Beatriz Mihazes

Beatriz was born in 1960 in Rio de Janeiro where she currently lives and works. She studied art at Parque Lage, a famous art reference in Rio de Janeiro (just for fun, Parque Lage was the place where Snoopy Dog´s music video clip "Beautiful" was recorded).

She is one of the few Brazilian artists that has popped the bubble and entered the inernational art market scene. Some of her great art projects have been showcased at: Passo Imperial, Rio de Janeiro - Tate Liverpool, Liverpool - Projects, Museum of Modern Art, New York - Museo Nacional Centro de Arte Reina Sofia, Madrid - Keemper Museum of Art, Kansas City - Contemporary Arts Museum and Houston - Inverleith House, for example.

The painting "Magic of OZ" (2001) - above - was sold to a Spanish art collector for $15,000.00. In 2008, it was auctioned in the famous Sotheby´s in New York. Its original bid was $350,000.00 and, luckly, it was sold for $1,049,000.00, which means an increase of 6.000% in seven years. This was the highest bid ever conquered by a live Brazilian artist.

Some other Brazilian painters that also star in the international scene are: Ernesto Neto, Vik Muniz, Adriana Varejão, Sergio Camargo, Cildo Meireles, Tunga, Waltercio Caldas, José Resende and Rivane Neuenschwander.

Eldzier Cortor

The Night Letter (1938)

Born in 1916, Cortor’s life and career reflects the African American experience in the twentieth century. His family participated in the Great Migration of African Americans from the rural south to the industrial north near the turn of the century. Raised in Chicago, he trained at the School of the Art Institute of Chicago and the Institute of Design; worked for the Federal Art Project; and co-founded Chicago’s South SideCommunity Art Center. Like many young African Americans, he searched for positive Black imagery, which he found in working-class life in Chicago’s South Side, in the former slave cultures of the U.S. South and Caribbean, and, finally, in the symbolic form of the Black female figure. While much of his work displays a strength and hopefulness, other works, such as the Haitian slaughterhouse series (L’Abbatoire),suggest the suffering than can result from oppression and racism.

Ernabella Visions

Ernabella Arts is a community based arts association through which artists can sell their work or come in and paint on a daily basis. Ernabella is known for its magnificent fabrics as well as printmaking on paper and paintings on canvas, linen and silk.


Ernabella is 440 kilometres south-west of Alice Springs, just south of the Northern Territory border in South Australia. The community was established in 1937 as a Presbyterian Mission and the surrounding country is home to approximately 400 Pitjantjatjara people. It is the oldest permanent settlement on the Anangu Pitjantjatjara Yankunytjatjara Lands.


Ernabella Arts began in 1948, making it the oldest Aboriginal Arts Centre. The centre employs a coordinator to assist members in marketing and developing their products.The craft room was set up to provide employment for Pitjantjatjara and Yankunytjatjara women by applying their spinning skills to wool from the sheep run on the Mission station. From this beginning women and girls have produced art in many different media, all incorporating the distinctive Ernabella design.Batik has been synonymous with Ernabella since the mid 1970s and the resultant silks have featured in many national and international exhibitions. Silkscreened fabrics have been produced there since the late 1980s.Woollen work became less economical to produce by the late 1960s and the artists were introduced to batik as a fabric decoration technique. Batik quickly became a signature art form for Ernabella. Artists also used the batik design medium for hand-tufted rugs and carpets. Batik (lost wax) technique is also used to decorate a range of ceramic pieces made in the Ernabella ceramic studio which began in 2003.Since attending a printmaking conference at Northern Territory University in 1993, Ernabella artists have also been making etchings and lithographs on paper in collaboration with printers from Northern Editions.Using skills acquired in fabric design, Ernabella women have excelled in these print mediums and their work has been exhibited extensively in Australia and overseas. They have continued to make regular printmaking trips to Darwin.Painting styles went through radical developments from 2002 and Ernabella painting now encompasses subjects drawn from Tjukurpa (Dreaming stories); mai putitja (bush food stories) and elements of the early anapalyaku walka (Ernabella style).Ernabella work is represented in the major public galleries and in private collections in Australia and overseas and has been featured in a number of recently books on Aboriginal Art. The artists have their own Ernabella Arts Web site. http://www.ernabellaarts.com.au/

Ernabella Artists

Lady Halaman Berhuburgan

Hans Hartung

Hans Hartung, (born Sept. 21, 1904, Leipzig, Ger.—died Dec. 7, 1989, Antibes, Fr.), French painter of German origins, one of the leading European exponents of a completely abstract style of painting. He became particularly well known for his carefully composed, almost calligraphic arrangements of black lines on coloured backgrounds.

