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Post by sleepboy on Dec 15, 2014 9:40:41 GMT -8
Did you buy this piece treweman? I like your interpretation and I too enjoy his earlier works more...
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Post by treweman on Dec 15, 2014 11:23:23 GMT -8
Did you buy this piece treweman? I like your interpretation and I too enjoy his earlier works more... Yes, I did buy it. Just couldn't resist, although I have to say that the piece you first posted in this thread - the one with the cut trees and axes - is probably the one that I most enjoy of those that I've seen. As for the newer works, there is no denying the skill, but for me, the focus has shifted to colors and shapes and away from deeper meanings and twisted themes.
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Post by sleepboy on Dec 16, 2014 18:49:09 GMT -8
Did you buy this piece treweman? I like your interpretation and I too enjoy his earlier works more... Yes, I did buy it. Just couldn't resist, although I have to say that the piece you first posted in this thread - the one with the cut trees and axes - is probably the one that I most enjoy of those that I've seen. As for the newer works, there is no denying the skill, but for me, the focus has shifted to colors and shapes and away from deeper meanings and twisted themes. Congrats!
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Post by berlin20 on Dec 22, 2014 2:01:38 GMT -8
Michael Page is an artist I've followed for some time now. And I must admit that I much prefer his art from 2008-2009 more than his current pieces. I have to admire his broad range of skills, and his wildly colorful and emotive paintings that are so popular worldwide are amazing. But I long for the darker, more twisted pieces that were arguably less popular 5-6 years ago. Along these lines, I have wanted to add one of his older works to my collection for some time now, but they are hard to find, and works by other artists seemed to always have a higher priority on my wish list. But I just couldn't watch the painting owned by member untilshewokeme go another day in the for sale thread without taking action. Titled Wretched Meetings, I'm attaching the original photo from the 2009 show at Copronason Gallery, which is much clearer than that posted by untilshewokeme. I see so many things in this image. The background, which was highlighted in a blog written by Nathan Spoor (who curated the show), is reminiscent of the Hudson Valley School of painters and is wonderful. The image itself seems to suggest (at least to me) that the sins of man (note the hand on breast and bottles in the water) are not to be tolerated by nature wild. As usual, the use of light and dark is a strength, as is a simple, bold use of brush strokes. It has been commented that it is difficult to tell which of Michael's paintings are acrylic and which are oil - this one is oil on wood - which is a testament to his ability to make oil "pop" and bring out the stark contrast between colors, even in paintings that are in generl "dark" in both color and content. And the expression on the faces of the man and woman are priceless. I was considering for months to add this piece to my collection, as I also like it very much, but my wife wasn't very keen on this. Congrats Treveman.
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