ARTLO MAGAZINE

EXHIBITIONS BOOKS ARTISTS WORTH KNOWING CURIOSITIES
EXPLORING THE GREATS:
HILMA AF KLINT
T h e T r a n s f o r m a t i v e P o w e r o f A r t a s T h e r a p y
R a m s a y A l l a n - S t e p i n t o m y U t o p i a n D r e a m ( O i l o n c a n v a s )

CENTRE
POMPIDOU
Suzanne Valadon, "La Chambre bleue", 1923
Domaine public. © Centre Pompidou, Mnam-Cci/Jacqueline Hyde/Dist. GrandPalaisRmn
Suzanne Valadon
15 January – 26 May 2025
CENTRE POMPIDOU - PARIS
Some 200 works, including drawings and paintings—the artist's preferred mediums—are presented across five thematic sections
to trace the unique career path of Suzanne Valadon (1865-1938), from her early days as a sought-after model in Montmartre to
her swift recognition as an artist by her peers and critics. Bold and overtly modern, standing apart from the dominant movements
of her time, Valadon chose to paint reality and depict bodies without artifice or voyeurism. She was the first woman to paint a
large-scale frontal male nude.

ART LOVING
magazine
ART LOVING
magazine
Edition
Issue 3, February/March 2025
Founder & Editor-in-chief:
Jessie S. Martin
Curator:
Susan Wilson
Art Advisor:
Matteo D´Angelo
Social media manager & web:
Marie Dubois
Website and app development:
Robert Miller
Contributors:
Françoise Manesse
George Smith
Ana Fernández
Tito Pérez
Martina Marcus
Maite Rodríguez
Linda Harrington
Emile Dupont
Borja Alvarez
Cover image:
Ramsay Allan - Step into my
Utopian Dream (Oil on canvas)
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Dear readers...
Welcome back to another exciting issue of
Art Loving!
We’re excited to bring you another
inspiring edition of Art Loving Magazine,
where we continue our journey through
the ever-evolving world of creativity,
innovation, and artistic expression.
This issue explores the transformative power of art as therapy,
showcasing how art can be a powerful medium for healing and emotional
growth. Through personal stories and expert insights, we uncover the
ways creativity can uplift and transform.
In our feature on Hilma af Klint, we delve into the work of this visionary
artist whose spiritual and abstract art continues to influence generations.
Her legacy reminds us of the enduring impact of artists ahead of their
time.
Additionally, in the second half of this issue, don’t miss our section on
Artists Worth Knowing—an exciting showcase of contemporary artists
you need to discover. These creatives are pushing boundaries and
redefining the art world with their bold visions and unique voices.
We also shine a spotlight on the Pre-Raphaelite Brotherhood, a
movement that defied artistic norms and remains a powerful source of
inspiration today. And of course, you’ll find our curated selection of books
and global exhibitions, keeping you connected to the latest in the art
world.
Thank you for joining us once again. We hope this issue inspires you to
see, experience, and create art in new ways.
Enjoy the journey,
Jessie S. Martin
Editor-in-Chief, Art Loving Magazine
www.artloving.net
3

Contents
NOVEMBER/DECEMBER 2024
14 06
22
10
03 EDITOR ´ S LETTER
04 CONTENTS
06 RECOMMENDED BOOKS
10
EXHIBITIONS AROUND THE
WORLD
14 ARTICLE:
22
THE TRANSFORMATIVE
POWER OF ART AS THERAPY
EXPLORING THE GREATS:
HILMA AF KLINT
32
ART MOVEMENT
SPOTLIGHT OF THE MONTH:
PRE-RAPHAELITE
44 CURIOSITIES
4

42
32
46
Artists Worth Knowing
Atom Hovhanesyan, Ramsay Allan, Maryam Zadeh, Natali Antonovich, Wendy Cohen, Darlene Spell,
Deborah Saks, Frankie Frieri, Yuan Xue, Rania Chamsine, Graceann Cummings, Sharon Volpe, Wendy
Goldberg, Karen Safer, Elizabeth Donathan, Gary Harper, Romi Gianna, AnnaK, Carolin Rechberg, Jamy
Kahn, Weronica Raczynska, Kazuhisa Oishi, Nancy Shuler, Aga Cela, Qiyue Zhang, Lynn S. Movish,
Michael Kahn, Gerald Francis O'Dowd (GEZ), Rich DiSilvio, Ewa Zeller, Alona Kushnirenko, Peter
Foesters, Stephanie Labal, Chrys Zumstein, Shaffon Wright, Alessandra Dieffe, Carole Wu, Mitty Zall, Joe
De Haan, Anders Jørgensen, Sandrine Jacobson, Peter Foesters, Patrick Faure, Betty Cox.
5

RECOMMENDED BOOKS
Magic Art
Author: Andre Breton
Publisher: Fulgur Press, 2025
350 pages. 95€
Breton’s late treatise on magic and art appears for
the first time in English, complete with citations,
commentaries and a bibliography
Paint by Sticker
Masterpieces: Re-create
12 Iconic Artworks One
Sticker at a Time!
What is “Magic Art”? In 1953, André Breton, founder of the Surrealist
movement, was invited by a prestigious French publisher to explore answers
to this question. His resulting analysis is wide-ranging and evocative.
Beginning with a literary review of magic and art, Breton draws upon Novalis
and Baudelaire before considering the prehistoric rock art of Spain and
France, the native art of the Pacific Northwest, the magical grimoires and
alchemical symbolism of the Middle Ages, and the work of Hieronymus
Bosch, Antoine Caron, Paolo Uccello, Gustav Moreau, Paul Gauguin and the
Surrealists. Through these and other diverse sources, Breton traces a mystery
that lies at the heart of our timeless fascination with otherness and seeks to
place Surrealism as a successor to a magical sensibility that began with art
itself.
First published in 1957 as L’Art magique, this important text is offered here
as an English translation for the first time. Working from manuscript notes for
the original project, this edition presents the iconographic content as Breton
intended, together with more than 300 new citations and a comprehensive
bibliography that emphasizes sources found in Breton’s own library.
André Breton (1896–1966) was one of the founders and most controversial
exponents of Surrealism, defining the movement in his first Surrealist
Manifesto as “pure psychic automatism.” Fleeing from Europe during World
War II, Breton traveled throughout North America staging Surrealist
exhibitions and lending his voice to several political movements.
Author: Workman publishing/54 pages/
16,99€
CHILDREN BOOK
Set up your studio, pop on a beret,
and squeeze out some metaphorical
oil paints! PAINT BY
STICKER:MASTERPIECES includes
everything you need to complete 12
of the world's greatest works of art
and have a priceless good time
doing it. And note—the card-stock
pages are perforated, so the newly
minted masterpiece can easily be
removed for framing.
Calatrava: Art
A comprehensive overview of Santiago Calatrava’s art that offers a new perspective on a worldrenowned
architect.
Author: Nick Mafi
Publisher: Hirmer
20/12/2024
Pages: 304
75€
Santiago Calatrava is primarily known for his spectacular architectural feats that span the globe. Yet he
has never limited himself to architecture alone—rather, he sees himself as an artist. Art represents for
Calatrava the purest path for conveying emotion. This comprehensive publication is completely devoted
to Calatrava’s art, revealing his unmistakable style and profound creativity.
In Calatrava’s mind, there has never been a separation between architecture and art. Both have been a
source of nourishment and a laboratory of expression, with the goal of finding a personal language. With
large reproductions and a wide selection of works, the two hundred images in this book detail an oeuvre
that has been silently growing throughout Calatrava’s life in a multitude of mediums. His artworks have
been shown in tandem with his architecture in the world’s top museums, but this book presents his
artistic work in its entirety for the first time.
6

History of Art in Japan is a fully illustrated overview of Japanese art, written by one of Japan’s most distinguished art historians. This
masterful account of the country’s exceptional cultural heritage sheds light on how Japan has nurtured distinctive aesthetics,
prominent artists, and movements that have achieved global influence and popularity.
A leading authority on Japanese art history, Tsuji Nobuo discusses works ranging from the Jōmon period to contemporary art, from
earthenware figurines in 13,000 BCE to manga, anime, and modern subcultures. He explains crucial aspects of Japan’s many artistic
mediums and styles―including paintings, ukiyo-e, ceramics, sculpture, armor, gardens, and architecture―covering thousands of years.
Drawing on newly discovered archaeological findings and the latest research, the book examines Japanese art in various contexts,
including Buddhist and religious influences, aristocratic and popular aesthetics, and interactions with the world. Generously
illustrated with hundreds of full-color images, maps, and figures, History of Art in Japan is an indispensable resource for all those
interested in this multifaceted history, illuminating countless aspects of Japanese art for scholars and general readers alike.
7

Recommended Reads: Editor's Choice
Author: Alexander M. Rigby
Publisher: DK
272 pages. 40€
8

Step inside the studio of Andres Valencia, the child prodigy who has astonished the art world with his
boldly inventive paintings.
In 2021, Andres became the youngest artist in history to showcase his work at Art Miami, where his
large-scale portrait paintings informed by Cubism quickly sold out. He has since taken the creative world
by storm, selling dozens of paintings for six-figure sums and sharing videos of his paintings-in-process
with hundreds of thousands of fans online.
Andres Valencia: Painting Without Rules tells the story of this remarkable self-taught artist and sheds light
on his creative process—what inspires him, how he executes his artwork, and what creativity means to
him as a young person. You’ll get an inside look as Andres works in his studio—mixing paint, sketching
with oil pastels, and expressing his imagination on the canvas—until the large, wildly unique faces and
bodies he’s known for come into form.
An inspiring and heartwarming look at one of the most accomplished young artists in the world, this
boldly colorful coffee table book features a gallery of over 100 of Andres’ works and can be enjoyed by
both casual creatives and serious artists of any age.
9

EXHIBITIONS
It's time to pack your bags or, if you're lucky enough to live nearby, make sure you've got your tickets ready, because here come
the most outstanding exhibitions of the moment. From Paris to New York and beyond, this section will guide you through the
finest art exhibitions around the world. Get ready for a journey filled with art, culture, and fascinating discoveries.
Tarsila do Amaral: Painting Modern Brazil
02.21.2025 - 06.01.2025 Guggenheim, Bilbao (Spain)
The Réunion des Musées Nationaux – Grand Palais and the Guggenheim Museum
Bilbao are co-organizing a major exhibition dedicated to Brazilian artist Tarsila do
Amaral (b. 1886; d. 1973),
which will first be presented at the Musée du Luxembourg, Paris in fall 2024, and
subsequently at the Guggenheim Museum Bilbao in winter 2025.
A central figure of Brazilian modernism, Tarsila do Amaral created an original,
evocative body of work, drawing on indigenous imagery and the modernizing forces
of a rapidly-transforming country.
In the 1920s, moving between São Paulo and Paris, Tarsila ferried between the
avant-gardes of these two cultural capitals. Having forged a “Brazilian” iconographic
world in Paris, put to the test by the Cubism and Primitivism so in vogue in the
French capital, her painting was the root of the Pau-Brasil and “Anthropophagic”
movements, whose search for an “authentic,” multicultural and multiracial Brazil
aimed to refound the country's relationship with the European “centers” of
colonization.
The activist dimension of Tarsila's paintings from the 1930s and their ability to accompany the profound transformations of her social and urban
environment until the 1960s confirm the strength of an oeuvre attuned to her time, always willing to reinvent itself, despite the unstable
conditions of the different times and contexts that an emancipated, independent woman artist must face.
With her invitation to delve into a Brazilian modernity that she contributed to forging even more than she painted it, Tarsila do Amaral reveals in
her production all the complexity of this concept always subject to debate, which raises identity and societal questions of great importance even
today, both in Brazil and Europe.
Parmigianino: The Vision of Saint Jerome
Parmigianino: The Vision of Saint Jerome - 1526
6
Until 9 March 2025
Room 46
The National Gallery
Trafalgar Square
London
Witness one of the most visionary artists of the Renaissance at work and rediscover his masterpiece that pushed art in a new
direction.
This exhibition explores the creation of Parmigianino’s 'The Madonna and Child with Saints', also known as ‘The Vision of Saint
Jerome’. It returns to public display for the first time in 10 years following conservation.
Born in the Northern Italian city of Parma, after which he was nicknamed, Girolamo Francesco Maria Mazzola (1503‒1540) was
a child prodigy. He drew constantly.
At age 21 he moved to Rome, where he impressed the Pope and was praised as a ‘Raphael reborn’. This altarpiece was his first
major work there. In 1527, the Sack of Rome erupted around him while he finished the painting. According to legend, looting
Imperial soldiers invading his studio were so amazed by it that they let him continue.
Parmigianino made many drawings to work out his final composition. They range from velvety chalk studies to swirling pen and
ink sketches. We reunite a variety of them with the painting for the first time.

ART LOVING magazine
Project a Black Planet:
The Art and Culture of Panafrica
Art Institute Chicago
Dec 15, 2024–Mar 30, 2025
Dunham, 2017 Simone Leigh
The Art Institute of Chicago.
Julie Mehretu: A Transcore of the
Radical Imaginatory
29 November 2024 – 27 April 2025
Museum of Contemporary Art Australia, Sydney
Pan-Africanism, first named and theorized around 1900, is
commonly regarded as an umbrella term for political movements that
have advanced the call for both individual self-determination and
global solidarity among peoples of African descent. It has yet to be
fully examined as a worldview that takes its force from art and
culture.
As the first major exhibition to survey Pan-Africanism’s cultural
manifestations, Project a Black Planet: The Art and Culture of
Panafrica gathers together some 350 objects, spanning the 1920s
to the present, made by artists on four continents: Africa, North
and South America, and Europe. Panafrica, the promised land
named in the exhibition title, is presented as a conceptual place
where arguments about decolonization, solidarity, and freedom
are advanced and negotiated with the aim of an emancipatory
future.
Rather than a stable and defined territory, the exhibition maps
Panafrica as a shifting and boundless constellation that transforms
and reassembles standard representation of the planet. In fact,
many artists featured in the exhibition have creatively redrawn the
map of Africa or the world: Yto Barrada (Paris, born 1971, lives in
Tangier), Kerry James Marshall (Birmingham, born 1955, lives in
Chicago), and Abdoulaye Ndoye (Dakar, born 1951, lives in Dakar.
Others, including David Hammons (Springfield, IL, born 1943, lives
in New York), Edith de Kyndt (Ypres, born 1960, lives in Berlin and
Brussels), Chris Ofili (Manchester, born 1968, lives in Port of Spain
and London), and Kawira Mwirichia (Nairobi, 1984–2020), have
made flags which correspond to no official nation but rather imagine
a transnational solidarity.
Julie Mehretu, Haka (and Riot), 2019, ink and acrylic on canvas, Los Angeles County Museum of Art, gift of Andy
Song, image courtesy and © Julie Mehretu, photograph: Tom Powel Imaging
Julie Mehretu (b. Addis Ababa, Ethiopia, 1970) is one of today’s
most acclaimed living painters. The New York artist’s first
exhibition in Australia reveals her commitment to painting as a
contemporary art form. It traces Mehretu’s ongoing
engagement with abstraction as a richly layered language,
informed by histories of art and mark-making across millennia,
from Chinese ink painting and Japanese manga to rock art,
literature and music.
Blurring distinctions between abstraction and figuration,
Mehretu’s paintings have a unique ability to inhabit the present
moment. To experience them in person is nothing short of a
visual and physical event. Her work speaks to the power of art
to express the dynamic and intersecting movements of history,
people and cultures that shape our understanding of the world.
The exhibition is accompanied by a major publication edited by
MCA Director Suzanne Cotter, with contributions from a range
of authors including Julie Mehretu, the exhibition curators
Suzanne Cotter and Senior Curator, Exhibitions, Jane Devery,
artist Daniel Boyd and American writer Erik Morse. The
publication is available to purchase from the MCA Store.
Guo Pei:
Fashioning
Imagination
21 Sept 2024
6 Apr 2025
Location:
Main Hall Gallery, G.
Hong Kong
Guo Pei (b. 1967), China’s leading couture artist, combines Chinese
cultural heritage with international elements and artistic expression.
Guo’s astonishing runway collections have impressed fashion and art
audiences alike for almost 30 years. Presenting the first major
exhibition of Guo’s work produced in China, M+ will showcase Guo’s
key collections and early designs, highlighting her unique career
connecting China and the rest of the world and the cultural symbols
created through her sophisticated and visually dazzling practice.
Working with the couturier and her studio, the exhibition presents a
selection of garments shown to audiences in the region for the first
time, creating a layered dialogue with the M+ Collections around visual
imagination and workmanship. The exhibition foregrounds Guo Pei's
unique artistic style that resonates with imperial Chinese dress
etiquette, European royal fashion, architecture, and the botanical
world.
11

