California Institute for the Arts in 1972. He then spent some time in Chicago, where he worked as a guard at the Museum of Contemporary Art. In 1974, he moved to Halifax, Nova Scotia, to teach painting at the Nova Scotia College of Art and Design. Fischl had his first solo show, curated by Bruce W. Ferguson, at Dalhousie Art Gallery in Nova Scotia in 1975 before relocating to New York City in 1978.

Fischl's suburban upbringing provided him with a backdrop of alcoholism and a country club culture obsessed with image over content. His early work thus became focused on the rift between what was experienced and what could not be said. His first New York City solo show was at Edward Thorp Gallery in 1979, during a time when suburbia was not considered a legitimate genre for art. He first received critical attention for depicting the dark, disturbing undercurrents of mainstream American life.

Fischl's paintings, sculptures, drawings and prints have been the subject of numerous solo and major group exhibitions and his work is represented in many museums, as well as prestigious private and corporate collections, including The Metropolitan Museum of Art, The Whitney Museum of American Art, The Museum of Modem Art in New York City, The Museum of Contemporary Art in Los Angeles, St. Louis Art Museum, Louisiana Museum of Art in Denmark, MusÈe Beaubourg in Paris, The Paine Weber Collection, and many others. Fischl has collaborated with other artists and authors, including E.L. Doctorow, Allen Ginsberg, Jamaica Kincaid, Jerry Saltz and Frederic Tuten.

Eric Fischl is also the founder, President and lead curator for America: Now and Here. This multi-disciplinary exhibition of 150 of some of Americaís most celebrated visual artists, musicians, poets, playwrights, and filmmakers is designed to spark a national conversation about American identity through the arts. The project launched on May 5th, 2011 in Kansas City before traveling to Detroit and Chicago. 

Eric Fischl is a Fellow at both the American Academy of Arts and Letters and the American Academy of Arts and Science. He lives and works in Sag Harbor, NY with his wife, the painter April Gornik.

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He first received critical attention for depicting the dark, disturbing undercurrents of mainstream American life.

ERIC FISCHL'S SUBURBAN UPBRINGING WITH A BACKDROP OF ALCOHOLISM AND A COUNTRY CLUB CULTURE

I’ve always been fascinated by the eye that turns to face us; be it in a photograph, a snapshot, or one of those wonderful Elizabethan or Dutch portraits. For me, these kinds of images tend to come laden with a kind of strange ambiguity.

At one level they appear to be a simple record of a moment, a little piece of truth if you like, a record of the physical presence of someone who once existed. And yet we know next to nothing of the mind that lay behind that gaze, a mind full of desires, wants and needs as well as knowledge, consequently, what we’re left with is a blank space waiting for us to fill in the gaps.

In many, if not most of my paintings, we find people of all kinds turning to regard us the viewer. They’ve stopped whatever they were doing and appear to be looking out at us the people who live somewhere in their future as we in turn examine them.

Paintings, by its very nature, can only present us with a frozen moment in time. It’s a little like having just one page, or even a sentence from a book. We know nothing about these people before or after that page, so it’s down to us to try and create a character with a rich life history going on behind that mask. I’m not saying its easy, after all, the only tools we have are a gaze caught in a slices of time and our own, boundless imaginations.

Having been raised in Southern Ireland, the world I grew up in was dominated by two very powerful Stories. The primary one was Catholic, with its cast of angels, virgins, and a passive God who was put to death for our sins. The price we paid for believing in such stories was to repress most of our natural instincts, sexuality being high amongst them. In return for this sacrifice, we were offered the promise of a peculiar kind of after life, which seemed to consist of sitting about on clouds playing harps.

The Pagan side of the coin consisted of late night tales told around the fire, shape shifters and talking birds and animals, stories of nature goddesses and dying kings, not to mention the various little people who might be friend or foe as the mood took them. Unbeknownst to me, this palpable tension between the Christian and Pagan  versions of the hidden world was busy laying the foundation for the kind of work I found myself producing in later years.

