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oil over encasutic, on cradled wood board; needs no framing.This painting reveals the  many facets and mysteries of this beautiful woman. Faces have fascinated me since childhood, but I don't want to paint just another pretty face. I want to express the power behind the face. Even though the painting is one dimensional, she is not. The colors push against each other, causing a powerful rhythm; a pulsing of energy that the viewer can sense. By painting with large brushes and a palette knife, I am able to keep the fresh and spontaneous quality of the subject.

Lamarr and Anthiel received a patent in 1941, but the enormous significance of their invention was not realized until decades later. It was first implemented on naval ships during the Cuban Missile Crisis and subsequently emerged in numerous military applications. But most importantly, the "spread spectrum" technology that Lamarr helped to invent would galvanize the digital communications boom, forming the technical backbone that makes cellular phones, fax machines and other wireless operations possible.
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oil over encasutic, on cradled wood board; needs no framing.This painting reveals the  many facets and mysteries of this beautiful woman. Faces have fascinated me since childhood, but I don't want to paint just another pretty face. I want to express the power behind the face. Even though the painting is one dimensional, she is not. The colors push against each other, causing a powerful rhythm; a pulsing of energy that the viewer can sense. By painting with large brushes and a palette knife, I am able to keep the fresh and spontaneous quality of the subject.

Lamarr and Anthiel received a patent in 1941, but the enormous significance of their invention was not realized until decades later. It was first implemented on naval ships during the Cuban Missile Crisis and subsequently emerged in numerous military applications. But most importantly, the "spread spectrum" technology that Lamarr helped to invent would galvanize the digital communications boom, forming the technical backbone that makes cellular phones, fax machines and other wireless operations possible.
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process of this painting

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Hedy Lamarr, A Woman Who Changed the World Painting

Ezshwan Winding

Mexico

Painting, Oil on Wood

Size: 24 W x 24 H x 2 D in

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$1,880

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2748 Views

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ABOUT THE ARTWORK

oil over encasutic, on cradled wood board; needs no framing.This painting reveals the many facets and mysteries of this beautiful woman. Faces have fascinated me since childhood, but I don't want to paint just another pretty face. I want to express the power behind the face. Even though the painting is one dimensional, she is not. The colors push against each other, causing a powerful rhythm; a pulsing of energy that the viewer can sense. By painting with large brushes and a palette knife, I am able to keep the fresh and spontaneous quality of the subject. Lamarr and Anthiel received a patent in 1941, but the enormous significance of their invention was not realized until decades later. It was first implemented on naval ships during the Cuban Missile Crisis and subsequently emerged in numerous military applications. But most importantly, the "spread spectrum" technology that Lamarr helped to invent would galvanize the digital communications boom, forming the technical backbone that makes cellular phones, fax machines and other wireless operations possible. •

DETAILS AND DIMENSIONS
Painting:

Oil on Wood

Original:

One-of-a-kind Artwork

Size:

24 W x 24 H x 2 D in

SHIPPING AND RETURNS
Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I strive to make art that touches people's hearts, either abstract or figurative and has spiritual meaning for me. Through my art, I hope to connect with others with beauty of harmony, color, form and energy. Dreams and mediation often give me a starting point on an image. Then comes the applications of many layers of molten beeswax, resin and pigments; each layer is heat fused into the existing surface, AT time I draw or paint on the layers and then scrape and rebuild the facade. This action is much like analyzing a dream. Layer after layer is applied, scraped, incised, fused and marked to allow the truth of the piece to speak. The revealed under layers whisper their subtle messages. I never have total control of life or encasutic painting. Like jazz, there is improvisation that can take a work to a deeper, more subconscious state that can be meditative. I allow my subconscious to take over so that the work may transform beyond the mundane and predictable. I open my senses to the experience and emotionally consent to a poetic and thrilling adventure. The fluidity of the encaustic medium is challenging, exhilarating, inspiring and exciting, making a paintings that can be looked into as well as looked at. The layered luminosity is appealingly tactile, encouraging viewers to stroke and caress the surface, discovering the sensual experience of encasutic. I have studied color and written a book on the power of color to heal, shift moods, uplift or relax us. Color and balance is paramount in my work. SOLO ART EXHIBITIONS Galeria Atelier, San Miguel de Allende, November 2009. Galaria 6 Pozos, Mexico, November 2009 Mero Arte Contemporano , San Miguel de Allende, MX, January 2009 Sol y Luna Gallery, Puerto Vallarta, MX. January 2009 Mero Arte Contemporano, San Miguel de Allende, MX. June 2006, June 2007, March 2008, Galeria LeNoir, November,San Miguel de Allende, 2005 Casa de las Artesanias de Michoacan, San Miguel de Allende,June, 2005 Carson Winding Gallery , Ashland OR. July 2004 Scarlet Palette Gallery, Jacksonville, OR. June, 2003 Artisimo Gallery, Scottsdale, AZ. December 2001, 1998, 97, 96, 95, 94, 93,92, 91 Gallery Living Colors, Ashland, OR. March 2001, May 2002 Blue Sky Gallery, Bend, OR., April 2000 Rogue Gallery, Medford OR, Nov. 1999 Grants Pass Art Museum, Grants Pass, OR. March 1999 Gallery Electra, Talent, OR. 1997, 1998, 1999 Phoenix Theater, Phoenix, AZ.

Artist Recognition
Artist featured in a collection

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