ART LOVING
magazine
October 6, 2024 – April 6, 2025
West Building, Ground Floor — Gallery G29
National Gallery of Art
Constitution Ave. NW, Washington
See how documentary photography transformed during the 1970s.
The 1970s was a decade of uncertainty in the United States. Americans witnessed
soaring inflation, energy crises, and the Watergate scandal, as well as protests about
Bernard Réquichot
pressing issues such as the Vietnam War, women’s rights, gay liberation, and the
(1929, France - 1961, France)
environment. The country’s profound upheaval formed the backdrop for a
La Cocarde. Le Déchet des continents
revolution in documentary photography. Activism and a growing awareness and
acceptance of diversity opened the field to underrepresented voices. At the same
time, artistic experimentation fueled the reimagining of what documentary
photographs could look like.
Mikki Ferrill, Untitled, 1973, gelatin silver print, Alfred H. Moses and Fern M. Schad Fund.
12
Nan Goldin, Christmas at The Other Side, Boston, 1972, gelatin silver print.
Anthony Barboza, New York City, 1970s, gelatin silver
print, Pepita Milmore Memorial Fund
Featuring some 100 works by more than 80 artists, The ʼ70s Lens examines
how photographers reinvented documentary practice during this radical shift in
American life. Mikki Ferrill and Frank Espada used the camera to create
complex portraits of their communities. Tseng Kwong Chi and Susan Hiller
demonstrated photography’s role in the development of performance and
conceptual art. With pictures of suburban sprawl, artists like Lewis Baltz and
Joe Deal challenged popular ideas of nature as pristine. And Michael Jang and
Joanne Leonard made interior views that examine the social landscape of
domestic spaces. The questions these artists explored—about photography’s
ethics, truth, and power—continue to be considered today.

Marlon Mullen
Through Apr 20
MoMA, NY
Marlon Mullen. Untitled. 2017. Acrylic on canvas, 30 1/4 × 30 1/4″ (76.8 ×
76.8 cm). The Museum of Modern Art, New York. Gift of AC Hudgins. ©
2024 Marlon Mullen
There is no mistaking the work of Martlon Mullen.
His vibrant paintings, with their lush surfaces and bold color, expand the
long-standing tradition of making art about art.
For nearly 40 years, Mullen has been based at the NIAD Art Center, a
progressive art studio for artists with developmental disabilities in his native
Richmond, California. Donated issues of art publications, such as Art in
America and Artforum, serve as his primary subject matter. Projects: Marlon
Mullen presents a selection of the artist’s paintings from the past decade.
Upon selecting a glossy cover or an interior page as a point of departure,
Mullen paints using acrylic on canvas, flat on a table. He maintains visual
ties to his source material, while also radically transforming it. The resulting
compositions reimagine the relationships among their parts. Barcodes and
other details may zoom into prominence. Letters, numbers, punctuation,
and the spacing between them may disappear or repeat. Imagery and
graphics all become pure form to be reordered and reshaped. As this
exhibition demonstrates, Mullen views magazines and art books not only as
a prompt to create, but also as an invitation to engage with today’s art
world on his own painterly terms.
Organized by Ann Temkin, The Marie-Josée and Henry Kravis Chief Curator
of Painting and Sculpture, with Alexandra Morrison, Curatorial Assistant,
Department of Painting and Sculpture. Emma Jaromin and Theresa
Rodewald of the Department of Learning and Engagement and Cindy
Chong, Jamaal Hooker, and Lana Hum of the Department of Exhibition
Design and Production have collaborated closely in realizing this exhibition.
Suzanne Valadon - Centre Pompidou, Paris.
15 Jan - 26 May 2025
Suzanne Valadon had not been the subject of a monograph since the one devoted to
her by the Musée National d’Art Moderne in 1967. Presented at the Centre
Pompidou-Metz in 2023 (“Suzanne Valadon. A World of Her Own”), then at the
Musée des Beaux-arts de Nantes (2024) and the Museu Nacional d’Art de Catalunya
(2024), the tribute to this ostensibly modern artist, free of the conventions of her
time, continues at the Centre Pompidou in 2025, enhanced by new loans and new
archives.
The exhibition showcases this exceptional figure and highlights her pioneering, but
often underestimated, role in the birth of artistic modernity. It reveals the great
freedom of this artist, who did not really adhere to any particular movement, except
perhaps her own. The exhibition of almost 200 works draws on a wealth of national
collections, in particular the largest, that of the Centre Pompidou, but also from the
Musée d’Orsay and the Musée de l’Orangerie.
Exceptional loans from the Metropolitan Museum of Modern Art in New York, the
Fondation de l’Hermitage and major private collections complete the exhibition. It
focuses on the artist’s two favourite media, drawing and painting, with particular
emphasis on her graphic work, which is explored in depth through the presentation
of a large number of drawings that have rarely been shown before.
It also provides an opportunity to explore an artistic moment at the heart of the
transition between the collections of the Musée d’Orsay and the Musée National
d’Art Moderne.
Suzanne Valadon, « La Chambre bleue », 1923 - Domaine public - Crédit
photographique : Centre Pompidou, MNAM-CCI/Jacqueline Hyde/Dist.
GrandPalaisRmn
The “Valadon” exhibition retraces this unique journey, from the artist’s beginnings as the favourite model of all-Montmartre to her early artistic
recognition by her peers and critics. Suzanne Valadon truly bridged one century to the next, embracing the Parisian fervour of the turn of the
century, its cafés, bal-musettes and cabarets, and its many artistic, intellectual and societal revolutions. This unprecedented insight into her work
reveals both her friendships and artistic connections with Bohemian painters, and her undeniable influence on the Parisian art scene thanks to the
active support of her artist and gallery-owning friends.
This exhibition highlights the breadth, richness and complexity of her oeuvre, focusing on five thematic sections: Learning through observation,
Family portraits, “I paint people to get to know them”, “The real theory is imposed by nature”, The nude: a feminine view. A selection of previously
unpublished archives and works by her contemporaries with similar pictorial concerns, such as Juliette Roche, Georgette Agutte, Jacqueline
Marval, Emilie Charmy and Hélène Delasalle, complement the exhibition.
The exceptional archive collection bequeathed to Centre Pompidou in 1974 by Dr Robert Le Masle, a doctor, art collector and close friend of the
artist, containing many photographs, manuscripts and documents now housed in the Bibliothèque Kandinsky, provides a vital record of Valadon’s
rebellious personality and early artistic recognition.
Following on from exhibitions of works by Alice Neel, Georgia O’Keefe, Dora Maar and Germaine Richier, this monograph is part of Centre
Pompidou’s ongoing efforts to deepen our understanding of the work of women artists, and to increase the number of their works in the
collection.
13

ARTICLE OF THE MONTH
T H E T R A N S F O R M A T I V E
P O W E R O F A R T A S
T H E R A P Y
BorJA Alvarez
Art has long been celebrated for its capacity
to inspire, evoke emotion, and connect
people. Beyond its aesthetic value, however,
art has increasingly gained recognition as a
potent therapeutic tool in clinical and
community contexts. This practice, known as
art therapy, harnesses creative expression to
support mental health, foster emotional
release, and facilitate personal healing.
Art therapy operates on the principle that
artistic creation can provide individuals with
an alternative means of exploring and
processing their emotions. Unlike traditional
talk therapies, which rely primarily on verbal
communication, art therapy opens a pathway
to self-expression that transcends linguistic
boundaries. This is particularly significant for
individuals who struggle to articulate their
feelings, either due to trauma, developmental
differences, or personal preference.
Art Therapy in Clinical Settings
In clinical environments, art therapy has
become a cornerstone of holistic approaches
to mental health treatment. It is utilised to
address a broad spectrum of psychological
and emotional challenges, offering benefits
that complement conventional therapies.
Under the guidance of trained professionals,
patients engage in activities such as painting,
drawing, sculpting, or creating collages. These
activities not only foster creativity but also
allow participants to externalise their internal
experiences.
For individuals grappling with anxiety or
depression, the creative process can act as a
powerful outlet. Art therapy provides a
structured yet flexible space where they can
14
explore and confront their emotional landscapes
without fear of judgement. For instance, abstract
forms or vivid colours might serve as
representations of emotions that are otherwise
too overwhelming or complex to describe. This
non-verbal mode of communication can be
particularly liberating.
Trauma survivors, in particular, have found art
therapy to be profoundly impactful. Experiences
of trauma often leave individuals feeling
disempowered and disconnected from their sense
of self. The act of creating art allows them to
regain a sense of agency and control over their
narrative. Symbolic representations of their
experiences can also serve as a bridge to deeper
understanding and eventual healing.
Art therapy is also widely applied in paediatric
settings, where children may lack the vocabulary
or cognitive development to articulate their
emotions verbally. Engaging in creative activities
enables young patients to express feelings of fear,
confusion, or sadness in ways that are accessible
to them. Additionally, the playful and nonthreatening
nature of art-making can help
establish trust between children and their
therapists, facilitating more effective intervention.
For individuals with neurodegenerative conditions
such as Alzheimer’s disease or dementia, art
therapy has shown promise in enhancing
cognitive function and improving emotional wellbeing.
The process of creating art stimulates
neural pathways and can evoke memories,
fostering moments of connection and joy.
Moreover, the act of focusing on a creative task
can provide a sense of purpose and
accomplishment, even in the face of cognitive
decline.

ART LOVING
magazine
Borja Alvarez - Patagonia´s
Church
Community-Based Art Therapy
Art therapy extends far beyond clinical walls, finding a significant place in
community-based programmes aimed at promoting well-being and social
cohesion. These initiatives often serve populations facing marginalisation
or adversity, such as refugees, individuals recovering from addiction, or
communities affected by natural disasters. Through creative engagement,
participants are empowered to express their stories and experiences,
fostering a sense of agency and resilience.
Community art therapy projects often involve collaborative works, such as
murals, sculptures, or performances, which provide participants with a
tangible reminder of their collective strength and creativity. These shared
efforts cultivate a sense of belonging and solidarity, countering feelings of
isolation that are common in vulnerable groups.
Art as Therapy offers a fresh perspective on
how art, beyond being a source of beauty or
cultural significance, can serve as a powerful
tool for emotional and psychological wellbeing.
Written by philosopher Alain de
Botton and art historian John Armstrong, the
book argues that art holds therapeutic
potential, capable of addressing life’s
struggles such as loneliness, anxiety, and
grief.
The authors propose that instead of viewing
art purely through an analytical or historical
lens, we should approach it with the intent of
finding personal meaning and emotional
resonance. Artworks, whether they depict
serene landscapes or abstract forms, can act
as mirrors of our internal world, providing
insights and relief from emotional burdens.
By relating to art in this way, individuals can
use it as a form of self-reflection and healing,
much like in formal art therapy sessions.
Throughout the book, de Botton and
Armstrong explore how specific pieces of art
can help us process complex feelings or
develop a deeper understanding of
ourselves. For example, they suggest that
viewing works evoking serenity can reduce
feelings of stress, while abstract or symbolic
art can provide a non-verbal outlet for
difficult emotions. The book also emphasises
how museums and galleries could evolve into
“therapeutic spaces,” where visitors come
not just to admire works but to seek
emotional comfort and clarity.
Art as Therapy bridges the gap between
creative expression and psychological wellbeing,
offering practical advice on how to
interact with art for personal growth. It
aligns beautifully with the principles of art
therapy discussed in the article, showing
how everyday encounters with art can lead
to emotional release and insight.
Why I recommend it: This book
complements the article’s themes by
presenting art as an accessible, lifelong
resource for emotional support and healing,
both in formal therapeutic contexts and in
everyday life.
15

ART LOVING magazine
Moreover, community art initiatives frequently address
broader social issues, providing a platform for dialogue and
advocacy. Projects focused on themes such as cultural
identity, inequality, or environmental challenges enable
participants to engage with these topics in a meaningful and
personal way. The visibility of these artworks within the
community can also inspire greater understanding and action
among the wider public.
Promoting Emotional Expression and Healing
The therapeutic value of art lies in its ability to engage the
mind, body, and emotions in unison. The act of creating art—
whether through shaping clay, mixing colours, or sketching
lines—can have a profoundly meditative effect. This
immersive focus encourages mindfulness, helping individuals
to remain present and grounded, which is particularly
beneficial for those dealing with stress or anxiety.
Art-making also provides a constructive outlet for releasing
pent-up emotions. For individuals who might feel
overwhelmed by anger, sadness, or frustration, the creative
process offers a safe space for expression. This cathartic
release not only alleviates emotional tension but also paves
the way for introspection and personal growth.
Furthermore, engaging with art can lead to profound
personal discoveries. As individuals interact with their inner
world through symbols, colours, and forms, they often
uncover hidden aspects of themselves. This journey of selfexploration
fosters a deeper understanding of their feelings,
behaviours, and desires, equipping them to navigate life’s
challenges with greater clarity and resilience.
Art Therapy in Educational Contexts
Art therapy is gaining recognition as an invaluable tool within
educational settings, offering students a means to navigate
the complexities of academic and social pressures. Schools
and universities have increasingly integrated art-based
interventions into their support systems, recognising the
therapeutic and developmental potential of creative
expression.
For students facing challenges such as bullying, academic
stress, or social anxiety, art therapy provides a constructive
outlet to process these experiences. Structured activities like
journaling with illustrations, creating personal mandalas, or
collaborative art projects encourage students to express
emotions that may be difficult to communicate verbally.
These interventions not only promote emotional release but
also enhance self-awareness, fostering resilience and coping
skills.
Art therapy also plays a vital role in supporting
neurodiverse students, including those with autism
spectrum disorder (ASD), ADHD, or learning disabilities.
Engaging in art-based activities helps these students
develop sensory regulation, fine motor skills, and
emotional expression. For example, using textured
materials or engaging in repetitive, rhythmic patterns can
have a calming effect, helping students to feel more
grounded. Moreover, art-making offers a nonjudgemental
space for students to celebrate their
individuality, cultivating self-esteem and a sense of
belonging within the school environment.
In addition to its therapeutic benefits, art therapy fosters
creativity and critical thinking—skills that are increasingly
valued in the modern world. By encouraging students to
think innovatively and explore their perspectives, artbased
programmes contribute to their overall personal
and intellectual development. Teachers trained in basic art
therapy techniques can use these tools to address
classroom dynamics, resolve conflicts, and create a more
inclusive and empathetic learning atmosphere.
The Science Behind Art Therapy
Art therapy’s transformative power is underpinned by a
growing body of scientific research that highlights its
impact on the brain and body. Neuroimaging studies have
shown that engaging in creative activities activates
multiple regions of the brain, including those associated
with emotional regulation, problem-solving, and reward
processing. These findings provide a neurological basis for
the therapeutic effects of art-making, particularly in
addressing mental health challenges.
One of the key mechanisms through which art therapy
facilitates healing is its ability to reduce cortisol levels, the
body’s primary stress hormone. Engaging in art-making
has been shown to lower cortisol, promoting relaxation
and reducing the physiological impact of stress. This
effect is particularly beneficial for individuals who
experience chronic anxiety or post-traumatic stress
disorder (PTSD), as it helps to calm the nervous system
and create a sense of safety.
The Expressive Arts Activity Book: A Resource for Professionals – Wende Heath and
Suzanne Darley
A hands-on resource filled with creative activities and therapeutic exercises, covering drawing,
painting, writing, and music. Although primarily designed for professionals, it is accessible to anyone
interested in exploring self-expression through art.
Why I recommend it: For readers who want to take a practical approach to healing through art, this
book provides a wide range of activities that encourage emotional release and self-reflection
16