Little wonder then that my work is full of contradictory images. But then I’ve always felt that Myth is not a static thing consigned to the imaginations of ancient people, but rather a pliable set of emotional and physical; albeit often illogical responses, to the way the human psyche continues to interpret the world around it. Today, modernity is threatening Christian and Pagan ideas alike, nevertheless, I still find the tension that exists between them an Iconic feast that  I can’t help returning to.

The paintings present a frozen moment in time. Many of the people turn and look out at us, we who exist somewhere in their far future. What were they doing before we turned our gaze upon them, and what will happen when we turn away? There are no explanations; all we have are a few slices of time and our own endless imaginations.

"I’ve always felt that Myth is not a static thing consigned to the imaginations of ancient people, but rather a pliable set of emotional and physical; albeit often illogical responses, to the way the human psyche continues to interpret the world around it."

DAVID SHANAHAN'S PAINTINGS PRESENT A FROZEN MOMENT IN TIME

Born and educated in Tashkent, Uzbekistan, Yuriy Ibragimov now lives and works in New York. Classically trained, he combines his traditional skills with exciting new mediums to create contemporary and vivid works. Yuiriy’s paintings are held in the State Museum of Arts, Uzbekistan and in private collections worldwide.

“The more an artist realises the surrounding regularity, the further he or she freely notices their artistic views. With this said, I also approach with ambiguity and opposite visions by not refusing realistic structures. By showing emphasized feeling with a bit of gentleness allows me to pronounce the vivid dynamics of life with the intentions of introducing specific reality and multicolor in my work. But when glancing at some of the works, chances are some first impressions might emit a sense of disorder or chaos but when carefully examining the content one can soon realize that there is distinct existence being portrayed”.

“The more an artist realises the surrounding regularity, the further he or she freely notices their artistic views. With this said, I also approach with ambiguity and opposite visions by not refusing realistic structures."

YURIY IBRAGIMOV'S AMBIGUITY AND OPPOSITE VISIONS

As for my creative and subtle aspects of it, then of course it is difficult to express this in two words. In the kitchen of any artist there are many receptions and finely tuned (individually) instruments that make his creativity special, different from the other, plus the experience and the vital and creative that comes with time. For me, creative work begins with an impulse located more in the plane of research, and not creative as such. That is, creativity for me is more the exploration of the World, the study of its subtle aspects and forms. And the object of these studies is life, its energy and variability. I'm interested. This interest comes from within, he can be said to be physiological even as a natural need. If we talk about the specific "objects" of these studies, then in my creative work the dominant position is taken by female nature. I want to reveal some aspects, the plane of the female nature and in the color space, in the space of form, plastics. It can be graphics, painting, sculpture, anything that can express sexuality, eroticism and inner appeal to the content of the form. Gustav Klimt said that if your picture is not erotic and not sexy, then it is not interesting to anyone. Nobody denies that nude looks attractive. This topic is multifaceted. It can be opened in its own way. For me, this is a kind of source, from which there is a portrait, and a landscape, sometimes a nude nature somehow intertwines in this landscape. This is the theme of man's exposure to nature. Once nature is exposed to man, why should man be dressed in some kind of construction, both mental and material? In this connection, I am also interested in the theme of the harmony of the human being, as a species, as mind, consciousness and cosmos in a broad sense. It is more intimate and numinous connections and experiences of human consciousness in the psyche and the unconscious, hence the mythological subjects of my paintings are taken. Now in my works there is already an influence from abstraction and simplification of realistic forms, which in my opinion is better and more universal showing archithepic images, but having linear graphic graphics, where there can be a simple color filling and a simple line symbolizing simple dynamics of forms. I regard secondary themes as still life, portrait, landscape and others as preparatory (applied) material for large figurative compositions. In any case, I'm working on it now. But in any case, this is just my view and one of many evolutionary steps in my creative and personal development at the moment. I love creativity, it liberates and creates an opportunity for self-exploration and in-depth study of what is happening around.