Fred Otnes

In the hands of collage artist Fred Otnes, control merges with chance to create works of subtle, refined beauty that are designed with such assurance as to appear inevitable, works that are infused with a mystery that is both fleeting and eternal.

Born in 1930 in Junction City, Kansas, Otnes trained at the Art Institute of Chicago, where he first encountered Cubist works by Braque and Picasso. The Modernist commitment to form without the illusion of depth captured his imagination, though it would be some time before he incorporated it into his own work. Otnes first pursued a career in traditional, realistic illustration in Chicago, and then, from 1953, in New York. While working for national magazines and advertising clients, he and his wife, Fran, built a house in Connecticut designed by architect John Johansen in the International style and furnished it in classic Modernist mode.


By the mid-1960s, aware of the shrinking market in magazine illustration, Otnes made a bold change in his method of working, finally putting into play the ideas that had dictated his taste and interest for years. Using newly-honed printing, photo-transfer, and collage techniques, he pioneered a unique look: multiple images across a one-dimensional plane. This was the perfect form in which to depict some of the more complex concepts of the era such as the war in Vietnam and the Civil Rights movement. At the top of his field, Otnes received more than two hundred awards for his work.


Once again sensing a change in the business in the mid-1980s, Otnes committed himself solely to creating gallery work. Fully able to explore the art of collage on his own terms, he has continued to push at the boundaries of scale and abstraction in his work, as is clear in the catalogue section of this book. The text describes his motives and motivations with each transition in his life, especially what artist Mark English describes as Otnes’s "metamorphosis" from realist illustrator to collage artist. Otnes also discusses some of the many and disparate artists and art forms he admires, from Piero della Francesco to Richard Diebenkorn to Outsider Art. He speaks of the challenges of work, the nearly fugue-like state he sometimes achieves when in the studio, and considers the never-ending difficulties that the medium itself imposes, as well as those he imposes upon himself so that he remains interested and the work continues to grow.

With elements as diverse as appropriations from Renaissance and Old Master works, eighteenth-century engravings, bicycle patent diagrams, sheet music, feathers, fabric, and flowers, Otnes demonstrates in image after image a subtle, elegant world where imagery and surface interact, where tonal and textural shifts delight, and where secrets and mysteries emerge from the torn paper and scraped away paint. A world where beauty and meaning hover in wordless communication between artist and viewer.

Krishna Pulkundwar

Artist statement: I am from a tiny village Kandhar in Maharashtra State, India and so the amalgams of nature and city life are mirrored in my work … As a child I loved visiting rivers and was fascinated by the reflection of shallow water, the textures of wood, stones and leaves. These developed into frames of reference and manifest themselves as windows and boxes in my work… As every painting gives me pleasure, so does the medium. Each medium keeps on encouraging me to explore and experiment. All my paintings have given me sublime satisfaction of creation. The feeling of immense joy, which I have experienced, I hope to offer the same to the viewer.

Auguste Herbin

Auguste Herbin, the son of a workman, was born in a small village near the Belgian border on 29 April 1882. This background is reflected in the northern French artist's painting with its rational approach and explicit working class character. Before settling in Paris, where he first joined the Impressionists and later the Fauves, Herbin attended the Ecole des Beaux Arts in Lille from 1900 onwards. His studio was situated directly next to Braque's and Picasso's, allowing a close study of Cubism, which resulted in first Cubist paintings in 1913. In 1917 he moved on to an abstract, geometric phase before gradually discovering Constructivism.