Additionally, art therapy stimulates the production of
dopamine, a neurotransmitter associated with
feelings of pleasure and motivation. This
neurochemical boost can enhance mood and
encourage positive engagement with the world. For
individuals experiencing depression, the act of
creating art can reignite a sense of purpose and joy,
breaking the cycle of apathy and disconnection.
Art therapy also leverages the brain’s capacity for
neuroplasticity—its ability to form and reorganise
neural connections in response to experiences. By
engaging in creative processes, individuals can
develop new patterns of thinking and behaving,
which are particularly valuable for those recovering
from trauma or addiction. Symbolic representations
created during art therapy sessions can serve as tools
for cognitive restructuring, helping participants to
reframe negative beliefs and build healthier
perspectives.
Art Therapy Across Cultures
The universality of art makes it a powerful bridge
across cultural divides, enabling individuals from
diverse backgrounds to connect, heal, and grow. In
multicultural societies, art therapy provides an
inclusive medium through which people can explore
and affirm their cultural identities. By incorporating
traditional art forms, symbols, or techniques into
therapy sessions, practitioners can create a culturally
Borja Alvarez - California
sensitive approach that resonates deeply with
participants.
For example, Indigenous art practices, such as
sand painting or storytelling through visual
media, have been integrated into therapeutic
programmes to honour and preserve cultural
heritage. These practices allow participants to
reconnect with their roots, fostering a sense of
pride and continuity. Similarly, refugees or
immigrants navigating the challenges of
displacement can use art therapy to process
their experiences and communicate their
stories in ways that transcend language
barriers.
Art therapy also plays a significant role in global
humanitarian efforts. In regions affected by
conflict or natural disasters, art-based
interventions provide a crucial outlet for
survivors to process grief, fear, and loss.
Community art projects, such as murals or
mosaics, not only offer a space for individual
healing but also serve as symbols of resilience
and hope, fostering a sense of collective
recovery and renewal.
Borja Alvarez - The Three-Legged Dog
17

ART LOVING
magazine
traditional in-person services. These sessions
often incorporate digital drawing programmes,
virtual reality (VR) environments, or online
collaborative platforms, allowing participants to
explore their creativity in new and engaging ways.
For instance, VR art therapy enables individuals to
immerse themselves in interactive, threedimensional
spaces where they can sculpt, paint,
or design in real time, offering a uniquely
therapeutic experience.
Borja Alvarez - Self-portrait
Digital Art Therapy: Innovation and Accessibility
In the digital age, art therapy has embraced technological advancements,
expanding its reach and accessibility. Digital platforms and tools now
enable individuals to engage in creative expression from the comfort of
their homes, making art therapy more inclusive and adaptable to diverse
needs.
Virtual art therapy sessions, facilitated by trained professionals, offer a
flexible option for individuals who may face barriers to accessing
Digital art therapy also caters to tech-savvy
generations, particularly adolescents and young
adults, who may feel more comfortable expressing
themselves through digital mediums. Apps and
online resources provide guided activities,
prompts, and tools for self-directed art-making,
empowering individuals to take an active role in
their therapeutic journey. Moreover, the ability to
share digital creations with supportive online
communities fosters connection and validation,
reducing feelings of isolation.
While digital art therapy offers exciting
possibilities, it also raises important considerations
regarding privacy, accessibility, and the need for
adequate training among practitioners. Ensuring
ethical and effective implementation of digital
tools requires ongoing research and collaboration
within the field, but its potential to democratise
access to art therapy remains undeniable.
Conclusion: The Future and Holistic Promise of Art
Therapy
The transformative power of art as a therapeutic tool
underscores its universal potential to heal, connect, and
inspire. As our understanding of mental health evolves,
art therapy stands at the intersection of creativity,
neuroscience, and emotional well-being, offering an
integrative approach that addresses the multifaceted
nature of human experiences. This conclusion synthesises
the diverse dimensions of art therapy discussed earlier
and looks ahead to its future possibilities in a rapidly
changing world.
.
Expanding the Reach of Art Therapy
One of the most significant opportunities for art therapy lies in
its potential to reach diverse and underserved populations.
While art therapy has already demonstrated its effectiveness
across clinical, educational, and community settings, expanding
access remains a pressing priority. Efforts to integrate art
therapy into public health initiatives, schools, and community
centres can help bridge gaps in mental health services,
particularly in areas where resources are scarce or stigmas
surrounding mental health persist.
To achieve this, collaborations between governments, nongovernmental
organisations, and art therapy practitioners are
crucial. Policies that support the inclusion of art therapy in
18

health insurance coverage and public
health funding can make this invaluable
tool accessible to more individuals.
Additionally, culturally tailored
programmes can ensure that art
therapy resonates with diverse
communities, respecting and
celebrating their unique traditions,
values, and ways of healing.
Advancing Research and Evidence-
Based Practices
While the therapeutic benefits of art
are widely recognised, continued
research is essential to deepen our
understanding of its mechanisms and
optimise its applications. Advances in
neuroscience,
particularly
neuroimaging techniques, provide
exciting opportunities to explore how
art therapy influences brain function
and structure. Studies that investigate
the long-term effects of art therapy
across different populations can
further validate its efficacy and inform
best practices.
Moreover,
interdisciplinary
collaboration between art therapists,
psychologists, educators, and medical
professionals can foster innovative
approaches to treatment. For example,
integrating art therapy with other
modalities, such as mindfulness-based
practices, cognitive-behavioural
therapy, or even pharmacological
interventions, can enhance its
effectiveness. By grounding art
therapy in rigorous scientific evidence,
the field can continue to gain
credibility and recognition within
mainstream mental health care.
Embracing Technology While
Preserving Human Connection
The integration of technology into art
therapy offers exciting possibilities for
innovation and accessibility. Digital art
tools, virtual reality, and online
platforms have already begun to
expand the reach of art therapy,
allowing individuals to engage in
creative expression regardless of
geographical or physical constraints.
These advancements can play a
transformative role in democratising
access to therapeutic services,
particularly for individuals with
disabilities, those living in remote
areas, or those facing barriers such as
cost or time constraints.
Borja Alvarez - California II
However, it is equally important to preserve the core human connection that
defines art therapy. The presence of a trained art therapist who can provide
guidance, empathy, and a safe space for exploration remains irreplaceable. As
digital art therapy evolves, ensuring that it complements rather than replaces
traditional in-person practices will be vital to maintaining the depth and
authenticity of the therapeutic experience.
Fostering a Culture of Creativity and Emotional Well-Being
Art therapy not only benefits individuals but also has the potential to influence
society at large by fostering a culture that values creativity and emotional wellbeing.
By integrating art-based practices into daily life, workplaces, and
educational systems, we can create environments that support mental health and
resilience. For example, businesses can incorporate art workshops to reduce
employee stress and enhance collaboration, while schools can use art therapy
techniques to address bullying, promote inclusivity, and nurture students’
emotional intelligence.
Public art initiatives and community-based projects can also serve as powerful
catalysts for social change. Through collective creativity, communities can address
pressing social issues, strengthen bonds, and inspire action. The visibility of these
projects in public spaces not only amplifies their impact but also normalises
conversations around mental health and the healing potential of art.
19

Art Therapy as a Lifelong Resource
One of the most compelling aspects of art therapy is its adaptability to
different stages of life. From childhood to old age, art therapy provides
a versatile tool for navigating life’s challenges and transitions. For
children, it fosters emotional expression and developmental growth; for
adolescents, it offers a safe space to explore identity and cope with
stress; for adults, it supports mental health and self-discovery; and for
the elderly, it enhances cognitive function, emotional well-being, and
social connection.
As individuals engage with art therapy throughout their lives, they
develop a deeper relationship with their inner world and a stronger
sense of self. The creative process becomes a lifelong companion,
offering solace, insight, and empowerment in the face of change and
adversity.
Imagining a Future of Integrated Healing
Looking to the future, art therapy has the potential to become a
cornerstone of holistic approaches to health and well-being. By
integrating art therapy into multidisciplinary treatment models, we can
address the interconnectedness of mental, emotional, and physical
health. Hospitals, rehabilitation centres, and wellness clinics can create
environments where art therapy complements medical treatments,
enhancing recovery and overall quality of life.
Furthermore, the global adoption of art therapy can contribute to a
more compassionate and inclusive world. In times of crisis—whether due
to conflict, natural disasters, or pandemics—art therapy offers a pathway
to healing that transcends language and cultural barriers. Its emphasis
on creativity and resilience reminds us of our shared humanity and the
innate potential for growth and renewal.
A Call to Action
As we reflect on the transformative power of art therapy, it becomes
clear that its value extends far beyond the confines of a therapeutic
session. It is a testament to the profound impact of creativity on the
human spirit and a reminder that healing often begins with selfexpression.
To fully realise the promise of art therapy, we must
advocate for its inclusion in mental health care systems, invest in
research and education, and promote its accessibility to all.
Whether through a child’s drawing, a survivor’s painting, or a
community’s mural, art therapy continues to illuminate pathways to
hope, connection, and healing. By embracing this powerful modality, we
take a step towards a future where art is not only celebrated for its
beauty but also revered for its capacity to transform lives.
The Art Therapy Sourcebook – Cathy A. Malchiodi
A comprehensive and practical guide to the field of art therapy, written by a leading
expert. The book explains key concepts, therapeutic techniques, and real-world
applications in both clinical and personal settings. It covers a variety of creative
methods, from drawing and painting to collage and sculpture.
Why I recommend it: It’s ideal for readers who want to gain a deeper understanding
of art therapy’s methods and benefits, providing practical exercises that they can
explore themselves.
20

ART LOVING magazine
About the Author: Borja Álvarez
Borja Álvarez is a multidisciplinary artist and
psychologist whose career has been defined
by the fusion of his two great passions: art
and mental health. After earning his degree
in Psychology, Álvarez specialised in
creative therapies and developed an
innovative approach known as the "CREA
Methodology" (Connection, Reflection,
Expression, and Awareness), which
integrates visual art techniques with selfdiscovery
exercises rooted in
neuropsychology.
His method has been implemented in
various clinics and community projects,
benefiting both individuals and vulnerable
social groups by helping them channel their
emotions through artistic creation. He has
conducted workshops in rehabilitation
centres and reintegration programmes for
young people, and he is an active advocate
for the inclusion of art therapy in public
mental health policies.
Beyond his clinical work, Álvarez has
exhibited his artwork in contemporary art
galleries across Spain and Europe, with
installations that explore themes of
memory, trauma, and collective identity. He
is currently working on his next project,
"Voices on the Canvas", a series of public
art interventions designed to highlight the
healing power of art within communities
affected by natural disasters.
Borja Alvarez - Best Friend
Creative Arts and Play Therapy for Attachment Problems – Edited by Cathy A. Malchiodi
and David A. Crenshaw
This book explores the role of creative arts and play in supporting children with attachment difficulties,
such as those caused by trauma or neglect. It includes contributions from leading professionals and
focuses on using art to help children build emotional security, regulate behaviour, and heal from early life
challenges.
Why I recommend it: Given the article’s emphasis on art therapy in paediatric settings, this book offers
valuable insights into how art can help children express and process emotions that they may be unable to
verbalise.
21

EXPLORING THE GREATS
Altarbild Nr. 1 - Hilma af Klint

Self-Portrait
Hilma af Klint
HILMA AF KLINT
1862-1944
23

Exploring the Greats -Hilma af Klint by Jessie S.Martin
Portrait of Gustaf af Klint (1771–
1840) – the Artist's Grandfather
Hilma af Klint
Hilma af Klint is a name that has come to symbolise the
untold stories of art history, representing both the
unrecognised brilliance of women artists and a radical
rethinking of what modern art could be. Born in Sweden in
1862, af Klint was a pioneer in abstraction, creating
intricate and colourful compositions years before the likes
of Kandinsky, Mondrian, or Malevich introduced their own
abstract visions. Despite her revolutionary contributions,
her work remained in obscurity for most of the 20th
century, hidden not only by societal biases but also by her
own instructions that it should not be exhibited until long
after her death.
Hilma af Klint's art was deeply influenced by her spiritual
beliefs and esoteric practices, which set her apart from
her contemporaries who primarily engaged with
abstraction through philosophical or formalist approaches.
Her work explored themes of spirituality,
interconnectedness, and the mysteries of the universe,
expressed through a visual language that combined
biomorphic forms, geometric structures, and symbolic
patterns. What makes her story even more remarkable is
that these ideas and techniques emerged in her art as
early as 1906, predating what is widely regarded as the
"birth" of abstract art in the 1910s.
24

“THE TEN LARGEST NO. 7” BY HILMA AF KLINT
ART LOVING magazine
Her contributions, however, were overlooked for
decades. Part of this neglect stems from the maledominated
narrative of modern art history, which
favoured figures like Kandinsky, Picasso, and Malevich.
These artists were celebrated as the trailblazers of
abstraction, while af Klint's achievements were either
dismissed or simply unknown. The art world of the early
20th century had little room for a woman whose work
challenged not only artistic norms but also societal
expectations of gender and creativity.
Af Klint herself was a complex figure who resisted
conventional recognition. She was not a part of the
major artistic circles of her time and worked largely in
isolation. This detachment was partly by choice: she
believed that her art was not meant to be understood by
her contemporaries. Instead, she considered her works
as messages for future generations—insights into the
spiritual evolution of humanity that would only be fully
appreciated in a more enlightened era.
25

Exploring the Greats - Hilma af Klint
26
“THE TEN LARGEST NO. 1” BY
HILMA AF KLINT
Her reluctance to exhibit her work during her lifetime
also contributed to her invisibility. Unlike many of her
male counterparts, who actively sought public recognition
and critical acclaim, af Klint deliberately kept her
paintings private. She even stipulated in her will that her
work should not be shown until 20 years after her death.
This decision, rooted in her belief that the world was not
ready to understand her art, ensured that her
contributions would remain hidden for much longer than
she could have anticipated.
It was not until the late 20th century that her work began
to receive the recognition it deserved. The turning point
came in 1986, when her paintings were exhibited at the
"The Spiritual in Art" exhibition in Los Angeles. This
moment marked the beginning of her posthumous
rediscovery, culminating in the blockbuster 2018
Guggenheim exhibition, Hilma af Klint: Paintings for the
Future, which shattered attendance records and firmly
established her as one of the most significant artists of
the 20th century.
Today, af Klint's story is seen as a powerful reminder of
the biases and blind spots in art history. Her work
challenges the long-held assumptions about the origins
of abstraction and forces us to rethink the narratives
that have shaped our understanding of modern art. By
reclaiming her place in the canon, we not only honour
her immense talent but also recognise the importance of
questioning the historical frameworks that have
marginalised voices like hers.
Hilma af Klint's art was always intended to transcend her
time. Her story is one of resilience, vision, and a belief in
the enduring power of creativity to reveal truths about
the universe and our place within it. Her delayed but
profound impact on the art world serves as a testament
to the timelessness of true innovation and the
importance of revisiting the past with fresh eyes.

