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Signing and dating paintings

signing and dating paintings-34

For centuries (millennia, even) artists have signed their art.

signing and dating paintings-14signing and dating paintings-83

Both O' Keeffe and Harris simplified and stylized the shapes of the forms they saw in nature.Another reason to sign your artwork is to claim ownership of it, and to prove that YOU, not anyone else, created it.Art forgers not only need to re-create the work of art they’re forging, but to perfectly replicate the signature of the artist.He was talented, passionate, and generous in supporting and promoting other artists.He founded the Group of Seven in 1920, which dissolved in 1933 and became the Canadian Group of Painters.Harris also lived in Santa Fe, New Mexico, home to O' Keeffe, for a time, where he worked with Dr.

Emil Bisttram, leader of the Transcendental Painting Group, which Harris also helped found in 1939.(3)Both Harris and O' Keefe were also interested in eastern philosophy, spiritual mysticism and theosophy, a form of philosophical or religious thought based on mystical insight into the nature of God.

In it, she points out that Harris knew about O' Keeffe through two art patrons, and also that Harris's sketchbook shows that he did drawings of at least six of O' Keeffe's paintings.

Also it is quite likely that their paths crossed several times as Georgia O' Keeffe became very well-known and widely exhibited once Alfred Stieglitz (1864-1946), photographer and owner of Gallery 291, began to promote her work.

The artist takes that response and its feelings and shapes it on canvas with paint so that when finished it contains the experience.

His work has been recently introduced to the American public by guest curator Steve Martin, the well-known actor, writer, comedian, and musician, along with the Hammer Museum in Los Angeles, and the Ontario Museum, in an exhibit titled .

For Harris it was the mountains and landscape of the Canadian north, for O' Keeffe it was the mountains and landscape of New Mexico; both paint the mountains frontally, parallel to the picture plane; both paint landscapes devoid of human presence, creating a plain and austere effect; both paint flat colors with hard edges; both paint their forms such as trees, rocks, and mountains in a very sculptural way with strong modeling; both use scale to suggest monumentality.