Wassily Kandinsky, famous for his geometric paintngs of circles and lines and triangles and squares was slow to enter the art world… At age 30, he gave up his boring teaching position to daringly enter the art school in Munich. Thankfully, he had talent.

Kandinsky’s more mature age, relative to his fellow students at art school, helped him to progress quickly. It was also during this time that he began to explore the mystical world of Madame Blavatsky and her ideas that became known as Theosophical theory. The symbolism of Theosophy played a key role in his artistic directions. Exploring the mental ideas of other realities, lead to a breaking away from seeing the world in realistic terms…

Kandinsky eventually ended up in the Blue Rose symbolist group of Moscow after traveling around Europe. The Blue Rose was an artist association in Moscow from 1906 to 1908. They emphasized color as a ‘tonal’ medium that was used to construct rhythm in a painting while ignoring shapes and contour and realism. Here we find the early beginnings of abstract art.

Kandinsky’s art style between 1911 and 1914 was characterized by the use of large forms and lines together in a busy, perhaps, chaotic manner. The paintings created, at this time, are referred to as his Blue Rider period.

After returning to Russia, Kandinsky had much to deal with in the political changes of the country. He spent his time teaching form and color analysis, and also joined the Institute of Artistic Culture in Moscow. After finding his art rejected by some key members of the Institute, Kandinsky chose to seek a new path by attending the Bauhaus of Weimar, an art and architecture school in Germany.

During these years, Kandinsky and three other artists formed The Blue Four. This group toured the United States discussing and teaching their art and theoretical views and generally shaking the foundations of traditional painting. This art group included Paul Klee, Lyonel Feininger and Alexej von Jawlensky. They eventually returned to Germany, but Kandinsky experienced problems with the Nazis and found it was safer to move to Paris, France to practice his art.

At first, Kandinsky’s more radical abstract and contemporary style found little support in Paris. The Parisian art world was gaga over Impressionism and Cubism at the time. But eventually his geometric style evolved and became more fluid which lead to new followers and some money in his pocket.

Kandinsky Repro Oil Painting Decisive Pink. 1932 US $99.99 Auction Ends: Thursday Sep-09-2010 5:13:54 PDT   | Watch this Item

Wassily Kandinsky Repro Landscape with Red Spots No. 2 US $99.99 Auction Ends: Thursday Sep-09-2010 6:10:11 PDT   | Watch this Item

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Kandinsky Repro Squares with Concentric Circles 1913 US $9.99 (0 Bid) Auction Ends: Thursday Sep-09-2010 8:22:07 PDT   | Watch this Item

Kandinsky Repro Oil Painting Art Black Lines 1913 US $9.99 (0 Bid) Auction Ends: Thursday Sep-09-2010 8:50:09 PDT   | Watch this Item

Is the high price of lapidary equipment keeping you from enjoying the experience of bringing out the beauty hidden inside a somewhat ordinary looking rock? This article will explore two great solutions to this dilemma. Specifically, we will be talking about either joining a local lapidary club or recognizing the huge savings that you can get by purchasing your own used lapidary equipment.

Joining a lapidary club has many benefits and a few downsides. By joining a lapidary club, depending on the quality of the club, you can have access to some high end lapidary equipment. You typically will not be personally responsible for maintaining the equipment and your only out of pocket expense will likely be your membership and shop fees. You also get to enjoy the social interaction and support you receive from the other members of the club.

On the downside, clubs do not always provide 24/7 access to the machines. You will likely have a set time when the machines can be used, and you will be competing with fellow club members for the time that is available.

To avoid some of the pitfalls of joining a lapidary club, many are turning to the solution of purchasing their own used lapidary equipment.

Owning your own used lapidary equipment will give you the freedom to work on your own schedule. If you wake up in the middle of the night and want to practice your craft, you will not have any competition for using the equipment.

You also benefit from not having to haul all the material youre working on to a remote location to practice your craft. By owning used lapidary equipment you have the luxury of setting up your own work environment. You can organize your material and your work flow so that it works best for you.

If you’re the kind of lapidary artist who would prefer to practice and create your art without the input from well meaning onlookers, then owning your own used lapidary equipment is a must. You get to enjoy the privacy afforded to you by your own home.

So, if youre loving the craft of lapidary, but do not have deep pockets for purchasing new equipment, you have two good options available to you. Each offers its own benefits.

If you are okay with the timing issue that lapidary club membership poses, then you should certainly give it a try, you will probably find it very enjoyable. If, on the other hand, having the freedom to work whenever you like from the comfort of your own home is more appealing to you, owning used lapidary equipment may just be the answer you’re looking for.

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When would you draw on glazing? Well, sometimes personally, I have found that I am not satisfied with the look of a painting as sections of it look relatively lackluster, with the colors not piercing through. Therefore I resort to glazing to increase my expressionism.

Where did the problem originate from. I probably got carried away with the turpentine used as a medium which, in my eyes, ruined it. We all recognize this emotion,… OKf course, it is far more possible it was really a dreadful day for me all round. Therefore my efforts entirely went wide of the mark.

Many artists would consider this a crucial part of their work – therole that glazing plays.

We have all experienced glass and the way the sun filters through it. Well, this is what the effects of glazing are like. It can produce a chilled look or result in additional warmth. So as soon as your original coating of paint is dried out, add a new light coating of color on top. This is valuable tip when doing landscape paintings.

Nobody should have to cope with the troubles of the paint shades all running together. I cannot highlight enough the significance of letting your handiwork dry out first, then you can add those transparent colors on top.

If you want to harmonize your work, bring more depth to it, glazing is great. Applied correctly, it is splendid for making a sense of open space and distance. Glazoing can add a wholoe new dimension to your completed work.

Glazing is not always easy. It takes plenty of practice with your colors to reach a satisfactory result. You just have to keep trying to reach your goal as you become a better artist

What if you try putting a very deep purple on top of a pale yellow – this will give you an idea of the strength of color that can actually be obtained. Experimenting until you are pleased with the completed result is what we need to do…

There are certain rules to remember when you glaze. An absolute must is to not mix any white paint together with the color you want to glaze with. BEmploy oil along with the color and stroke it on lightly.

If you are looking for strong, vivid special effects, get out your palette. Experiment with putting, for instance, a very hot red on a a good deal weaker hue and observe what results. After that, you may well round it off together with a coat of gel, if that is your preference.

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