ART LOVING
magazine
Svanen, nr 1, grupp IX/SUW, - Hilma af Klint
Early Life and Education
Hilma af Klint was born on 26 October 1862 in Solna, a
suburb of Stockholm, Sweden. She was the fourth of five
children in a family with strong ties to science and naval
traditions—her father, Victor af Klint, was a naval officer,
cartographer, and mathematician. This early exposure to
analytical thinking and a fascination with nature would
later influence her artistic practice, as her work often
combined the precision of scientific observation with the
fluidity of spiritual and abstract thought.
Af Klint’s childhood was shaped by a deep connection to
the natural world. Her family spent their summers in the
countryside near Lake Mälaren, and this idyllic
environment left a lasting impression on her. Her early
drawings and sketches often focused on botanical
subjects, demonstrating her keen eye for detail and her
interest in the structural beauty of plants. These early
experiences with nature’s intricate patterns would later be
echoed in her abstract compositions, where organic forms
and spiralling motifs frequently appeared.
In 1880, at the age of 18, af Klint moved to Stockholm to
pursue her education. She enrolled in the Royal Academy
of Fine Arts in 1882, one of the few prestigious
institutions at the time that accepted women. Her
acceptance into this academy was itself a significant
achievement, as professional art training for women was
still relatively rare in the late 19th century. At the
academy, af Klint was trained in traditional techniques,
excelling in portraiture and landscape painting. Her work
from this period, which was largely figurative and
naturalistic, adhered to the conventional styles taught at
the institution.
Af Klint graduated with honours in 1887, securing a
studio space in the city—a privilege that marked her as a
promising young artist. During this period, she made a
living as a portraitist and illustrator, creating works that
were well-executed but conventional. While these
paintings helped her establish herself within the art world,
they did little to reflect the groundbreaking visions she
would later explore.
27

The Hilma af Klint Exhibition | Guggenheim
Bilbao (Spain)
However, even in her early career, there were hints of her interest
in ideas beyond the material world. Af Klint’s education at the
Royal Academy coincided with a broader cultural fascination with
spiritualism, theosophy, and the exploration of metaphysical ideas.
These movements were gaining popularity across Europe and
Sweden, especially among intellectuals and artists who sought to
reconcile scientific discovery with spiritual understanding.
Although af Klint’s official training was grounded in realism, she
was already drawn to questions that transcended the physical,
setting the stage for her later innovations.
After completing her education, af Klint continued to develop her
skills as a painter, but her life took a significant turn in the early
1890s when she became involved in spiritualist practices. This was
a transformative period for her, marking the beginning of a lifelong
journey into esoteric studies and metaphysical exploration. While
her formal education had equipped her with the technical
proficiency to succeed as a traditional artist, it was this spiritual
awakening that would propel her into uncharted artistic territory.
Thus, the foundations of Hilma af Klint’s artistic journey were laid
in the dual influences of her academic training and her deepening
spiritual interests. The disciplined techniques she learned at the
Royal Academy provided her with the tools to articulate her
visionary ideas, while her childhood connection to nature and
growing fascination with esotericism opened her mind to new
ways of seeing the world. This combination of structure and
intuition would become the hallmark of her art, distinguishing her
as a true pioneer who was willing to defy conventions in pursuit of
a deeper truth.
Spiritual Awakening and Esoteric Influences
Hilma af Klint’s journey into the world of spirituality and esoteric
beliefs was not just a personal pursuit—it was the cornerstone of
her artistic vision. By the late 19th century, Europe was in the
midst of a spiritual revival, with movements such as Theosophy,
Anthroposophy, and Spiritualism captivating intellectuals and
artists who sought answers beyond the material world. These
ideas resonated deeply with af Klint, who was already inclined to
explore metaphysical questions. Her immersion in these practices
became a profound influence on her art, shaping its themes,
symbols, and purpose.
Af Klint’s spiritual awakening can be traced to the early 1890s,
when she became actively involved in Spiritualism, a practice that
sought to communicate with spirits and explore life after death.
She joined a group known as “The Five” (De Fem), a collective of
like-minded women who shared an interest in esotericism and held
séances to channel spiritual messages.
These gatherings were not mere curiosities for af Klint—they were
deeply serious and transformative experiences. The group believed
they were in contact with higher beings or “High Masters,” who
imparted guidance and knowledge through automatic writing,
drawing, and painting.
It was through these séances that af Klint began to experiment with
new artistic methods. She embraced automatic drawing, allowing
her hand to move freely across the page without conscious control,
guided by what she described as a spiritual force. This practice
liberated her from the constraints of traditional realism and opened
the door to abstraction, leading her to develop a unique visual
language that combined geometric forms, organic shapes, and
esoteric symbols.
One of the pivotal moments in her spiritual journey came in 1906,
when af Klint claimed to receive a specific commission from the
spirits. They instructed her to create a series of works called
Paintings for the Temple, a monumental body of work that would
encompass over 190 pieces. This series was intended to convey
spiritual truths and depict the evolution of humanity’s
consciousness. Af Klint believed she was merely a vessel for these
works, describing herself as a medium through which the spiritual
realm expressed itself.
The Paintings for the Temple marked a dramatic departure from
anything af Klint had previously created. These works were bold,
colourful, and non-representational, filled with swirling patterns,
symmetrical compositions, and symbolic imagery. Many of the
pieces featured recurring motifs, such as spirals (representing
spiritual growth), circles (symbolising unity and infinity), and
botanical forms (evoking the interconnectedness of life). The use of
vibrant colours and meticulous detail reflected her belief in the
harmony of the universe and the interplay between the physical
and spiritual realms.
Her fascination with esotericism extended beyond Spiritualism. Af
Klint was deeply influenced by Theosophy, a movement founded
by Helena Blavatsky that sought to unite science, religion, and
philosophy in the pursuit of universal truths. She was also drawn to
Anthroposophy, the spiritual philosophy developed by Rudolf
Steiner, which emphasised the idea of higher planes of
consciousness and the evolution of the human spirit. Although
Steiner and af Klint met in 1908, he reportedly did not fully
understand her work at the time, suggesting it was too advanced
for the current era. Nevertheless, Anthroposophical ideas
continued to inform her worldview.
28

Af Klint’s art became a means of visualising the invisible—a way to
bridge the gap between the material and the metaphysical. She
saw her paintings as a form of communication with future
generations, believing that her work would only be understood in
a more spiritually evolved age. This conviction led her to work in
relative isolation, far removed from the mainstream art
movements of her time. Unlike her contemporaries, who sought to
challenge artistic conventions within public and academic
frameworks, af Klint saw her mission as transcendent, beyond the
reach of immediate recognition.
By intertwining spirituality with artistic innovation, Hilma af Klint
broke away from the norms of her era, creating a body of work
that defied categorisation. Her art was not simply an exploration
of form and colour—it was a profound meditation on existence,
spirituality, and the interconnectedness of all things. The esoteric
influences that shaped her vision remain integral to understanding
her legacy, as they highlight her singular commitment to creating
art that was both universal and deeply personal.
Af Klint’s spiritual journey was not just a backdrop to her work but
the very foundation of it. It allowed her to envision a world
beyond the tangible, to give form to the ineffable, and to
challenge the limits of what art could express. Her embrace of the
esoteric made her a pioneer not only in abstraction but also in the
exploration of art as a vehicle for spiritual transformation.
The Dawn of Abstraction
Hilma af Klint's abstract work began in earnest in 1906 with the
series Paintings for the Temple. This monumental project, created
over a decade, is considered the true genesis of her abstract style.
The series consists of 193 paintings, divided into subgroups that
depict various spiritual and cosmic themes. These works were not
mere exercises in abstraction; they were conceived as visual
expressions of spiritual truths, revealing the interconnectedness of
all existence.
What set af Klint apart from her contemporaries was her belief
that her art was guided by higher forces. She described herself as
a medium, channelling knowledge from spiritual entities rather
than creating from personal inspiration. This approach led to the
creation of forms and compositions that were entirely unique. Her
work often featured symmetrical designs, vibrant colours, and
symbolic shapes, such as spirals, concentric circles, and botanical
patterns. These elements combined to form a language that was
both universal and deeply esoteric.
Unlike Kandinsky or Mondrian, who were celebrated as the
pioneers of abstraction, af Klint’s work was not motivated by a
formalist interest in the elements of art. Instead, her paintings
were deeply rooted in spiritual and metaphysical inquiry. While
the art world embraced abstraction as a radical break from
representation, af Klint saw it as a tool for unveiling the unseen
and communicating the spiritual dimensions of existence.
Rejection of the Spotlight
Hilma af Klint’s deliberate withdrawal from the public eye remains
one of the most fascinating aspects of her life. Unlike her male
counterparts, who actively sought recognition and influence
within the art world, af Klint chose to work in isolation. Her
decision was deeply tied to her spiritual convictions. She believed
that the world was not ready to understand her art and that her
work would only find its rightful place in the future.
This sense of otherworldly purpose led her to instruct that her
work not be exhibited until at least 20 years after her death. Af
Klint was acutely aware of the limitations of her time, particularly
the art world’s scepticism towards spiritualism and its entrenched
gender biases. By choosing to withhold her art from public view,
she ensured that it would not be misinterpreted or dismissed by a
society unprepared for its radical vision.
Rediscovery and Recognition
For much of the 20th century, Hilma af Klint’s work
remained hidden, stored away in her family’s archives. It was
not until 1986, when a selection of her paintings was
included in the exhibition The Spiritual in Art: Abstract
Painting 1890–1985 in Los Angeles, that her contributions
began to gain wider attention. This exhibition marked the
beginning of her posthumous recognition, but it would take
decades for her to be fully appreciated.
The turning point came in 2018 with the Guggenheim
Museum’s landmark exhibition, Hilma af Klint: Paintings for
the Future. The show shattered attendance records,
attracting over 600,000 visitors and firmly establishing af
Klint as a major figure in art history. For many, the exhibition
was a revelation, challenging long-held assumptions about
the origins of abstraction and reshaping the narrative of
modern art.
Her rediscovery has sparked a broader re-evaluation of art
history, highlighting the biases that have marginalised
women artists and excluded spiritual and esoteric practices
from the canon. Af Klint’s work, once dismissed as eccentric
or inaccessible, is now celebrated for its profound originality
and visionary scope.
Hilma af Klint in Context
Af Klint’s story is emblematic of the challenges faced by
women artists throughout history. Her contributions
were ignored not because of their lack of merit but
because they did not fit into the dominant narratives of
her time. She was a woman working in a male-dominated
field, exploring themes that were dismissed as peripheral
or unserious. Her rediscovery underscores the
importance of revisiting history with fresh eyes and
recognising the voices that have been silenced or
overlooked.
Her work also invites us to reconsider the origins of
abstraction. For decades, figures like Kandinsky and
Mondrian were hailed as the fathers of abstract art, their
achievements celebrated as the definitive break from
representational forms. Hilma af Klint challenges this
narrative, demonstrating that abstraction emerged from
multiple sources and was shaped by a diverse range of
influences, including spirituality, gender, and cultural
context.
Hilma af Klint’s art is a testament to the power of
creativity to transcend time, place, and convention. Her
visionary work, created in isolation and guided by
spiritual conviction, stands as one of the most remarkable
achievements in the history of art. By reclaiming her
rightful place in the canon, we not only honour her
extraordinary talent but also acknowledge the profound
impact of overlooked and marginalised voices.
Today, af Klint’s legacy continues to inspire, reminding us
of the importance of curiosity, imagination, and the
courage to defy convention. Her story is not just one of
artistic innovation but also a powerful call to re-examine
the narratives that shape our understanding of the past.
Through her art, Hilma af Klint invites us to see the world
—and ourselves—in entirely new ways.
29

Artistic Style and Legacy
Hilma af Klint’s artistic style defies simple categorisation. Her work
seamlessly blends geometric precision with organic fluidity,
scientific observation with spiritual insight. She often employed
bright, harmonious colours to evoke a sense of balance and unity,
while her compositions incorporated symbols drawn from nature,
religion, and esoteric traditions. The result is a body of work that
feels both timeless and utterly unique, transcending the boundaries
of her time.
Her influence extends far beyond the art world. Af Klint’s
exploration of spirituality and interconnectedness resonates deeply
in contemporary discussions about the relationship between art,
science, and the metaphysical. Her work has inspired a new
generation of artists, scholars, and curators to question the
limitations of traditional art history and embrace a more inclusive
and expansive view of creativity.
The 10 Largest No.2 - Hilma af Klint

The Ten Largest (No 6) - Hilma af Klint

ART MOVEMENT SPOTLIGHT OF THE MONTH
JOHN EVERETT MILLAIS - The Martyr of the Solway
T H E P R E - R A P H A E L I T E
B R O T H E R H O O D : A
S E C R E T S O C I E T Y
T U R N E D A R T I S T I C
M O V E M E N T
Emile Dupont
In 1848, amidst the rigid conventions of Victorian England, a small
group of rebellious young artists came together to form what they
called The Pre-Raphaelite Brotherhood (PRB). Far more than just a
loose association of creatives, this group was envisioned as a kind of
secret society, bound by shared ideals and a mutual commitment to
redefining the future of art. Their early secrecy, combined with their
distinctive vision, set the stage for one of the most influential
movements in British art history.
The PRB was born in a turbulent time of industrial and social change.
Amid the rise of mechanisation, Victorian England was steeped in
traditionalism, particularly in the arts. Institutions like the Royal
Academy of Arts upheld a classical style of painting that prioritised
idealised forms and grandiose historical or biblical themes. The young
founders of the PRB—Dante Gabriel Rossetti, John Everett Millais, and
William Holman Hunt—found this approach lifeless and artificial.
Determined to challenge these conventions, they sought inspiration in
the art of the Middle Ages and early Renaissance, specifically the
period before the High Renaissance master Raphael, whom they saw as
the beginning of art’s decline into formalism. For them, art should focus
on nature, spirituality, and human emotion in its rawest form.
Their ideals were revolutionary, but their methods were
unconventional. By forming a "brotherhood," they emphasised
collaboration and mutual support, creating a sense of exclusivity and
shared purpose. They also infused their works with an intensity of
detail and colour that defied the norms of their time.
What made the Pre-Raphaelites stand out was their distinct artistic
vision, which can be broken down into several key characteristics:
Vivid Colour and Detailed Realism
The PRB emphasised painting with jewel-like tones and precise
detail. Their works often have a photographic quality, capturing the
texture of fabrics, the sheen of hair, and the minutiae of natural
settings. Ophelia (1851-52) by Millais is a prime example, with its
lush depiction of nature and delicate rendering of the drowning
figure.
32

ART LOVING
magazine
The Controversy and Criticism
The PRB’s early works were
not universally admired.
Critics accused them of being
overly sentimental, obsessed
with detail, and even morally
subversive. The stark realism
of their religious imagery, for
example, was seen as shocking
in an era when biblical scenes
were expected to be idealised
and lofty.
Charles Dickens famously
criticised Millais’ Christ in the
House of His Parents (1850)*
for its unflattering depiction of
the Holy Family, describing
the figures as “hideous” and
“blubbering.” However, such
controversies only heightened
public interest in the
movement.
*see page 32
Ophelia (1851–1852), John Everett Millais.
Themes of Literature, Mythology, and Religion
Pre-Raphaelite paintings often drew on stories from
literature and legend. Works like Rossetti’s The Annunciation
or Hunt’s The Light of the World showcase their interest in
religious symbolism, while paintings such as The Lady of
Shalottreflect their fascination with Arthurian romance and
poetry.
Truth to Nature
Central to their philosophy was the idea of observing nature
directly rather than relying on artistic convention. They spent
long hours painting en plein air, ensuring their works were
imbued with authenticity and life.
Moral and Emotional Depth
The Pre-Raphaelites sought to convey genuine human
emotion in their work. This was often linked to social
commentary, as seen in Hunt’s The Awakening Conscience,
which depicts a kept woman realising the moral
consequences of her situation.
The Expansion of the Pre-Raphaelite Movement
Though the original Brotherhood dissolved in the 1850s, their ideas lived on.
The movement expanded to include later artists such as Edward Burne-Jones
and William Morris, who incorporated Pre-Raphaelite aesthetics into broader
creative ventures, including textiles, furniture, and interior design.
Morris, in particular, became a key figure in the Arts and Crafts Movement,
which embraced the Pre-Raphaelite ethos of craftsmanship and a return to
nature. Burne-Jones, meanwhile, produced ethereal, dreamlike works that
bridged the gap between Pre-Raphaelitism and Symbolism.
One of the most fascinating aspects of the PRB is its connection to literature.
Dante Gabriel Rossetti, a poet as well as a painter, wove literary themes into his
work, drawing inspiration from figures such as Dante Alighieri (after whom he
was named) and John Keats.
The PRB also became closely associated with the poetry of Alfred Lord
Tennyson, whose works provided the basis for some of their most iconic images,
including The Lady of Shalott. The relationship between text and image became
a defining feature of the movement, blurring the lines between artistic
disciplines.
33

