Painting Rachael

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Here the dream is projected and spawns a 36x48 acrylic painting below. All images available in two small editions of archival pigment prints. Large landscape format archivally printed images 26x38 inches and smaller17x22 on rag paper. In three decades of leading inner city Art workshops with disenfranchised, neuro-diverse people, empathised with, advocated for, and admired those who have survived horror--and through their own resiliance-- gone on.

I have also observed--in myself-- how embodied trauma--when examined through the creative process--can result in the transfiguration of personal and collective suffering -- transforming into the virtual power of creative becoming. Rachael Romero has two pieces in the exhibit: May 8 to November Here the dream spawns a 36x48 acrylic painting. I felt I knew why I was alive. Yale's Cushing Medical Historical Library.

Rachel A Pettit Fine Art

She specialized in flowers, inventing her own style and achieving international fame in her lifetime. Due to a long and successful career that spanned over six decades, she became the best documented woman painter of the Dutch Golden Age , being followed by Jan van Huysum , who took flower painting to another degree of popularity. Her father was a professor of anatomy and botany.

Later, as Rachel became more accomplished, she taught her father and also her sister, Anna Ruysch how to paint. In , at age fifteen, Ruysch was apprenticed to Willem van Aelst , a prominent flower painter in Amsterdam. His studio in Amsterdam looked out over the studio of the flower painter Maria van Oosterwijck. Ruysch studied with van Aelst until his death in This technique produced a more realistic and three-dimensional affect in her paintings.

Rachael Higby

By the time Ruysch was eighteen she was producing and selling independently signed works. In she married the Amsterdam portrait painter Juriaen Pool , with whom she had ten children. Throughout her marriage and adult life she continued to paint and produce commissions for an international circle of patrons. It is unknown whether Ruysch was a member of the Amsterdam Guild of Saint Luke , but early signed works by her in the s show the influence of Otto Marseus van Schrieck. By Rachel and her family had moved to The Hague, where she was offered membership in the Confrerie Pictura in The Hague as their first female member.

Art historians consider Ruysch to be one of the most talented still life artists of either sex.

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Historians are able to establish this with certainty because she proudly signed her age on her paintings. Ruysch had a strong understanding of drawing and the techniques of earlier traditions.

This knowledge improved her painting abilities. Stylistically, her artwork, with its playful composition and brilliant colors, was part of the rococo movement.

Rachel Pettit Fine Art

Every petal was created painstakingly with delicate brushwork. Her asymmetrical compositions with drooping flowers and wild stems created paintings that seemed to possess a great energy about them. Ruysch had painted a number of forest floor pictures which feature small animals, reptiles, butterflies, and fungi in her early work.

She later adopted flower painting as her main concern and continued to paint until her death, thus continuing the 17th-century style right down to the middle of the following century. Ruysch's skill lay in the minute observation of each flower in an extremely naturalistic way, composed into an elaborate arrangement that would be very difficult to achieve in nature - the flowers would not support each other so well under such an arrangement.

In common with most flower pieces from the last third of the 17th century, the colours of the flowers are much more carefully balanced than in the earlier pictures.