Alfred Stevens – A Life Immersed in Art

Defining Belgian artist Alfred Stevens (1823 – 1906) has always been a challenge. Throughout his career, the painter’s artwork fulfilled styles seen in various movements, like Romanticism, Impressionism, and Realism. As his styles changed so did his subject matter; regal women, political scenes, and sea settings were among his many focal points. Perhaps the most profound constant in Stevens’ life was art itself.

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Alfred Stevens was introduced to art at an early age. His father and brothers were painters, art dealers, critics, or collectors. If he and his family members were not creating art they could be found discussing art at the café his grandparents owned. The establishment was always intended to be a place where artists could congregate.

At age 14, the young painter attended an art school where he developed drawing abilities. These skills preceded his enrollment in the influential Parisian art school, Ecolé de Beaux-Arts, where he may have studied the work of Dutch genre painters. This art style, known for portraying “scenes from everyday life,” quickly launched Stevens into fame.

After four years of publically displaying his work, Alfred Stevens painted Ce qu’on appelle le vagabondage (translated to What is called vagrancy) which got the attention of the Emperor at the 1855 Universal Exhibition. After viewing the piece of art depicting Parisian soldiers leading an impoverished mother and her children to prison while signs of wealth shroud the scene, Napoleon III enacted political changes.

Shortly after this, in 1857, Alfred Stevens returned to his favorite subject matter: women in fashion. One decade later, by the time the Great Exhibition of 1867 arrived, paintings like Woman in Pink, Miss Fauvette, Ophelia, and In the Country were added to his portfolio.

His career was postponed in 1870 when he fought in the Franco-Prussian War. When the war was over, he continued to paint. In 1878 he was elected Commander of the Legion of Honor. (He received a Legion of Honor award 15 years earlier.) He also received a medal from the prestigious Paris Salon the same year.

Despite his acclaimed portfolio and notoriety throughout France, Alfred Stevens experienced significant financial troubles in the 1880s. Serendipitously, this struggle would catapult Stevens into a new art style. Falling on hard times was exacerbated by unrelated health concerns. Even though his diagnosis was never known, the prescription that surfaced proclaims a doctor ordered Stevens to vacation by the sea. For three years, vacations were funded by a Parisian art dealer who accepted the artwork Stevens created as an even exchange. This is how sea settings began to appear in Stevens’ artwork. Nevertheless, Alfred Stevens had a few more genre paintings in him.

The pinnacle of Alfred Stevens’ late career was Panorama du Siècle. Painted alongside Henri Gervex and other assistants, the masterpiece received many accolades at the 1889 International Exhibit.

Stevens was often honored in the final years of his life. In 1900 his alma mater, Ecolé de Beaux-Arts, ushered his name into history as the first living artist to receive a retrospective exhibit. Other honorary exhibits sold Stevens’ work but did not provide him with enough money to live the rest of his years comfortably. Alfred Stevens passed away in 1906. His most valuable assets were works of art already in circulation.

Alfred Stevens left the art world with a rich and lasting legacy. His artistic talents evolved throughout his career. He produced numerous paintings that fit different styles, genres, and artistic movements. In addition, he stirred politics with his honest portrayal of daily life in Paris and captured women of the era in latest fashions. Most importantly, Alfred Stevens paralleled the essence of art itself. Like art, Stevens was not always easy to define. Still, many art enthusiasts looked at him with awe; he was a man who lived his life fully immersed in art.

However, this post is meant to recognize his artist style and some major pieces. For those who want to read more of Stevens story, visit this link: http://www.segmation.com/products_pc_patternset_contents.asp?set=AST . Also, Segmation is proud to offer 29 digital Stevens patterns. By downloading these paint by numbers masterpieces, you can emulate one of the most fascinating artists who ever lived.

Enjoy the 29 Alfred Stevens – A Life Immersed in Art . Segmation has for you and continue to learn and celebrate the life of a great artist.

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Read more Segmation blog posts about other great artists:

Benjamin West – The American Raphael

Jan Gossaert – A Great Flemish Painter of Antiquity”

Joaquín Sorolla – The World-Renowned Spanish Painter

Sources:

Alfred Stevens (painter)

Alfred Stevens

Alfred Stevens What is called vagrancy

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Jan Gossaert – A Great Flemish Painter of Antiquity

The Renaissance style found in Jan Gossaert’s (1478 – 1532) paintings precedes him and defines him. Only a few of his most poignant works exist today, and the information that remains about his personal life is significantly limited. Even his correct name is shrouded with mystery; he may have been known as Jan Mabuse or Jennyn van Hennegouwe.

Today, nearly five centuries since his death, he is commonly called Jan Gossaert.

Despite a small number of his commissions surviving throughout the years and little commentary being left by contemporary artists, Gossaert has been revered as one of the greatest painters of antiquity and regarded (in the 1500s) as the “nostrae aetatis Apellum” or the “Appelles of our age.” (Apelless of Kos was an infamous Grecian painter from the middle of the second century.)

It is believed that Gossaert’s style developed as he mimicked great artists who came before him. All the while, the work he produced greatly influenced artist who followed in his footsteps.

As with many Renaissance artists, Gossaert concentrated on biblical themes. Specifically, he painted scenes that depicted Adam and Eve, The Virgin and Child and the Crucifixion. He also breathed life into mythological themes and painted many of his characters nude. In doing this, it appears Gossaert approached painting historical and mythological figures with the fine detail and acuity of a sculptor.