ART LOVING magazine
J O H N E V E R E T T M I L L A I S ( 1 8 2 9 – 1 8 9 6 ) : T H E
P R O D I G Y O F T H E
P R E - R A P H A E L I T E B R O T H E R H O O D
The painting by Millais Christ in the House of His Parents (1850) was the subject of controversy due to its realistic depiction of a working-class
Holy Family in a messy carpentry workshop.
John Everett Millais (1829–1896) was one of the most
celebrated members of the Pre-Raphaelite Brotherhood,
renowned for his exceptional technical skill and his
ability to capture detail with astonishing precision. Born
in Southampton, England, Millais was a child prodigy
who entered the Royal Academy of Arts at the age of
just 11, becoming the youngest student ever admitted.
His mastery of technique and his capacity to depict
nature with meticulous accuracy made him a central
figure in the Brotherhood’s mission to challenge the
artistic conventions of Victorian England.
34
Isumbras - John Everett Millais

John Everett Millais - Isabella
In 1848, Millais, alongside Dante Gabriel Rossetti
and William Holman Hunt, co-founded the Pre-
Raphaelite Brotherhood with the aim of rejecting
the rigid, formulaic approach of academic art.
Inspired by the art of the Middle Ages and early
Renaissance, the Brotherhood sought to return to
a purer and more authentic artistic expression,
focusing on nature, spirituality, and raw human
emotion. Millais wholeheartedly embraced these
ideals in his early works, which became iconic
examples of the Pre-Raphaelite style. Among
these, Ophelia (1851–1852) stands out as his most
famous painting, depicting the tragic
Shakespearean heroine floating in a river,
surrounded by a profusion of lush vegetation. To
capture the natural setting, Millais painted en plein
air, carefully observing every leaf and flower to
achieve an unparalleled level of detail. The model
for Ophelia, Elizabeth Siddal, posed for hours in a
bathtub filled with water so that Millais could
accurately render her lifelike figure. The result is a
masterpiece that not only captivates viewers with
its beauty but also exemplifies the Brotherhood’s
commitment to “truth to nature.”
Another significant work, Christ in the House of
His Parents (1849–1850), sparked considerable
controversy at the time of its exhibition. The
painting portrays a young Jesus in his father
Joseph’s workshop, surrounded by the Holy
Family. Unlike the idealised depictions typical of
the era, Millais chose a starkly realistic approach,
presenting the figures as ordinary working-class
people in a humble setting. The painting was
criticised by many, including Charles Dickens, who
found it vulgar and irreverent. Despite the
backlash, the work remains a striking example of
Millais’s dedication to realism and the moral
undertones that characterised much of Pre-
Raphaelite art.
As his career progressed, however, Millais
gradually distanced himself from the core
principles of the Brotherhood.
While other members, such as
Rossetti, continued to explore
the Pre-Raphaelite aesthetic,
Millais adopted a more
conventional
and
commercially oriented style.
This transition brought him
widespread acclaim and
financial success, allowing him
to become one of the most
prominent artists of Victorian
England. Later in his career, he
focused on portraiture and
grand historical paintings,
moving away from the
intricate detail and idealism of
his earlier works.
Nevertheless, his skill and
narrative ability remained
unparalleled. In recognition of
his achievements, Millais was
knighted in 1885 and, in 1896,
became the first artist to be
elected President of the Royal
Academy, cementing his place
as one of Britain’s most
esteemed painters.
Although his involvement with
the
Pre-Raphaelite
Brotherhood was relatively
brief, Millais’s contributions to
the movement were profound.
Works such as Ophelia and
Christ in the House of His
Parents remain iconic
representations of the Pre-
Raphaelite ethos, embodying
its dedication to truth, beauty,
and nature. Millais’s legacy is
that of a transformative artist
whose talent and vision
reshaped the artistic landscape
of nineteenth-century Britain.
John Everett Millais The Black Brunswicker
35

John Everett Millais - Mariana

John Henry Newman - John Everett Millais

ART LOVING magazine
D A N T E G A B R I E L R O S S E T T I ( 1 8 2 8 – 1 8 8 2 ) :
T H E C H A R I S M A T I C V I S I O N A R Y O F T H E
P R E - R A P H A E L I T E B R O T H E R H O O D
Dante Gabriel Rossetti (1828–
1882) was not only one of the
founding members of the Pre-
Raphaelite Brotherhood but also
its most charismatic and
multifaceted figure. A painter,
poet, and central inspiration to
the movement, Rossetti was
instrumental in shaping its
aesthetic and philosophy. His life,
filled with creativity, romance,
and tragedy, reflects the very
ideals of beauty and emotion that
the Brotherhood sought to
embody.
Early Life and Influences
Born in London to an Italian
émigré family, Rossetti grew up in
a household steeped in literature
and art. His father, Gabriele
Rossetti, was a scholar and poet
who instilled in him a love for
Dante Alighieri’s works. This
influence would resonate
throughout Rossetti’s life, as seen
in his later paintings and poems
inspired by Dante’s La Vita Nuova
and The Divine Comedy.
Rossetti initially trained at the
Royal Academy of Arts but
became disillusioned with its rigid
and academic approach. Seeking
something more vibrant and
authentic, he found kindred
spirits in John Everett Millais and
William Holman Hunt, with whom
he co-founded the Pre-Raphaelite
Brotherhood in 1848.
The Youth of the Virgin Mary (1849). The models were: the artist's mother for Saint Anne
and his sister Christina for the Virgin. -Dante Gabriel Rossetti
Bocca Baciata (1859) marked a new direction in Rossetti's work. The model
for this painting was Fanny Cornforth - Dante Gabriel Rossetti
Artistic Style and Key Works
Rossetti’s art is characterised by
its lush colours, rich symbolism,
and an almost dreamlike quality.
Unlike Millais or Hunt, who
focused on meticulous realism,
Rossetti leaned towards a more
poetic and evocative style, often
blurring the boundaries between
painting and poetry. His works
are imbued with emotion,
sensuality, and a deep connection
to literature and myth.
38

Dante's Dream at the Time of the Death of Beatrice - Dante Gabriel Rossetti
The Women of Rossetti’s World
One of the hallmarks of Rossetti’s work is his
portrayal of women, often idealised as muses,
lovers, and symbols of beauty. He was fascinated
by the idea of the "femme fatale" and the "ideal
woman," which is reflected in his depictions of
strikingly beautiful figures with flowing hair,
sensuous features, and enigmatic expressions.
Rossetti’s relationships with women were as
complex as his art. His wife, Elizabeth Siddal, was
not only his muse but also a talented artist in her
own right. Their passionate yet tumultuous
relationship ended tragically with her untimely
death in 1862, a loss that deeply affected
Rossetti’s life and work.
After Siddal’s death, Rossetti became involved
with several other women, including Fanny
Cornforth, his housekeeper and model, and Jane
Morris, the wife of his friend William Morris. Jane,
with her distinctive features and melancholic
beauty, became one of Rossetti’s most iconic
muses and appeared in numerous works.
Poetry and Symbolism
Rossetti was not only a painter but also a gifted
poet, and his literary pursuits were integral to his
artistic vision. His poems often explored themes of
love, desire, and mortality, mirroring the symbolic
and emotional depth of his paintings.
For example, The Blessed Damozel reflects his
preoccupation with the idea of eternal love and
spiritual longing, while his sonnet sequence The
House of Life delves into the complexities of
human relationships, blending passion with
philosophical reflection.
n his later years, Rossetti’s life
was marked by declining health
and growing reclusiveness. His
use of chloral hydrate (a sedative)
to combat insomnia took a toll on
his physical and mental wellbeing.
Despite these struggles, he
continued to produce works that
solidified his reputation as a
master of the Pre-Raphaelite
movement.
Rossetti’s influence extended far
beyond the Brotherhood. His
integration of literature and art
inspired later movements such as
the Aesthetic Movement and
Symbolism. Artists like Edward
Burne-Jones and William Morris,
though initially his peers, were
deeply influenced by his vision
and continued to carry forward
his legacy.
Why Rossetti Matters Today
Dante Gabriel Rossetti remains a
figure of fascination not only for
his artistic contributions but also
for the way his life and work
encapsulate the Romantic spirit.
His ability to weave together
beauty, emotion, and symbolism
continues to captivate audiences,
making him one of the most
enduring figures of the Pre-
Raphaelite Brotherhood.
Ecce Ancilla Domini (1850) - Dante Gabriel Rossetti
39

ART LOVING magazine
J A M E S C O L L I N S O N ( 1 8 2 5 – 1 8 8 1 )
James Collinson (1825–1881) was a painter and one of the original members of the
Pre-Raphaelite Brotherhood. Known for his deep religious convictions, Collinson’s
work often reflected moral and spiritual themes, aligning closely with the
Brotherhood’s early focus on sincerity and truth in art. His gentle, contemplative
style and preference for intimate domestic scenes made him an ideal contributor to
the group, particularly during its formative years.
Collinson’s most notable works include The Charity Boy’s Debut and Answering the
Emigrant’s Letter, both of which combine narrative storytelling with a quiet realism.
His art frequently explored the struggles and virtues of working-class life, often with
a moral undertone. However, Collinson’s career and reputation have been
somewhat overshadowed by his personal life, particularly his engagement to
Christina Rossetti, Dante Gabriel Rossetti’s sister. This relationship ended when
Collinson, a devout Catholic, faced a crisis of conscience regarding religious
differences and ultimately decided to break off the engagement.
Although his time with the Brotherhood was brief, Collinson’s early contributions
helped shape its ethos. His work, though less celebrated than that of Millais or Hunt,
is significant for its delicate handling of religious and social subjects. Later in life, he
withdrew from public artistic circles and pursued his religious devotion more fully,
eventually becoming an ordained priest. Collinson died in 1881, leaving behind a
small but thoughtful body of work that reflects the moral and spiritual dimensions of
Victorian society.
The Charity Boy’s Debut - James Collinson
Answering the Emigrant’s Letter- James Collinson
The Renunciation of St. Elizabeth of Hungary (1850) - James Collinson
Puck - Thomas Woolner
40

T H O M A S W O O L N E R ( 1 8 2 5 – 1 8 9 2 ) : T H E
S C U L P T O R A N D P O E T O F T H E P R E -
R A P H A E L I T E B R O T H E R H O O D
Thomas Woolner (1825–1892) was the only sculptor among the founding
members of the Pre-Raphaelite Brotherhood, bringing a unique dimension to
the group. Although his involvement with the PRB was brief, his commitment
to realism and emotional expression aligned closely with its ideals. Woolner’s
sculptures often depicted historical and literary figures, blending meticulous
detail with a sense of vitality, as seen
in early works like Puck (1845).
In addition to sculpture, Woolner wrote poetry, contributing to the
Brotherhood’s interdisciplinary ethos. His poem “My Beautiful Lady”, though
less celebrated than Rossetti’s literary work, captured themes of love and
longing in vivid, Pre-Raphaelite imagery.
Woolner left England in 1852 during the Australian gold rush, where he
worked on portrait busts, before returning in 1854 to establish himself as a
leading Victorian sculptor. His notable works include the Bust of Alfred Lord
Tennyson (1857)and the Statue of Captain James Cook (1878), combining
realism with heroic idealism. Later, he became a member of the Royal
Academy and served as its Professor of Sculpture.
Though his time with the Brotherhood was short, Woolner’s influence
endured through his dedication to the movement’s core values, leaving a
lasting legacy in both sculpture and Victorian art.
Puck - Thomas Woolner
F R E D E R I C G E O R G E S T E P H E N S ( 1 8 2 8 – 1 9 0 7 )
Frederic George Stephens (1828–1907) was a founding member of
the Pre-Raphaelite Brotherhood who later abandoned painting to
become one of its most influential critics. Born in London, he initially
trained as an artist but grew dissatisfied with his work, with The
Proposal (1850–1851) being one of his few surviving paintings.
Turning to art criticism, Stephens became the art editor of The
Athenaeum (1860–1901), where he championed the Brotherhood’s
ideals and helped shape public opinion on Victorian art.
Despite his loyalty to fellow members like Holman Hunt and Dante
Gabriel Rossetti, he often clashed with them in later years. Stephens
wrote extensively on British and European art, publishing
monographs and encouraging middle-class patronage. Known for his
conservative stance on modern art, Stephens distanced himself from
movements like Impressionism. He spent his final years in
Hammersmith and died in 1907, leaving a legacy as a critic who
played a key role in promoting the Pre-Raphaelite movemen
The Proposal- Frederic George Stephens
41

W I L L I A M H O L M A N H U N T ( 1 8 2 7 – 1 9 1 0 )
The Hireling Shepherd (1851) - William Holman Hunt
William Holman Hunt (1827–1910), one of the founding members of
the Pre-Raphaelite Brotherhood, was deeply committed to the
movement's ideals throughout his life, more so than any of his peers.
Despite his fame and the influence of his works, Hunt was never
elected as a member of the Royal Academy. This exclusion, combined
with personal tragedies, marked his career and pushed him to exhibit
independently in galleries such as the Grosvenor Gallery and the New
Gallery, a decision that highlighted his determination to follow his own
artistic path, free from institutional constraints.
In 1865, Hunt married Fanny Waugh, but tragedy struck when she
died just a few weeks after giving birth to their son, Cyril Benone. This
loss deeply affected Hunt, though he found love again with Edith
Waugh, Fanny’s sister, whom he married in 1875. This marriage,
however, caused great controversy, as British laws at the time
prohibited unions between a man and his deceased wife’s sister. The
disapproval of Edith’s family only added to the challenges they faced.
Despite these difficulties, the couple welcomed their second child,
Hilary, in 1879.
hroughout his career, Hunt’s works were initially met with mixed
reviews. Early critics labelled his paintings as awkward and
unattractive, particularly his genre scenes such as The Hireling
Shepherd (1851) and The Awakening Conscience(1853). The latter,
depicting an extramarital affair, scandalised Victorian audiences for its
raw, unapologetic portrayal of moral failure. Nevertheless, these
works demonstrated Hunt’s commitment to realism, capturing scenes
of both rural and urban life with remarkable detail.
Hunt’s fame grew as he shifted his focus towards religious subjects,
creating some of his most renowned works. His travels to Palestine
provided the inspiration and authenticity for paintings such as The
Scapegoat (1854) and The Shadow of Death (1873).
These deeply spiritual works reflect Hunt’s belief in art as a tool to
reveal divine truths through symbolism and vivid realism. His
masterpiece The Light of the World (1851–1853), with its allegorical
depiction of Christ knocking on a door overgrown with vines, became
one of the most celebrated religious images of the Victorian era.
In addition to his religious works, Hunt drew inspiration from English
literary traditions, creating paintings based on poems such as Isabella
and The Lady of Shalott. The latter, completed in 1892 with the help
of an assistant due to Hunt’s failing eyesight, was his final major work.
Throughout his career, Hunt paid meticulous attention to detail, using
vibrant colours and elaborate symbolism, often grounded in biblical
texts. His approach was heavily influenced by the writings of John
Ruskin and Thomas Carlyle, sharing their belief that the world could
be read as a system of visual signs, with the artist’s role being to
uncover the connections between symbol and reality.
Hunt’s unwavering fidelity to the principles of the Pre-Raphaelite
Brotherhood set him apart. Even as others in the group moved on to
different styles or abandoned the movement’s original ideals, Hunt
remained committed to its ethos of truth to nature, moral purpose,
and spiritual depth. By the end of his career, his contributions were
recognised in a retrospective at the Fine Art Society in London in
1886, and his writings, including Pre-Raphaelitism and the Pre-
Raphaelite Brotherhood, sought to assert his critical role in the
movement.
Though his work was often controversial and his path unconventional,
Hunt’s dedication to his vision and his refusal to conform to
institutional expectations solidified his place as one of the most
influential and enduring figures of the Pre-Raphaelite Brotherhood.
42

