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Painting is silent poetry, and poetry is painting that speaks. Simonides

Rimgaudas Zebenka

Rimgaudas Žebenka

1962 born in Baisogala, Lithuania
1973-1978 M.K.Čiurlionis secondary school of Art
1980-1981 scene-painter, Vilnius Academic Drama Theatre
1982-1983 scene-painter, Lithuanian State Theatre
1983-1988 Vilnius Art Academy, department of Monumental Painting
From 1988 till now professor of academic drawing at Vilnius Art Academy
The member of Lithuanian Artists Association


1990 The Elisabeth Greenshields Foundation (Canada) awared him a Grant

Robert Bluj

1970 was born in Vilnius, Lithuania.
1992-1997 studies at Warsaw Art Academy.
1997 - Master of Art degree.
2002 - Member of Lithaunia's Artists Union
2006 - Art Maker Status

Human beeing is the essential and endless inspiration; the interior world, sensitiveness of subconsciousness. Symbolic and methaphysical relationship of forms and colorations, their deepness reveals most subtle and mysterious feelings and impressions.

Alphonse Mucha

Alfons Maria Mucha 24 July 1860 – 14 July 1939), known in English as Alphonse Mucha, was a Czech Art Nouveau painter and decorative artist, best known for his distinct style and his images of women. He produced many paintings, illustrations, advertisements, postcards, and designs.

Alphonse Maria Mucha was born in the town of Ivančice, Moravia (today's region of the Czech Republic). Although his singing abilities allowed him to continue his education through high school in the Moravian capital of Brünn (today Brno), drawing had been his first love since childhood. He worked at decorative painting jobs in Moravia, mostly painting theatrical scenery. In 1879, he moved to Vienna to work for a leading Viennese theatrical design company, while informally furthering his artistic education. When a fire destroyed his employer's business in 1881 he returned to Moravia, to do freelance decorative and portrait painting. Count Karl Khuen of Mikulov hired Mucha to decorate Hrušovany Emmahof Castle with murals, and was impressed enough that he agreed to sponsor Mucha's formal training at the Munich Academy of Fine Arts.

Mucha moved to Paris in 1887, and continued his studies at Académie Julian and Académie Colarossi. In addition to his studies, he worked at producing magazine and advertising illustrations. Around Christmas 1894, Mucha happened to drop into a print shop where there was a sudden and unexpected need for a new advertising poster for a play starring Sarah Bernhardt, the most famous actress in Paris, at the Théâtre de la Renaissance on the Boulevard Saint-Martin. Mucha volunteered to produce a lithographed poster within two weeks, and on 1 January 1895, the advertisement for the play Gismonda by Victorien Sardou appeared on the streets of the city. It was an overnight sensation and announced the new artistic style and its creator to the citizens of Paris.[4] Bernhardt was so satisfied with the success of this first poster that she entered into a 6 year contract with Mucha.

Mucha produced a flurry of paintings, posters, advertisements, and book illustrations, as well as designs for jewelry, carpets, wallpaper, and theatre sets in what was initially called the Mucha Style but became known as Art Nouveau (French for 'new art'). Mucha's works frequently featured beautiful, strong young women in flowing vaguely Neoclassical looking robes, often surrounded by lush flowers which sometimes formed halos behind women's heads. In contrast with contemporary poster makers he used pale pastel colors. The 1900 Universal Exhibition in Paris spread the "Mucha style" internationally, of which Mucha said "I think [the Exposition Universelle] made some contribution toward bringing aesthetic values into arts and crafts." He decorated the Bosnia and Herzegovina Pavilion and collaborated in the Austrian Pavilion. His Art Nouveau style was often imitated. The Art Nouveau style however, was one that Mucha attempted to distance himself from throughout his life; he always insisted that rather than adhering to any fashionable stylistic form, his paintings came purely from within and Czech art. He declared that art existed only to communicate a spiritual message, and nothing more; hence his frustration at the fame he gained through commercial art, when he most wanted to concentrate on more lofty projects that would ennoble art and his birthplace.
Mucha married Maruška (Marie/Maria) Chytilová on 10 June 1906, in Prague. The couple visited the U.S. from 1906 to 1910, during which time their daughter, Jaroslava, was born in New York City. They also had a son, Jiří, (born 12 March 1915 in Prague; died 5 April 1991 in Prague) who later became a well known journalist, writer, screenwriter, author of autobiographical novels and studies of the works of his father. In the U.S. Alphonse expected to earn money to fund his nationalistic projects to demonstrate to Czechs that he had not "sold out". He was supported by millionaire Charles R. Crane, who used his fortune to help promote revolutions and, after meeting Thomas Masaryk, Slavic nationalism. Alphonse and his family returned to the Czech lands and settled in Prague, where he decorated the Theater of Fine Arts, contributed his time and talent to create the murals in the Mayor's Office at the Municipal House, and other landmarks around the city. When Czechoslovakia won its independence after World War I, Mucha designed the new postage stamps, banknotes, and other government documents for the new state.

