Andres Lopez 1

Reflections of the Bridge Water & Landscape beauty of nature, American Dream

2020

On a summer morning in 1993 a 22 years old young came to Florida from a small old town in the central area of Cuba called Santa Clara. In his bag, he brought no more than two valuabl...

Masks Reflection Water Landscape Sailboat Coast Sailing Oil on Canvas 24 x 14" by artist Andres Lopez. In Andres Lopez's paintings you can find a beautiful fine art of wild life...

Sailing into the Sun is an abstract landscape painting. It is oil on canvas. It is gallery wrapped so there is no need for a frame. On a summer morning in 1993 a 22 years old young came to Florida from a small old town in the central area of Cuba called Santa Clara. In his bag, he brought no more than two valuable things, his worn-out brushes and a great dream. The dream to one day become a professional artist in this new land that welcomed him with open arms. Captivated by his love for the beauty of the Landscapes, his last works are what he sees even in the most common scenes: the close relationship of life and who we are with the natural world around us that asks us to respect and care for it. Artist Statement: " I like to scrutinize in the simple things, sometimes it is there where the lost painting is waiting to be found by the painter's eyes. The landscape painting gives me the opportunity to establish a close relationship with the natural world and humbly capture on a canvas a little of its beauty listening to its voice that reminds us how valuable we are and how much we should love it". U.S Education: Art Florida Academy Abdon J. Romero Art Studio Chiaroscuro Atelier / Now MIFA Miami Workshops received: . Landscape painting workshop with Ramiro Sanchez director of advanced painting on Florence academy of art. . Plein Air painting workshop with the artist Allen Kriegshauser at 7th Annual Plein Air Festival Lighthouse Art...

A Holiday in Venice is painted in the style of American Realism. The painting is a Representational Italian landscape which is the Plaza San Marco in Venice. This realist painti...

"In the series “This is a real place!” I was fascinated by how the underside of the pier at Saint Simons Island, GA was like a readymade collage. The way the pilings and rails divide and frame the spaces between them looks artificially imposed on the scene until you notice the way the waves bounce off the pilings and the railings cast shadows on the water. In some iterations, I chose to simplify the structures of the pier and lighten the values so that it would emphasize the detail in the water. Likewise, I omitted a family of starlings and their droppings in favor of highlighting the geometry of the architecture and the colors and patterns of the water. Making paintings in a series allows me to investigate the results of making different decisions about an image. How I crop or stylize it, the manner in which I apply the paint, what gets included or excluded all add shades of meaning to each piece. Additionally, depictions of the same subject in different weather, seasons, times of day, and tides allows me a deeper understanding. I notice more relationships, colors, and details every time I paint the subject. Every painting is a pile of decisions. Playing with removing more and more details to see what is truly important sometimes improves the painting. The fewer elements you include in an image, the more each one means, and the more important it is to get each thing perfect. At times I like to paint every single detail I can find in a scene, and other times I feel like the unadorned components are sufficient to hold each other in a satisfying composition. I often add simplified shapes to my paintings to highlight the presence of absence or to heighten the importance of each area by creating stark visual contrasts. ⁠The physicality of the paint also plays a role. I used highly textured, thickly applied paint to construct the solid structural elements, and luminous layers of thinly glazed paint for the delicate linework and subtle blending of the water." - Brooke Lanier...

"In the series “This is a real place!” I was fascinated by how the underside of the pier at Saint Simons Island, GA was like a readymade collage. The way the pilings and rails divide and frame the spaces between them looks artificially imposed on the scene until you notice the way the waves bounce off the pilings and the railings cast shadows on the water. In some iterations, I chose to simplify the structures of the pier and lighten the values so that it would emphasize the detail in the water. Likewise, I omitted a family of starlings and their droppings in favor of highlighting the geometry of the architecture and the colors and patterns of the water. Making paintings in a series allows me to investigate the results of making different decisions about an image. How I crop or stylize it, the manner in which I apply the paint, what gets included or excluded all add shades of meaning to each piece. Additionally, depictions of the same subject in different weather, seasons, times of day, and tides allows me a deeper understanding. I notice more relationships, colors, and details every time I paint the subject. Every painting is a pile of decisions. Playing with removing more and more details to see what is truly important sometimes improves the painting. The fewer elements you include in an image, the more each one means, and the more important it is to get each thing perfect. At times I like to paint every single detail I can find in a scene, and other times I feel like the unadorned components are sufficient to hold each other in a satisfying composition. I often add simplified shapes to my paintings to highlight the presence of absence or to heighten the importance of each area by creating stark visual contrasts. ⁠The physicality of the paint also plays a role. I used highly textured, thickly applied paint to construct the solid structural elements, and luminous layers of thinly glazed paint for the delicate linework and subtle blending of the water." - Brooke Lanier...

"In the series “This is a real place!” I was fascinated by how the underside of the pier at Saint Simons Island, GA was like a readymade collage. The way the pilings and rails divide and frame the spaces between them looks artificially imposed on the scene until you notice the way the waves bounce off the pilings and the railings cast shadows on the water. In some iterations, I chose to simplify the structures of the pier and lighten the values so that it would emphasize the detail in the water. Likewise, I omitted a family of starlings and their droppings in favor of highlighting the geometry of the architecture and the colors and patterns of the water. Making paintings in a series allows me to investigate the results of making different decisions about an image. How I crop or stylize it, the manner in which I apply the paint, what gets included or excluded all add shades of meaning to each piece. Additionally, depictions of the same subject in different weather, seasons, times of day, and tides allows me a deeper understanding. I notice more relationships, colors, and details every time I paint the subject. Every painting is a pile of decisions. Playing with removing more and more details to see what is truly important sometimes improves the painting. The fewer elements you include in an image, the more each one means, and the more important it is to get each thing perfect. At times I like to paint every single detail I can find in a scene, and other times I feel like the unadorned components are sufficient to hold each other in a satisfying composition. I often add simplified shapes to my paintings to highlight the presence of absence or to heighten the importance of each area by creating stark visual contrasts. ⁠The physicality of the paint also plays a role. I used highly textured, thickly applied paint to construct the solid structural elements, and luminous layers of thinly glazed paint for the delicate linework and subtle blending of the water." - Brooke Lanier...

Unframed Dimensions: 13 1/4 x 24 1/4 in. Framed Dimensions: 17 1/2 x 28 1/2 in. Nicholas Berger Biography American, b. 1949 Nicholas Berger’s career as an artist spans three decade...