"Perfectly control bubbling to the surface, the power of colors and images, creating a holistic and indivisible world of painting, - there is a genuine skill, which is constantly slightly ' reach in their confidence and samples."

IGOR SHCHERBAKOV: NOBODY DENIES THAT NUDE LOOKS ATTRACTIVE

Dreams inspire most of Irina Oshley's creative work. The artist is convinced that dreams bring a message that can be important to someone. Thus, Oshley's challenge is to represent exactly the atmosphere of the dream, its characters and significant details. While studying in Venice Art Academy, Irina Oshley started to develop her own technique combining the free line drawing with painting. Now, her objective is to develop and to improve it.

Art Academy of Latvia, department of painting (MA);Accademia di Belle Arti di Venezia, Venice, Italy.

Idea, libretto and scenography for dance performance "An Event in Klerkopolis” (2013).My painting "The Ball" is added to the Mark Rothko Art Center collection ( 2016).

Paintings joined private collections in Austria, France and Morocco.

 Oshley's challenge is to represent exactly the atmosphere of the dream, its characters and significant details.

IRINA OSHLEY: COMBINING THE FREE LINE DRAWING WITH PAINTING

Alessio Radice’s paintings capture the essence of their subjects in the turbulence of colors with minimal strokes, which are strategically placed to bring the spectator where the artist wants them to be. His oil paintings are precise without any doubt. One remembers each painting indefinitely. It is probably this complicity with the spectator that carves a place in our memory. He borrows from the viewer’s own experience to fill-in the blanks and keeps the door open where necessary.

A myriad of expressions come out of his work: oblivion, envy, determination, questioning, revolt, brutality, pain and lust. Art critic Brian Sherwin commented on paintings created by artist Alessio Radice, stating, “The art of Alessio Radice exposes psychological wounds. In Alessio’s work, we see a range of raw emotions come into visual play – some of these portraits convey a sense of defeated innocence… while others appear to be strikingly sinister.” Sherwin added, “Alessio teases us with a psychological feast – an open-narrative that permits viewers to explore their own identity while looking upon his emotionally raw portraits."

Alessio teases us with a psychological feast – an open-narrative that permits viewers to explore their own identity while looking upon his emotionally raw portraits.

ALESSIO RADICE'S ART EXPOSES PSYCHOLOGICAL WOUNDS

Dean Cornwell (March 5, 1892 – December 4, 1960) was an American illustrator and muralist. His oil paintings were frequently featured in popular magazines and books as literary illustrations, advertisements, and posters promoting the war effort. Throughout the first half of the 20th century he was a dominant presence in American illustration. At the peak of his popularity he was nicknamed the "Dean of Illustrators".

Cornwell was born in Louisville, Kentucky. His father, Charles L. Cornwell, was a civil engineer whose drawings of industrial subjects fascinated Cornwell as a child. He began his professional career as a cartoonist for the Louisville Herald. Soon thereafter he moved to Chicago, where he studied at the Art Institute and worked for the Chicago Tribune. In 1915 he moved to New Rochelle, New York, a well known artist colony, and studied in New York City under Harvey Dunn at the Art Students League of New York. Eventually he traveled to London to study mural painting as an apprentice to Frank Brangwyn.