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Raoul Middleman

The "Baltimore Babes" paintings are vibrant encounters in paint of an idiosyncratic variety of Baltimore women. Middleman paints both the "babe" and the soul beneath the surface. These women may be somewhat clothed but their souls are laid bare.

Irrepressibly enthusiastic about his art, Middleman is steeped in the roots of the imagery of Western painting. His tumultuous canvases with their splashing brushstrokes, of landscapes, seascapes, portraits, still life’s or narratives, each conveys his sense of joy and pleasure in its creation.

Middleman explores the whole range of the painter’s art. His portraits -- perverse and confrontational -- take as their subjects his family, friends, neighbors, street people, pulling truths from these faces his subjects may not have known were there. His landscapes are like cantatas composed of painterly fugues of light and shadow, line and color. He’s painted the French and Italian countryside, the Cape Cod seacoast, the farmlands of Maryland and Pennsylvania, and the landscape of Utah, among many other locations.

Tramping around the Baltimore harbor area for most of his adult life, he finds beauty in rotting wharves, abandoned factories, rusted oil tanks. The thread that holds this explosion of productivity together is the joy he encounters in his work.

His landscapes are inherently unstructured. They are given a meaning by their treatment: what is selected as a motif, the sense of near and far, the path the eye takes through space, how the light falls, how the air envelops, how the frame is filled. First and foremost is how the brushstroke picks out the contrasts, opacities, and transparencies, what shines and what is shaded.

Middleman’s work is in the collections of the Baltimore Museum of Art, the Corcoran Gallery of Art in Washington DC, the Metropolitan Museum of Art in New York, and the National Gallery of Art in Washington DC, among many others.

Born in Baltimore, MD 1935


* 1957-61 - Pennsylvania Academy of Fine Arts
* 1961 - Brooklyn Museum Art School
* 1960 - Skowhegan Summer School
* 1955 - Johns Hopkins University, Bachelor of Fine Arts

Selected Solo Exhibitions:

* 2011 - Baltimore Babes, Kouros Gallery, New York, NY

* 2010 - Narrative Paintings, Howard Community College, Columbia, MD

* 2010- Scraps of Self, Prince George's Community College, Prince George's County, MD

* 2009 - Utah Watercolors, Kouros Gallery, New York

* 2007 - Umbrian Summer, Kouros Gallery, New York

* 2007 - C. Grimaldis Gallery, Baltimore
* 2007 - The Painting Center, New York
* 2005 - C. Grimaldis Gallery, Baltimore
* 2004-05 - Rodger Lapelle Galleries, Philadelphia
* 2004 - Kouros Gallery, New York
* 2003 - C. Grimaldis Gallery, Baltimore
* 2002 - Maryland Art Place, Baltimore
* 2001 - C. Grimaldis Gallery, Baltimore
* 2001 - Bavarian Paintings, Murnau, Germany
* 2001 - Rodger LaPelle Galleries, Philadelphia
* 2000 - MB Modern Gallery, New York
* 1999 - Troika Gallery, Easton, Md
* 1999 - C. Grimaldis Gallery, Baltimore
* 1999 - Rodger LaPelle Galleries, Philadelphia
* 1999 - University of Maryland, College Park, Md
* 1998 - Ice Gallery, New York
* 1997 - Ice Gallery, New York
* 1996 - Ice Gallery, New York
* 1968-96 - Represented by Allan Stone Gallery, New York

Selected Collections:

* American Broadcasting Company
* Baltimore Museum of Art
* Corcoran Gallery of Art
* Frye Museum of Art
* Hamline University
* Johns Hopkins Hospital
* Metropolitan Museum of Art
* National Academy of Design
* National Gallery of Art
* New York Public Library
* Syracuse University
* Towson University
* University of Maryland


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