Tthe shadow of death (1873) - William Holman Hunt
isabella (1868) - William Holman Hunt
The Scapegoat (1854) - William Holman Hunt

CURIOSITIES
Vincent van Gogh, Sunflowers (1888)
Vincent van Gogh Never
Sold More Than One
Painting
During his tragic yet
prolific life, Vincent van
Gogh created over 2,000
artworks, including around
900 paintings. Despite
this, he only sold one, The
Red Vineyard, for a
modest 400 francs. His
mental illness, financial
struggles, and lack of
recognition during his
lifetime made success
impossible. Today, Van
Gogh’s works are revered
worldwide, with Starry
Night and Sunflowers
fetching astronomical
sums and symbolising
artistic
genius
misunderstood in its own
era.
The World’s Oldest Known
Artwork Was Made 73,000
Years Ago
Long before the rise of
civilisations, early humans
expressed themselves artistically.
In 2018, archaeologists
discovered a 73,000-year-old
drawing on a piece of stone in a
South African cave called
Blombos. This abstract work,
resembling a cross-hatched
pattern, predates cave paintings
in Europe by tens of thousands
of years. The find challenges
traditional notions that art
originated with European
hunter-gatherers and highlights
how creativity has always been a
defining feature of humanity.
Michelangelo Hated Painting the Sistine Chapel
When Pope Julius II asked Michelangelo to paint
the Sistine Chapel ceiling, the artist initially
resisted. He saw himself as a sculptor, not a
painter, and was unhappy working on such a
massive fresco project. However, after four
gruelling years of lying on scaffolding and
enduring physical pain, he produced one of the
most iconic masterpieces of the Renaissance.
Ironically, this project, which he despised,
became one of his greatest artistic achievements.
Salvador Dalí and His Pet Anteater
During the late 1960s and early 1970s, a peculiar trend emerged among the elite of Paris: keeping an anteater as a pet. This eccentric
custom was largely inspired by the legendary surrealist artist Salvador Dalí, whose flamboyant lifestyle and artistic genius captivated
the high society of the time. Dalí’s influence was so powerful that the Parisian upper class eagerly followed in his footsteps, adopting
these exotic animals as fashionable companions. The iconic photograph taken by Patrice Habans on 26 July 1969 captures the
essence of this bizarre trend—Dalí stepping out of a Paris metro station, proudly parading his anteater through the city, drawing the
attention of the snobbiest members of French society.
While this scene may seem enchanting or humorous to some, it’s important to reflect on how times have changed. Today, society is
more aware of the ethical implications of keeping wild animals as pets. Anteaters, like other exotic animals, are not suited to
domestication and require specific habitats and care that human homes simply cannot provide. Although we can appreciate the
historical context and the fascination surrounding Dalí’s whimsical behaviour, our modern understanding of wildlife conservation and
animal welfare calls for more responsible interactions with nature.
44

Abstract Expressionist Jackson Pollock painting in his studio in
East Hampton, New York, 1950.
Jackson Pollock’s
Chaotic Art Made
History When Jackson
Pollock first introduced
his drip technique,
critics were divided. His
seemingly chaotic
paintings, created by
dripping and splattering
paint across large
canvases, challenged
traditional notions of
composition and
meaning. What
appeared random was
actually a carefully
choreographed process.
Today, his work is
celebrated as a pivotal
contribution to
Abstract Expressionism
Monet’s Water Lilies Were Almost
Destroyed
Claude Monet’s iconic Water Lilies
series was nearly lost due to the
artist’s frustration. In his later years,
Monet suffered from cataracts that
severely impaired his vision.
Discouraged by the blurred and
distorted colours he saw, he
contemplated destroying many of the
paintings. Fortunately, his friends
persuaded him otherwise, and today,
these works are among the most
beloved masterpieces of
Impressionism.
CURIOSITIES
Picasso’s First Word Was ‘Pencil’
It’s no surprise that Pablo Picasso was
destined to become a creative genius,
given that his first word was “pencil”
(lápiz, Spanish). Born into an artistic
family, with a father who was an art
teacher, Picasso demonstrated
extraordinary talent from an early age. By
the time he was 14, he was already
producing technically accomplished works
that rivalled those of seasoned artists.
Vermeer’s Use of a Camera Obscura
Johannes Vermeer’s mastery of light
and composition in works like Girl
with a Pearl Earring has long been
attributed to his possible use of a
camera obscura—an early optical
device. This tool may have helped him
achieve the photographic quality and
precise detail that set his paintings
apart. Though there is no definitive
proof, many art historians believe the
device played a key role in his creative
process.
The Vanishing Colours of The Last Supper
Da Vinci’s masterpiece The Last Supper
faces constant preservation challenges due
to the experimental technique he used.
Instead of traditional fresco, Da Vinci
applied tempera and oil on dry plaster,
resulting in rapid deterioration over the
centuries. Despite several restoration
efforts, large portions of the original work
have been lost, leaving historians and
conservationists wondering how much of
what we see today is true to Da Vinci’s
vision.
45

ATOM HOVHANESYAN
@artbyatomhov
Self-taught artist based in New York
Atom Hovhanesyan was born on August 19, 1981, in Armenia. At just three weeks old, he and his mother traveled to Algeria to
join his father, who was a professor in Ain Taya, near the capital, Algiers. He grew up in an idyllic middle-class community on the
Mediterranean Sea, surrounded by his parents, sister, and a community of Soviet specialists on official assignment in Algeria.
From an early age, Atom displayed an exceptional level of seriousness, sensitivity, and curiosity. He showed extraordinary
compassion toward his classmates and peers, often attracting the attention of other parents due to the kindness and empathy he
demonstrated toward everyone.
In 1983, Atom and his family returned to Armenia, where he completed his primary and secondary education. His childhood
followed a normal course—he loved soccer and tennis and excelled in literature, geography, history, and biology. It was during this
time that his interest in drawing first emerged.
This period was marked by optimism and stability for his family. Unfortunately, this optimism in Armenia was soon overshadowed
by a devastating natural disaster, war, the collapse of the Soviet Union, and economic instability.
In 1997, just as Atom graduated from high school at the age of 16, his family received final Embassy approval for immigration to
the United States. That same year, he enrolled at New York University to study English while working part-time at a national
restaurant chain. In 1998, he applied to and was accepted at St. John’s University, where he studied Economics while continuing
to work in the restaurant industry. He quickly excelled and moved into key management positions in both the New York and Los
Angeles restaurant markets.
Artists worth knowing
46

ART LOVING magazine
in 2009, Atom relocated
from Los Angeles to New
York and began painting—
the passion of his
childhood and youth.
Initially, he focused on
getting a feel for applying
paint on canvas, starting
with abstract works. He
then moved on to portraits
and landscapes. A
considered and methodical
autodidact, he immersed
himself in studying
anatomy, perspective, light
effects, color theory, art
history, and the works of
both the Old Masters and
Modern Masters.
Between 2013 and 2017,
Atom studied at the Art
Students League of New
York and the National
Academy of New York.
During this time, he
continued developing his
unique Post-Divisionism
style, working primarily in
oil and ink. He created
over 250 pieces of art
before losing his battle
with depression in May
2018. He was 36 years old.
Woman 4 (With Lantern)
47

Grace, 2016
Oil on Canvas
Madonna, 2016
Pen on Paper

Study after Leonardos
ATOM HOVHANESYAN

RAMSAY ALLAN
www.ramsayallan.com
@ramsayallanart
Eighteen years ago, my eyesight was so bad they couldn’t give me laser treatment, so I had my eye lenses replaced. The result gave
me near 20-20 vision that allowed me to see everything in a new light with enhanced detail and brighter colours. This was the
catalyst that inspired my art. I love to paint in oil, I’m self-taught and use my drawing studies to develop and improve as a painter,
aspiring to create surrealism using vibrant colour.
Magazine Cover Image
Artists worth knowing
Step into my Utopian Dream
Oil on canvas
2024 - 68 x 52 x 3 cm
50

ART LOVING
magazine
Alfagate. Acrylic on canvas
2012 - 80 x 60 x 2 cm
Portrait Study of Eva
Oil on canvas
2024 - 50x40cm
51

MARYAM ZADEH
www.mzadeh.art
@mzadeh.art
Maryam is a multidisciplinary artist, designer, art educator, author, and performer based in New York City. Originally
from Iran, she is a first-generation immigrant whose artistic journey transformed upon moving to the United States.
While her career began in design, her passion for painting flourished in the creative freedom she found in her new
environment, allowing her to develop a distinctive artistic voice.
Her work combines classical human forms with Persian cultural elements, showcasing vibrant colors, intricate
patterns, and an interplay of light. These paintings celebrate the human form while reflecting themes deeply rooted
in her Persian heritage.
Ghost City,
acrylic on canvas
Maryam holds a bachelor’s degree in design and two master’s degrees—one in art studies and the other in art
60x75 cm (2023)
education. Before immigrating, she served as an adjunct professor of art at three universities in Iran, where she
shared her knowledge and inspired the next generation of artists.
She has collaborated with prominent galleries in North America and Europe, including Mazlish Gallery and Van Gogh
Gallery. Additionally, she has been invited to showcase her work at prestigious art fairs worldwide, such as the
Miami International Art Fair, Art World Paris, and Contemporary Venice.
As an Iranian woman, Maryam has faced significant challenges under the restrictive societal and governmental
structures of her homeland, which often suppressed her self-expression. Although leaving Iran was difficult, she
cherishes its authentic art, rich history, poetic language, and vibrant culture. These influences remain central to her
work.
Artists worth knowing
Maryam’s art focuses on celebrating the beauty and resilience of women while advocating for their fundamental
rights and freedoms. In her paintings, women are often depicted with missing body parts—subtly or overtly—
symbolizing the suffering, oppression, and sacrifices they have endured throughout history. Despite these losses,
her subjects embody strength, calmness, and courage, serving as a testament to their enduring spirit.
"Woman, Life, Freedom" #2
Mixed Media.
Oil and acrylic on canvas
167.64 cm x 137.16 cm
52

NATALI ANTONOVICH
Thread of Hope.
Print A Giclée print
2024 - 41x 31.5cm
www.nataliantonovich.com
ART LOVING magazine
Natali Antonovich
Painter. Photographer.
My works are designed
for curious people, people
with a cosmic attitude
and fanciers looking for a
key to reading the
superreal. And also for
those for whom the
uniqueness of human
being, his soul and
connexion with the Earth
and Heaven is important...
Shadow of Humility
Paper, Ink.
2021- 21x 27.5cm
Shadow of humility
A path in the dark.
I don't know where they lead
Reflections.
Striving for heights,
I lose earthly comfort.
Shadow of humility.
Fates are fickle,
Fate is mysterious.
The world inhaled deeply
A faded leaf.
© Natalya Hrebionka 2021
53

WENDY COHEN
www.wendycohen.net.au
@wendycohen123
Wendy Cohen is a Sydney-based artist who has earned BFA and MFA degrees from The National Art School in
Sydney. She actively exhibits her work at Art Expo NYC, Art Spectrum Miami, Art San Diego, and The Other Art
Fair in Sydney. She has been published in various publications and has received The Future of Art, Global
Masterpiece Award, from Contemporary Art Curator Magazine as well as Top 60 Masters Award from Art Tour
International.
Artists worth knowing
Lavender Melody
2024
100x80cm
Ornamental Springtime 2024
120x120cm
54

DARLENE SPELL
www.darlenespell.smugmug.com
ART LOVING
magazine
Born in St Louis Missouri,
I've been in nature since I
was a baby, camping with
my family. Both my parents
loved cameras simply for
capturing family and
vacations. My Dad taught
me camera basics since he
had a manual camera that
he bought in Germany
during the Korean War.
My professional
photography journey
began in 2005 and I've
been in numerous
International, National,
Regional, and local juried
exhibitions ever since. I'm
also an International
Award Winning
photographer.
Beauty in Nature
Color digital photography
2020 - 40 x 60cm
Pink Granite in Fall
Color digital photography
2023- 50.8x40.64cm
55

DEBORAH CELINE CHAN SAKS
www.deborahsaks.com
@deborahsakscollage
Deborah began
experimenting with collage
in 2009 and fell in love
with the medium. Her
collages are all created
from hand-cut paper. She
uses vintage and archival
papers, newspapers, maps,
sheet music, images from
old and current magazines,
antique ribbons and
buttons. She loves the way
paper creates texture and
layers in collage. Deborah
approaches her collages
from an experimental angle
and loves seeing the
colours and designs
emerge. As Picasso said “I
begin with an idea and
then it becomes something
else.”
Artists worth knowing
Botanical Collage 27.94cm x 35.56cm
Botanical” was created in 2020. The mixed variety of flowers in reds, purples, oranges and yellow jump out of
the piece giving it a 3-D like quality making the flowers appear to float.
Tangle -Collage 20.32cm x 20.32cm
Tangle was created in 2023. Ripped pieces of sheet music, newspaper
and textured papers with birds and roses feature in this collage.
Circles of Life #6 Collage 20.32cm x 20.32cm
Circles of Life #6” was created in 2024. This collage is part of an ongoing
series experimenting with bold and muted colours building
layers and textures that make up a life….it is an open ended series
56

FRANKIE FRIERI
www.threerosestattoos.com
@Threerosestattoos
Hello my name is Frankie I am a tattoo artist/abstract painter who owns and curates a private Tattoo/art gallery in
Fairfield Connecticut. I’ve been creating art basically my whole life ever since I was a kid and have been tattooing for 15+
years. As a fine artist and an abstract artist, I devote myself to the movement and emotions using color, Form and shape.
My paintings represent the times that we live in and just try to create something colorful and emotional for the viewer to
see and feel what they do. My paintings have been shown in galleries in Paris, London, Amsterdam, Barcelona, New York
City, andTokyo. I am extremely dedicated in both my crafts, always learning, studying, researching and exploring.
ART LOVING magazine
“Ray of Light”
Acrylic on canvas
72x101 cm
“Overflow”
Acrylic on canvas
92x92 cm --2024
“Rite of Spring”
Acrylic on canvas
76x101 cm -2024
57

YUAN XUE
g1z5w6l3@163.com
I am a Chinese artist. My artwork “Wish”describes a secret fairy is holding one invaluable pearl in her hand under the
unpredictable starry sky, praying for blessing of the world . This artwork integrates concreteness and abstraction,
classicalism and modernity, human and nature, incorporating eastern aesthetic elements. It contains profound and
meaningful artistic conception, providing broad imaginative space.
Artists worth knowing
“Wish”
Gouache- 2024
52x 37cm
58

RANIA CHAMSINE
I am a digital artist based in
Qatar. I create surreal and
fantasy-infused artworks. My
art merges the human form
with elements of nature, and
each piece is a journey into
my personal emotions and
stories. I like to provoke
thought through my digital
creations, inviting audiences
to reflect on their place
within the world around
them and in their own minds.
@raniachamsine
ART LOVING magazine
Etherial flutter
Precarious
Procreate, (2024) Bottom left
Wild embrace
59

GRACEANN CUMMINGS
www.graceanncummings.art
@graceannartvisual
I tell people I paint God's mistake
because my art evolved from a
paranormal experience I had in 1995
where I was told “God is Forgiven.” My
work is not about God, religion, nor
atheism. My art is about trauma in
humanity relative to innocence and our
inescapable mortality. Using
abstraction, brushstroke textures, color
spectrums, broken mirrors, the viewer’s
gaze and rhetorical word play, I create
images portraying Innocence as friction
rather than an identity that can suffer
loss.
Artists worth knowing
Innocence Awakens
Medium: oil, knife,
wire on canvas 122x91cm
Price: $5000
Fracture
Medium: oil, knives,
wire on canvas 122x 91cm
Price: $3100
60