Cornwell's paintings were in Cosmopolitan, Harper's Bazaar, Redbook, and Good Housekeeping magazines, illustrating the work of authors including Pearl S. Buck, Lloyd Douglas, Edna Ferber, Ernest Hemingway, W. Somerset Maugham, and Owen Wister. He painted murals for the Los Angeles Public Library, the Lincoln Memorial Shrine in Redlands, California, the Eastern Airlines Building (now 10 Rockefeller Plaza), executed Federal Art Project murals in two post offices, Chapel Hill, North Carolina and Morganton, North Carolina, with other murals in the Warwick New York Hotel in New York City, the New England Telephone headquarters building in Boston, the Davidson County Courthouse and Sevier State Office Building in Tennessee, and the Centre William Rappard in Geneva, Switzerland. His mural for the Los Angeles Public Library was a rendering of the history of California. Cornwell's Feb 1953 cover of a riverboat for True Magazine was later made into a US Postage stamp as part of the USPS's 2001 American Illustrators series.

Cornwell taught and lectured at the Art Students League in New York. He served as president of the Society of Illustrators from 1922 to 1926, and was elected to its Hall of Fame in 1959. In 1934, he was elected into the National Academy of Design as an Associate Academician, and became a full Academician in 1940. He served as President of the National Society of Mural Painters from 1953 to 1957.

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At the peak of his popularity he was nicknamed the "Dean of Illustrators".

DEAN CORNWELL: A DOMINANT PRESENCE IN AMERICAN ILLUSTRATION

Denis Sarazhin Was Born In Nikopol, Ukraine In 1982 . He Attended The Kharkov Art And Design Academy, Graduating In 2008. He Specialized In Painting And Was A Pupil Of Ganozkiy V. L., Chaus V. N., And Vintayev V. N.. Sarazhin Was Awarded With The 1st Degree Diploma Award For Excellence In Painting From The Ukrainian Art Academy. Since 2007 He Has Been A Member Of Kharkov’s Section Of The Association Of Ukraine’s Artists’ Alliance.

"With Regard To Technical Methods, I Can Say That Everything Comes With Practice And Experimentation. I Am Constantly Looking For Better Ways And Painting Techniques That Maximize And Could Express What I Had In Mind. I Can Say That The Language Of Art That I Use, Appeared Over Time, Such Methods Were Not Taught In The Art Academy. Especially In The Art Academy, I Trained In A Good Traditional “soviet” Artistic School. Due To The Emergence Of New Trends “contemporary Art”, This School Will Be Forgotten. Which Is Really Sad."

"To Work On The Open Air, I Got Accustomed To During My Studies At The Art Academy. And Since Then, It Has Become My Habit. Working With Nature On The Open Air, Is A Very Good Way To «clean» The Colors Of The Artists Palette. For The Artist It Is Very Important To Work With Nature, Whether It Is A Human Figure Or A Still Life Or Landscape. Nature Teaches The Artist To Perceive The Shape And Color, Perspective And Rhythms. When I Work In The Open Air, Anyway There Is A Dialogue With People. For Me It Is A Lasting Impression For My Ideas In The Future Compositions. Traveling To Different Countries And Localities I Always Find Something New In People And Their Lifestyle, And In Their Stories. It Gives Me An Impulse To The Create New Works In The Workshop. What Can I Say About The Bad Sides Of Work Outdoors, This Of Course Often Struggle With The Elements: Wind, Rain, Cold, Heat And Sun, And Of Course, Flies And Mosquitoes. But This Has Its Own Charm And Romance, Besides You Feel It And Experience For Yourself. And Of Course, People Are Very Different. Sometimes I Was Meeting With Such People Of Such Character You Couldn’t See In Any Movie. Well, About The Funny Things That Have Happened In The Open Air I Could Write A Whole Adventure Book."

"I Really Like The Black And White Photography. And This Is My Dream. Especially The Photo With A Long Exposure. And It Means Frequent Traveling Along The Shores Of Seas And Islands. I Had Started Doing It, And It Carried Me Very Much, But At The Moment I Do Not Have Time For This."

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Especially In The Art Academy, I Trained In A Good Traditional “soviet” Artistic School. Due To The Emergence Of New Trends “contemporary Art”, This School Will Be Forgotten. Which Is Really Sad.

DENIS SARAZHIN'S WAYS OF NON-VERBAL COMMUNICATION

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