The famous, talented American Female Artist was born on Sept. 16, 1963, in Hollywood, in the State of California. Alison Van Pelt grew up in the city of Los Angeles, California, and her talents developed as she's growing up. She decided to be an artist.
She began her art education in the 1970s and ended up attending 5 different educational institutes. Four of them are in the United States, and the 5th one is in Italy. These institutes were UCLA, the University of California, Otis Parsons Art Institute, the University of California, the Italian one being Florence Academy.
As she grew up in the 1970s, her artistic skills blossomed. The photorealistic style of her paintings was welcomed among her fans and critics during that time, where picture taking was being assimilated into the artistic world. They welcomed her evocative, distinct style, which identified with the feelings of that '70s age.
Agnes Martin, Robert Rauschen berg, Paramahansa Yogananda, Yayoi Kusama, Helmut Newton, Hunter S. Thompson and Dan Millman were some of the painters that influenced and inspired the young and very talented American female artist. The influence and inspiration of the aforementioned painters motivated her to created and perfect her own unique style. She began the process by learning how to utilize images of the subjects and/or figures she would paint. After gaining more and more experience, she ended up developing the complex process she still uses today. Purposely-degraded, beautiful, mystical evocation of what she works on is always the final result of that process.
She developed her own veritable painstaking techniques, and her passion was often the motivation for working despite all the pains of producing her technical miracles. This revealed the human, yet mysterious works she came up with. She would begin by possibly looking at particular photograph, or another image or picture which would have intrigued her, and maybe draw using hand first, or paint a realistic-style portrait. The complex obscuring technique over the original painting was her final, unique process.
She has exhibited in many of the galleries as a solo artist in North America and Europe. Her unique artwork has been shown in the Fresno Art Museum and the Drayton Art Institute. Naturally, her works are in important public collections like the Armand Hammer Museum, the Harlem Studio Museum, etc. She now lives and works in California.
At a distance, many of her images may first appear hazy, as if they may have been photographed through a mist of some kind. This alters as you get closer, and as you draw nearer, you start to notice vertical lines, and then weaving horizontal lines emerge.
When critiquing the artwork of the very gifted American female artist, critics have most often considered it to be "abstract" art. In response to that observations of general art viewers, Van Pelt has claimed the abstract process as her way of essentially blending, or "merging" the tradition of contemporary abstraction with portraiture. The question of whether the figures in the paintings are either stepping forth into the tangible world or are they veritably receding into the depths of the canvas. The renown artist herself has never really replied to the particular question with any tangible or direct answer; instead, she sequentially leaves the answer up to the viewer.
She began her art education in the 1970s and ended up attending 5 different educational institutes. Four of them are in the United States, and the 5th one is in Italy. These institutes were UCLA, the University of California, Otis Parsons Art Institute, the University of California, the Italian one being Florence Academy.
As she grew up in the 1970s, her artistic skills blossomed. The photorealistic style of her paintings was welcomed among her fans and critics during that time, where picture taking was being assimilated into the artistic world. They welcomed her evocative, distinct style, which identified with the feelings of that '70s age.
Agnes Martin, Robert Rauschen berg, Paramahansa Yogananda, Yayoi Kusama, Helmut Newton, Hunter S. Thompson and Dan Millman were some of the painters that influenced and inspired the young and very talented American female artist. The influence and inspiration of the aforementioned painters motivated her to created and perfect her own unique style. She began the process by learning how to utilize images of the subjects and/or figures she would paint. After gaining more and more experience, she ended up developing the complex process she still uses today. Purposely-degraded, beautiful, mystical evocation of what she works on is always the final result of that process.
She developed her own veritable painstaking techniques, and her passion was often the motivation for working despite all the pains of producing her technical miracles. This revealed the human, yet mysterious works she came up with. She would begin by possibly looking at particular photograph, or another image or picture which would have intrigued her, and maybe draw using hand first, or paint a realistic-style portrait. The complex obscuring technique over the original painting was her final, unique process.
She has exhibited in many of the galleries as a solo artist in North America and Europe. Her unique artwork has been shown in the Fresno Art Museum and the Drayton Art Institute. Naturally, her works are in important public collections like the Armand Hammer Museum, the Harlem Studio Museum, etc. She now lives and works in California.
At a distance, many of her images may first appear hazy, as if they may have been photographed through a mist of some kind. This alters as you get closer, and as you draw nearer, you start to notice vertical lines, and then weaving horizontal lines emerge.
When critiquing the artwork of the very gifted American female artist, critics have most often considered it to be "abstract" art. In response to that observations of general art viewers, Van Pelt has claimed the abstract process as her way of essentially blending, or "merging" the tradition of contemporary abstraction with portraiture. The question of whether the figures in the paintings are either stepping forth into the tangible world or are they veritably receding into the depths of the canvas. The renown artist herself has never really replied to the particular question with any tangible or direct answer; instead, she sequentially leaves the answer up to the viewer.
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