SHARON VOLPE
www.sharonvolpeartwork.com
@sharonvolpeartwork
Is an illustrator/painter that
transforms how humans feel on
the inside through to the outside
using expressions, playful themes
and symbols.
She comes from the surrounding
NYC area, and completed an
M.F.A. in illustration at The
Fashion Institute of Technology
in 2016. Prior to that she studied
graphic design at The School of
Visual Arts. Her work has been
exhibited in advertising, gallery
spaces and editorial channels.
Her original artwork was selected
for 3x3 International Illustration
Annual 16, Every Woman
Biennial, American Illustration 38,
39 , 40, 41, 42 (The Book) Call
for Art, ILLO2020 , “Parallel
Worlds” as part of Spotlight
Magazine, Contemporary Art
Curator Magazine as well as
other Contemporary Art and
illustration competitions.
ART LOVING magazine
Rosey Colored Glasses
Watercolor X Digital
40.6 x50.8. cm - 2024
French Patterns
Watercolor X Digital 40.6 x 50.8 cm -2023
Growth (Mother's Gift)
Watercolor X Digital Painting 40.6 x 50.8 cm -2024
61

Rainy Day on The Boulevard
Chalk pastel- 2024
The Soul's Port
Chalk Pastel

WENDY GOLDBERG
@wendylgoldberg
www.wendygoldbergart.com
Wendy Goldberg’s work is included in the Achenbach Collection of Prints and Drawings of the San Francisco
Legion of Honor Museum, Stanford University Hospital, the Haas Collection, Genentech Corp, Loyola
Marymount Health Center, Chicago; Berkman, Bottger, LLP, NY, as well as many private and public collections
throughout the country and abroad, She has been commended by artists and curators alike including Philip
Linhares, Wayne Thiebaud, Karin Breuer and Marian Parmenter. She received her BFA from Cornell University.
ART LOVING
magazine
Metamorphosis
Chalk Pastel
2024 -51x61cm
Where There's Smoke...
Chalk Pastel - 2023- 48x64cm
63

KAREN SAFER
@kjsafer2
Artists worth knowing
I am a photographic artist and poet living at edge of the Pacific Ocean, given camera
& crayons at 3 by scholarly-minded parents encouraging art, education and travel. I
studied painting, developed photos in college, received a master’s art degree, career
in design/architecture, 500+ exhibits, 410+ awards, traveled 233+ territories. I
embrace EVERYTHING from ancients to Cindy Sherman. I drink in color but
venerate black and white. I am a “romantic soul” with intellectual cravings living in a
Digital World.
Double Pei Arch Photography
2024
64

Karen Safer: A Web of Wonder Photography 2024

ELIZABETH DONATHAN
www.elizabethdonathan.com
@elizabethdonathan
Artists worth knowing
Silence
Original acrylic painting on canvas, 36 x 48 cm
My work reflects a deep love for horses and the desire
to be by the water. Each piece evokes a meaningful
experience and is an expression of my soul. Growing up
near Lake Erie provided the perfect dramatic backdrop
for drawing and painting, and the Midwest continues to
inspire by providing exceptional colors with the
changing seasons.
The Gold
Acrylic painting with 24k gold on stretched canvas.
36 x 36 cm
66

Winter
Original acrylic painting on canvas
91.44 cm x 121.92 cm
ELIZABETH DONATHAN

GARY HARPER
www.garyharperart.com
@Garyharperart
Gary Harper is a queer artist & mental health advocate. His artistic journey began early, with a passion for art &
design nurtured throughout school and college, where he honed his skills and developed a distinctive voice that is
both bold and introspective. Over the years, Gary's work has been featured in several national exhibitions, gaining
recognition for its vibrant celebration of identity, diversity, and self-expression. Gary has also been fortunate to have
his art featured in various magazines, which has allowed him to reach a broader audience.
Through Gary's work, he strives to challenge societal norms and create spaces for dialogue, reflection, and
empowerment. He invites you to explore his collection and to join him in this ongoing journey of discovery and
creativity. Gary is a member of the Visual Arts Association, is on the Directory of Creatives in the Liverpool Artist
Network, represented by Artmajeur & Euphoric Arts, and is included in private collections around the world. Gary has
his first solo exhibition this December in Liverpool & his first international exhibit in Portugal from December to
February.
Connected: Acrylic painting/ Spray Paint
100cmx100cm
Artists worth knowing
Transform:
Acrylic Painting/ Spray Paint
100cmx100cm
68

ROMI GIANNA
@romigianna
Exhibitions: 10 solo and 11 group exhibitions, featured in television and radio appearances, magazines and newsletters.
Awards: 2024 Art Collectors Choice Awards, 2023 American Art Awards, 2023 World Art Awards, 2022 American Art
Awards. Obtainers of my artworks are Johnny Depp, Alice Cooper and all accross Austria, France, Italy, German, Saudi
Arabia, Spain, Nederland, Portugal, United Kingdom, Latvia.
My artistic persuits are intertwined with finding my path to my self and to others through art!
ART LOVING
magazine
Goddess ´Peace
Acrylic on canvas 2024
135x92cm
Eurydice and the Lyre
Acrilic on canvas - 2024
143x102cm
Song of Life
Acrilic on canvas -2024
107x116cm
69

FINR ART BY ANNAK
www.fineartbyannak.com.au
@fineartbyannak
The Light in the Shadow - Truth
40.64x 30.48cm
Serenity
71.12x 55.88cm
Born in Australia in 1962,
AnnaK made the choice to
pursue art as a full-time
career in 2023, embracing
her lifelong identity as an
artist.
Inspired by the breathtaking
natural environment of her
native Australia and fueled
by her personal spiritual
awakening, AnnaK's artwork
embodies a vibrant fusion of
these influences,
underscored by a profound
love for color and intricate
detail.
AnnaK's works have gracing
international exhibitions and
has been the recipient of
awards and
acknowledgements.
Artists worth knowing
The Queens - The Divine Feminine
55.88c 71.12cm
70

CAROLIN RECHBERG
www.carolinrechberg.com
Carolin Rechberg is an interdisciplinary Fine Artist born in Starnberg, Germany.
She works in the mediums of Ceramic, Drawing, Installation, Illustration, Painting, Performance, Printmaking,
Photography, Poetry, Sculpture, Sound Art, Textile Design and Voice Work. She places most value in the multisensory
experience involved in the process of creating, the insights they generate and how these transfer to a
way of life.
ART LOVING
magazine
State of Being
Drawing, Aquarelle, Charcoal, Pastel on
Paper - 2024 - 35 x29cm
Finding
Stillness in the
Inner Chaos
Painting,
Tempera and
Ink on Canvas
2021
New Birth
Panting, Gesso and Tempera on Canvas 2024
71

JAMY KAHN
@jamykahn
MICHAELANGELA
3-Dimensional Torso; mix media combine,
embellished -2021
95.25X45.72x25cm
Artists worth knowing
Fine artist Jamy Kahn began her art career
at the height of the Neo-expressionist
movement, and debuted in Paris, France in
1986 at the Galérie Beau Lézard. Jamy
joined with the highly respected Stella
Polaris Gallery in Los Angeles, CA. Within
this esteemed stable of artists, Kahn was
chosen to show her work alongside Andy
Warhol’s original works, by gallery curator
and owner, Peter Nelson. She has been
profoundly influenced by her studies in
architecture, and psychology.
72
LESS CARGO
Acrylic on canvas
2014 - 194x 188cm

WERONICA RACZYNSKA
www.raczynska.net
ART LOVING
Born in 1978 in Warsaw. In 2002 graduated with a MFA degree in Painting from the European Academy of Arts in
Warsaw. In 2010 completed post-graduate studies in Painting & Drawing at The Jan Matejko Academy of Fine Arts in
Cracow. Has had 18 solo exhibitions and participated in over 130 group exhibitions in Galleries, Museums of Art and Art
Spaces in Warsaw, Cracow, New York, London, Paris, Berlin, Basel, Rome, Milan, Naples, Florence, Venice, Bologna and
Barcelona among others.
magazine
Anonymous Lover
Coloured pencil drawing on paper
2024 - 29X20cm
Look
oil on cotton canvas 100 x 100 cm
The wine had gone to the head
oil on canvas 53 x 27 cm
73

KAZUHISA OISHI
@edgeoya24
https://independent-photo.com/es/photographer/kazuhisa-oishi/
www.artloving.net/artists/kazuhisa-oishi
Exploring the Four Seasons of Japan Through
the Lens of Kazuhisa Oishi
Nature photographer and digital artist
Born in Shizuoka Prefecture, Japan in 1982. He was born and raised in Shizuoka Prefecture,
surrounded by rich nature, he developed his sensitivity as a nature photographer. At first, he took
photos of flowers such as cherry blossoms, camellias, and hydrangeas as a hobby, but in 2020, he
encountered Japanese wildflowers and became fascinated by their charm.
Since then, he has continued to share the charms of Japan's nature, with a focus on Japan's
wildflowers, to people all over the world, including Japan, mainly on Instagram.
Artists worth knowing
74

Onuma Pond is one of the most beautiful lakes representing Shiga Kogen in Nagano Prefecture. Its clear
emerald blue color attracts the hearts of all who see it. If you visit Onuma Pond in Nagano Prefecture.
If you visit Onuma Pond in October, when the autumn leaves are at their best, you may be able to see the
beautiful collaboration of autumn leaves and emerald blue
Rengeshouma is one of the most
representative wildflowers of August
in Japan. It quietly grows wild in deep
mountain forests and produces
flowers that It quietly grows wild in
deep mountain forests and produces
flowers that droop down like a face
down.
It is very popular because of its
lovely, elegant, and beautiful flowers.
Kazuhisa Oishi’s work offers a unique glimpse into the beauty of Japan, far beyond its famous cities like Kyoto,
Tokyo, and Osaka. Through his photography, Kazuhisa captures the delicate charm of wildflowers that bloom across
the four seasons, celebrating the deep cultural connection the Japanese people have nurtured with nature for
centuries. From cherry blossoms and plum blossoms to camellias and hydrangeas, each piece reflects not only the
beauty of the natural world but also the traditions that honour it.
Beyond the stunning visuals, Kazuhisa’s work also carries a meaningful purpose: supporting nature conservation in
Japan. A portion of the sales from his artwork is dedicated to environmental preservation efforts, highlighting his
commitment to protecting the landscapes that inspire his creations.
Kazuhisa Oishi’s art invites viewers to not only appreciate Japan’s natural treasures but also to reflect on the
importance of preserving them for future generations.
75

Japan has four distinct beautiful seasons, and the Japanese people have admired and cherished the beauty of the four
seasons since ancient times.
Throughout the four seasons, many wildflowers bloom everywhere from the lowlands to the high mountains.
I was born and raised in Shizuoka Prefecture. Shizuoka Prefecture is located between Tokyo and Osaka in the Japanese
archipelago, and is home to Mt. Fuji, one of the world heritage sites, the Southern Alps, and the volcanic group of the Izu
Peninsula.
It has a rich natural environment ranging from lowlands to alpine zones. This environment, where abundant nature is a
given, has given me the foundation as a nature photographer.
I discovered cameras around 2017. At first, I carried a digital camera with me and enjoyed going to the botanical garden
every week to take pictures of hydrangea, hibiscus, and camellia flowers.
Before I knew it, I was attracted to the charm of wildflowers, and I wanted to convey the beauty of Japanese nature to
people all over the world. Wildflowers do not bloom to exist for someone, nor do they bloom to wait for someone. They
exist solemnly to leave behind descendants for the next generation.
KAZUHISA
OISHI

NANCY SHULER
www.nancyshuler.com
@nancyshulerfineart
ART LOVING
Nancy Beth Shuler is a painter whose work blends the natural world with emotional depth, creating landscapes
that reflect both external reality and inner experience. Based in Troy, Ohio, Shuler’s art is influenced by her
diverse upbringing, from Springfield, Illinois, to the Midwest, and later California. These varied landscapes are
embedded in her work, lending it both personal and broad significance.
Shuler’s paintings, often abstract portraits and landscapes, feature bold colors, primal shapes, and textured
surfaces that invite tactile engagement. Her practice, informed by studies in Tuscany and the legacy of abstract
expressionism, has been shaped by her travels and involvement in the Dayton Society of Artists. Her work
continues to explore the intersection of the external and internal worlds through vibrant color and form.
magazine
Transformation
Oil on Canvas - 2024
122x 152 x 5 cm
This painting depicts birds taking flight at twilight, their wings lifting them from the earth below. As they soar, they
enter a transformative dimension of possibility and promise. The work encourages us to step into the new year with
hope and expectation, ready to embrace fresh perspectives and dreams.
77

AGA CELA
www.aga-cela.com
@aga_cela
Aga Cela (pseudonym for Angelika
Classen) was born in Heinsberg/Germany
(1959). She lives in the Netherlands. She
is a self-taught artist especially in the
creation of portraits.
She has described her way of painting in
the book: "Aga Cela - portrait painting"
(bookscout 2011). She works non-profit
and has exhibited her work regularly since
1997
She works driven by impulse, in terms of
drawing and also painting. Her work is
partly realistic, partly abstract.
Inkt diary
Inkt on rice paper
34x26,5cm
Artists worth knowing
Approaching M
40x30cm
78

Doll, mask and raven
40x30cm
AGA CELA

QIYUE ZHANG
www.doublemooncake.com
Qiyue is an NYC-based illustrator passionate about creating story-driven visuals that evoke a wide range of
emotions. A 2021 graduate of the School of Visual Arts, Qiyue masterfully combines vibrant storytelling with
deep emotional resonance, ensuring each piece is captivating and thought-provoking. Committed to their craft,
Qiyue continually explores new opportunities to bring powerful visual narratives to life.
Artists worth knowing
Moments of Togetherness 2
80

Moments of Togetherness 3

LYNN S. MOVISH
www.switchkitsch.com
Lynn was born in the Catskill Mountains during its bustling and magical era. The area declined, and this profound
change undoubtedly influenced her art.
After a successful business career designing and creating advertising specialties internationally, she began her art
career with the mission of taking discarded and unwanted objects and bringing them to life through the color and
vibrancy of genuine crystals. She has won numerous awards, and her work is highly sought after by private collectors.
Artists worth knowing
Space Cadet
17.78x19.0x 10.16
The Colors Of Hello Kitty
16.51x19.69x7.62cm
Vincent
17.78x22.23x 10.16cm
82

MICHAEL KAHN
www.makprints.artweb.com
When in the 5th grade I won a contest for a trip to a New York Ad Agency, the decision had been made. Having been
awarded a full time scholarship to the School of Visual Arts, I decided to attend Pratt Insitute, and finished my studies at The
Chicago Art Institute. Not long after, I began my career as an Art Director for various agencies.
ART LOVING magazine
SOJOURN.
60x60cm
Make it happen
60x60xm
83

Rave On N0.2
2005 122 x 91.5 cm

GEZ
www.geraldodowd.co.uk
@geraldfrancisodowd
ART LOVING
magazine
Gerald Francis O'Dowd (GEZ)
Gerald is a multimedia artist
who works with paint, nails,
wood, tea lights, mudrock, film,
sculpture, singing, songwriting,
photography, installations, and
lighting. Gerald enjoys
combining various mediums to
create installations that
enhance perception and evoke
an open, sensory experience of
the mind. He shares a studio
with his fellow artist and
friend, Albert Laszlo Haines, in
Northwest London.
Born Disabled
2005) 122 x 91.5 cm
Rave On N0.1
2005 122 x 91.5 cm
Coming Out Of Pain
-2005 122 x 91.5 cm
85

RICH DISILVIO
www.richdisilvio.com
DiSilvio’s primary goal, as he states, “is to focus on the imagination, something no other earthly being shares.” Rich
works in oils and acrylics, with an emphasis on digital art. Rich has worked on projects for Pink Floyd, Yes, Moody
Blues and on various films, while his fine art appears in galleries and museums, including the Tchaikovsky Estate
Museum in Russia.
Artists worth knowing
Charge!
48x92cm
Betta Two
37x92cm
86

EWA ZELLER
Sunflowers
oil on canvas 2021
72x 45cm
www.ewa-zeller.com
Ewa was born in Poland. Since 2003 she resides in USA, where she
maintains affiliations with institutions like PRATT Institute in Brooklyn,
SVA at Chelsea, Pennsylvania Academy of Fine Arts in Philadelphia. She
draws inspiration from classic European styles, infusing them with a
renewed sense of self, notably highlighting the interplay of color in her
depiction of natural subjects. She was represented by Amsterdam
Whitney Gallery in Manhattan, working and exhibited at the Metropolitan
Museum of Art in New York.
ART LOVING
magazine
Twilight
Oil on canvas
2022- 55x71cm
Birth of Nasturtium
Oil on canvas
2022 - 72X 45cm
Towards the Light
Oil on canvas
2024- 55x 55cm
87

ALONA KUSHNIRENKO
@alonakushnirenko
Message in the sand
Oil on canvas - 2016
80x60cm
I am Alona Kushnirenko, from Ukraine.
The series of paintings “Different” is dedicated to every
person who is a little different from others. People often
say to those who are different from them: “You seem to
be from another planet” or “You were born at the wrong
time”, “You are an alien”. People react differently to my
work. Someone said that they are scary. And some people
saw in them cute funny aliens, with a smile on their face.
Cockroach
Oil on canvas- 2018
75x 85cm
Artists worth knowing
88
Round table meeting - Oil on canvas - 2017 - 70x90cm

PETER FOESTERS
@foesterspeter
Since childhood, I have been fascinated by the work of Andy Warhol. The simplicity and phenomenal use of colour in
his art have always inspired me. I try to incorporate these elements into my own work.My search for depth in art has
led me to experiment with different materials. Eventually, I found my medium in polystyrene. This material allows me
to translate my ideas to the canvas in a unique way, giving my work an extra dimension.
ART LOVING
magazine
LA Light
64x84cm
Red road
64x64cm
Redburn atlantic
63x83cm
89

STEPHANIE LEBAL ART
@slebal_artist
Artists worth knowing
Nest
50.8x40.64cm
Art Nouveau Angel
50.8x40.64cm
Stephanie Lebal, a self-taught artist
from Brillion, Wisconsin, discovered
her passion for art at a young age in
Ohio, often praised as an art prodigy
despite no formal training. A lifelong
animal lover, she enjoyed summers at
her grandparents’ lakeside cottage
and caring for animals. Although she
paused her art to pursue nursing—
graduating at the top of her class—her
career was cut short after a disabling
farm accident. After regaining
mobility, she followed her dream of
becoming an illustrator.
In 2023, her illustrations debuted in
Randy the Raccoon by Michael Roger
Reese, who discovered her
hyperrealistic, detailed artwork online.
Today, Stephanie uses her art not
only to create but also to support
charitable causes, combining her
passions for creativity and helping
others.
The Starlight Guardian of the Forest
50.8x40.64cm
90

CHRYS ZUMSTEIN
Consumption over Ethics
90x60cm
www.chryszumstein.com
@chrys_zumstein
Chrys Zumstein delves deep into the
depths of humanity, reality and
fantasy, inspired by the thoughts of
Hegel and Marx. Contradictions are
not just conflicts, but the pulsating
essence of our existence. In my
artworks, a visual duel unfolds,
forcing viewers to reflect on the
complex contrasts of life. Form and
philosophy merge to illuminate the
paradoxical nature of existence. I
reveal the invisible in the visible,
unfolding a profound narrative full of
symbolism and existential questions.
ART LOVING
magazine
Optimism or pessimism?
90x60cm
Legacy of colonialism
90x60cm
91

SHAFFON WRIGHT
www.grimmlockart.bigcartel.com
@grimslock_
Sukana
acrylic paint
35.56 x 35.56 cm
Hello readers, my name is Shaffon
Wright, owner of Grimmlockart. I'm a
29 year old Baltimore native that
specializes in creating neo
expressionism, landscapes,anime
inspired and abstract paintings.
I've been creating art since I was a kid,
but have been selling professionally
for about five years now. I want my
art to really question the mysterious
unknown and bring forth a different
perspective.
Artists worth knowing
Hooded Enchantress
acrylic paint
40.64 x 50.8 cm
Blue Goddess
acrylic paint
40.64 x 50.8 cm
92

ALESSANDRA DIEFFE
www.alessandradieffe.myportfolio.com
Alessandra Dieffe is the pseudonym that this emerging artist has chosen to enter and establish herself in the art
world. She graduated in sociology at the faculty of Magisterium of Urbino, with a thesis in history and criticism
of cinema and then she attended a drawing course with the painter Sandro Visca to support her innate
predisposition. She continued by herself refining her skills until she discovered the many resources offered by
new technologies, including digital art.
ART LOVING
magazine
Au Chardon Bleu 2023
50x 50cm
93

CAROLE WU
www.hummingbirdbibibi.com
@hummingbird_bibibi
When the feelings grab
me and the whirlwind
of emotions strike me, I
gotta draw and I love
what I draw.
Artists worth knowing
@Lanzarote_no hay salida
46X61cm
@Japan_life in meguro
46x61cm
94

Abstract Scene #179: acrylic on canvas,
2024, 91.44 x 121.92 cm
MITTY ZALL
www.mittyzall.com
@mitty.z.art
Originally from Iran and now based in Los Angeles, Mitty
Zall is an abstract artist known for her ability to convey
energy and emotion through her work. Her artistic
journey began with traditional training in classical and
impressionist painting techniques, which allowed her to
build a strong foundation in art. These early years were
influenced by her admiration for the Old Masters, and
her works often included intricate layers and the use of
gold and silver leaf, inspired by artists like Gustav Klimt.
Over time, Zall’s creativity evolved toward contemporary
and abstract art, where she found her voice in acrylicbased
abstraction. Her current series, "Abstract Scene,"
reflects her dedication to exploring raw emotion and
texture. Using a minimalist yet impactful palette, she
often works with just two or three colors, creating
dynamic and textured compositions that invite
introspection.
Two of her standout works, Abstract Scene #167 and
Abstract Scene #154, exemplify her approach. In
Abstract Scene #167, a bold acrylic painting measuring
48 x 48 inches, Zall uses blue and white brushstrokes to
create a sense of movement and energy, balancing chaos
with fluidity. Meanwhile, Abstract Scene #154, featuring
swirling reds against a black background, evokes
intensity and passion while maintaining a contemplative
tone.
Zall’s work has been exhibited internationally, resonating
with audiences in Europe, the Middle East, and the
United States. Her art reflects her multicultural
background and her evolution from classical styles to
modern abstraction. Through her pieces, she offers
viewers a space to connect with color and form,
transforming emotions into visual experiences that
inspire both joy and reflection.
Abstract Scene #167: acrylic on canvas,
2023, 121.92 x 121.92 cm
ART LOVING
magazine
Abstract Scene #171: acrylic on canvas,
2024, 152.4 x 152.4 cm
95

JOE DE HAAN
www.Islandassemblageart.com
Artists worth knowing
Worm's Gone
Found lake and seashore objects
2024 -51 x 46 x 4 cm
I was born in New
York City 1968, grew
up and have lived on a
large island off the
northeast coast of the
U.S. for over 50 years.
I’ve become immersed
in the
beauty,power,and
intrigue of the ocean.
Thankfully it brings in
the supplies for my
abstract and figural
assemblage art.
Introducing
personality,life, and
humor into my sea
creatures are goals.
Other works include
elements of implied
movement,multiple
creatures interacting,
and themes of maritime
history.
Deep Sea Danger
Found seashore objects
(driftwood is unmodified)
2024 - 89 x 28 x 8 cm
96

ANDERS JØRGENSEN
www.osloante.myportfolio.co
@osloante_photographym
ART LOVING
magazine
I work with photography as a
form of expression and was
educated at Robert Meyer Kunst
Høgskole between 2001 and
2005.
I live in Oslo, but I was born and
raised in Honningsvåg,
Finnmark, in Northern Norway.
The subjects in my pictures are
often taken from the northern
part of Norway, as I have a
fascination with the raw, naked
nature that can be experienced
there, along with the post-war
architecture.
My work from northern Norway
combines elements of nature
with post-war architecture.
Untitled ( from the series: "Most
of the time we are somewhere
else")
97

SANDRINE JACOBSON
www.sandrinejacobson.com
@sandrine_jacobson1
Australian born Californian, Sandrine Jacobson, has refined her craft through a commitment to growth. Working
in oils on canvas, Sandrine employs layered techniques to imbue her creations with depth and emotional
resonance. Each new piece showcases the evolution of her artistic maturity and the potency of her creative voice.
Sandrine consistently pushes the boundaries of artistic expression, crafting pieces resonant with authenticity and
emotional depth.
Artists worth knowing
I Can Hear Whispers When Darkness Falls
Oil painting on canvas
2024 - 122 x 183 cm
98
When Our Long Loved Secrets Are Never Told
Oil painting on canvas
2024 - 122 x 122 cm
Sweet Melancholy
Oil painting on canvas
2024 -122 x 122 cm

GARY WAGNER
www.garywagnerphotography.com
@garywagnerphoto
Gary Wagner, originally from Chicago, discovered his love
for photography in high school. He studied at Indiana
University and the Brooks Institute in California. Now based
in the Pacific Northwest, Gary is renowned for his black and
white landscape photography. His work has appeared in
numerous magazines and galleries. As an author, he has
published books with Amherst Media and independently.
His accolades include the Best of Show award at the
California State Fair Fine Art Show.
ART LOVING
magazine
Yosemite Vernal Fall Mist
56x40cm
Pacific Coast Sea Trails
56x40
Iceland Dream Falls
40x56cm
99

PATRICK FAURE
www.patrickfaure.art
Patrick Faure is an internationally acclaimed contemporary surrealist
artist and the founder of Faurism.
Through his provocative and philosophical works, Faure delves into the intricate relationship between humanity
and the cosmos, challenging perceptions of existence with striking imagery and profound symbolism.
Artists worth knowing
Eternal Witness
Ozymandias
Echoes across Eternity
100

ETERNAL WITNESS
Oil on canvas – 2024 – 100 x 80 cm
Patrick Faure’s Eternal Witness blends surrealistic and existentialist elements to explore themes of time,
legacy, and human vulnerability. The monumental witness, surrounded by a desolate landscape, serves as a
metaphor for the indifferent passage of time and the isolation of the human experience. Yet, the lone
figure's presence hints at the resilience and courage inherent in humanity's search for meaning. The painting
thus invites viewers to reflect on their place in the universe, the impermanence of life, and the timelessness
of the human desire for connection, understanding, and purpose.
ART LOVING
magazine
Eternal Witness by Patrick Faure is a striking surrealist painting that combines monumental stone structures
with a minimalist, dreamlike landscape
At the top of the composition, the bust of the Urfa Man, one of the oldest known life-sized statues, is
positioned above the monumental pillars of Göbekli Tepe. With its stoic, mask-like face and hollow eyes, the
Urfa Man serves as a timeless "eternal witness," silently observing the world below and above. Its placement
above the stairs and pillars gives it an almost divine or guardian-like presence, as though overseeing both
the earthly and cosmic realms.
The structure below the Urfa Man is a set of towering pillars carved with ancient symbols and patterns.
These carvings evoke the mysteries of early human spirituality and culture, as seen at Göbekli Tepe. The
addition of stairs leading up to the base of these pillars is significant: they create a pathway, inviting viewers
to ascend toward the ancient structure. The stairs symbolize a journey or pilgrimage, representing
humanity’s quest for knowledge, spirituality, or a connection to its roots. They suggest an ascent from the
earthly to the sacred, as though one could climb toward understanding or enlightenment.
The presence of a comet tail streaking across the sky adds a cosmic dimension to the painting. Unlike a
fleeting contrail, the comet represents something ancient, a celestial traveller that has journeyed through
the cosmos for eons. It connects the scene to the universe, reminding us that humanity’s history is part of a
much grander, universal timeline. The comet's path underscores the idea of cycles, eternity, and the passage
of time, reinforcing the Urfa Man’s role as a witness to both human and cosmic events.
The surrounding landscape is a vast desert with mountains in the background. The desert’s barren expanse
heightens the monument’s sense of isolation and permanence. It evokes a feeling of timelessness, affirming
that the monument has stood here for millennia, untouched and undisturbed. The starkness of the desert
contrasts with the intricate carvings on the pillars, underscoring the fragility of human creation in an
unforgiving, eternal natural environment.
Near the structure, a small human figure stands or walks towards the temple, emphasizing the monumental
scale of the pillars and the Urfa Man statue. This figure represents humanity's humility and smallness in the
face of ancient history and the vast cosmos. It also suggests the human desire to ascend, to seek knowledge,
or to connect with the ancient past. It serves as a reminder of the journey each generation undertakes to
seek meaning and purpose.
Surrealism and Existentialism
By combining surrealist symbolism with existential themes, Eternal Witness becomes a profound reflection
on the human search for meaning in an indifferent universe. The painting suggests that while humanity is
drawn to seek purpose, transcendence, and connection with the past, the cosmos itself offers no answers,
only silent observation. The Urfa Man, as an ancient eternal witness, embodies this indifference, reflecting
the existential idea that meaning is not inherent in the world but must be created by each individual.
The painting's surrealist elements, such as the monumental scale of the structure, the comet in the sky, and
the desert setting, invite viewers to confront the mystery and absurdity of existence. In the tradition of
surrealism, the scene disrupts the familiar, blending the ancient and cosmic to evoke a sense of the uncanny.
Through the tiny human figure, the stairs, and the presence of ancient symbols, Eternal Witness captures
humanity’s solitary, perpetual journey to understand its place in the universe—a journey that may have no
clear answers, but which is undertaken, nonetheless.
In sum, Eternal Witness is a visual exploration of existentialism through surrealist art. It invites viewers to
confront the tension between humanity’s quest for meaning and the indifferent, eternal backdrop of time
and space. Through its surreal composition, the painting both celebrates and questions the enduring human
spirit, suggesting that even in a world without inherent meaning, there is beauty and profundity in the
search itself.
.
101

BETTY COX
www.etsy.com/shop/uniqueandmacabre
I’m a bead embroidery/ mixed media artist. Previously a cellist, an RN and a Certified Nurse Midwife. Lots of Color, personal themes,
sometimes macabre and often whimsical themes are noted in my work. Teaching , exhibiting nationally and internationally are what I
do now along with enjoying travel, family time , loving my dogs and nature.
Beads of Rock
Bead embroidery /
mixed media
2022 - 51 x 30x8cm
Artists worth knowing
Mother Earth
Bead embroidery / mixed media
2024 - 61 x 30x10 cm
Metamorphosis in Flight
Bead embroidery / mixed media
2022 - 51 x 25 x 8 cm
102

GUGGENHEIM NEW
YORK
Rashid Johnson: A Poem for Deep Thinkers
April 18, 2025–January 18, 2026
GUGGENHEIM NEW YORK
For nearly 30 years, artist Rashid Johnson (b. 1977, Chicago) has cultivated a diverse body of work that draws upon an array of
disciplines such as history, philosophy, literature, and music. This major solo exhibition highlights Johnson’s role as a scholar of art
history, a mediator of Black popular culture, and as a creative force in contemporary art.
Almost 90 works—from black-soap paintings and spray-painted text works to large-scale sculptures, film, and video—will fill the
museum’s rotunda, including Sanguine, a monumental site-specific work on the building’s top ramp with an embedded piano for
musical performances. Additionally, a dynamic program of events, developed in collaboration with community partners across
New York City, will activate a sculptural stage on the rotunda floor

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