In addition to the detail he put into painting characters, he also concentrated on the architectural backgrounds of his paintings. They often included many large, detailed structures and ornate décor.

Much of his style is believed to come from his time training at the Guild of Saint Luke in Antwerp. Antwerp was known for producing artists that had stylistic traits including, “cluttered compositions, fantastic architecture, elegant, exaggerated poses of attenuated figures, swirling draperies, and excessive embellishments of all kinds.”

Many of Gossaert’s paintings appear to take the traits of other famous artists like Jan van Eyck and Hans Memling. It is possible that Memling inspired Gossaert’s portraits of Mary Magdalen and Jean Carondelet.

Before being commissioned by Philip of Burgundy, who asked him to paint murals for the church of Middleburg, Gossaert had a well-known piece hang on the high altar of Tongerlo Abbey, titled, “Descent from the Cross.” While working for Philip of Burgundy, Gossaert accompanied him on a trip to Italy where he adopted many stylistic techniques of the Leonardeques. More so, an Italian journey became part of Flemish custom, especially for painters.

Three signed paintings exist in the time closely following Gossaert’s trip to Italy. They include Neptune and Amphitrite of 1516, the Madonna, and a portrait of Jean Carondelet of 1517.

After the death of Philip of Burgundy in 1524 he found himself connected to Henry III and his wife Mencía de Mendoza. Some of Gossaert’s most famous work may have found its way into Mendoza’s art collections. Virgin and Child in a Landscape of 1531 may be been titled as “Joanyn de Marbug” in one of her inventories. Also, Christ on the Cold Stone of 1530 was also believed to be in her possession.

When looking for information about Jan Gossaert in established art resources of today, it is hard to find agreeable facts. What is known about this Flemmish painter is the style he used and the paintings brought to life. Like other Renaissance painters, Gossaert has work that has been etched into history. Today, his work inspires artists by showing his grandiose approach to architecture, care for ornate details and statuesque characters.

Many facts about Jan Gossaert’s life remain a mystery but in legacy he lives on as a great painter of antiquity.

However, this post is meant to recognize his artist style and some major pieces. For those who want to read more of Joaquín Gossaert ‘s story, visit this link: http://www.segmation.com/products_pc_patternset_contents.asp?set=GOS . Also, Segmation is proud to offer 27 digital Joaquín Gossaert patterns. By downloading these paint by numbers masterpieces, you can emulate one of the most fascinating artists who ever lived.

Enjoy the 27 Joaquín Gossaert Flemish patterns. Segmation has for you and continue to learn and celebrate the life of a great artist.

Read more Segmation blog posts about other great artists:
Joaquín Sorolla – The World-Renowned Spanish Painter

Robert Delaunay, Blazing a Colorful Trail

The Reluctant Educator and Revered Artist, Emil Carlsen”

Sources:

Jan Gossaert Wikipedia

Jan Gossaert

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William Merritt Chase – American Impressionist Painter

American Impressionist painter William Merritt Chase was born on November 1, 1849, in Williamsburg, Indiana.

His parents had six other children after his birth. William’s father, a businessman, decided to re-locate his family to Indianapolis in 1861, when Chase was twelve. In Indianapolis, the young man was hired by his father to be a salesman.

Chase’s artistic talent was not necessarily nurtured in his childhood. He received early training from Jacob Cox and Baton S. Hays, artists who were self-taught. Though Chase had very humble beginnings, studying under non-notable teachers, he would mature to become a famous impressionist painter.

William Merritt Chase joined the army only to be encouraged by his teachers to seek further artistic training. He received this advice, and in 1869 moved to New York to study with Joseph Oriel Eaton. Soon after, he began studying at the National Academy of Design. Lemuel Wilmarth, pupil of Jean-Léon Gérôme, taught Chase during his time at the National Academy.

Although he grew rapidly under the tutelage of excellent art instructors at the National Academy of Design, Chase moved to St. Louis in 1870 to help support his financially struggling family. He did this by selling still life paintings. While in St. Louis, he was involved in the local art community. He won prizes and awards for the excellence of his works. The time spent in St. Louis was something of a springboard for Chase’s career, as it gave him an opportunity to exhibit his works and showcase his rare talent.

Chase’s artistic talent was evident to all, including the elite and upper class of St. Louis. These wealthy individuals favored Chase and provided a way for him to live in Europe for two years. Their only stipulation was that he would provide them with paintings and assist them in obtaining the European art they desired for their collections.

The burgeoning artist’s two years in Europe were excellent for his stylistic development. He enrolled at the Academy of Fine Arts in Munich and was privileged to be a student of Karl von Piloty and Alexander von Wagner. During his time in Munich, Chase sought out friendships with other American artists, including Joseph Frank Currier, Frank Duveneck, and Walter Shirlaw.

While in Munich, William Merritt Chase began to experiment with his artistic style. He painted figurative works in the “loosely-brushed style popular with his instructors.” His painting titled “Keying Up” is an example of his work from this time period (1876). Chase was later awarded a medal for “Keying Up” by the Philadelphia Centennial Exhibition.

In 1878 Chase moved to New York and began teaching art. A few years later, in 1886, he married Alice Gerson, whom he had eight children with. Alice, along with two of Chase’s daughters, frequently posed for him.

William Merritt Chase established and instructed at the Shennecock Hills Summer School in 1890. It was at this school, located in New York, that he taught the “plein air method of painting” (meaning he taught his students out of doors). The Chase School of Art was opened in 1896.

His ability to excellently paint many different subjects was one of the defining talents of Chase, the artist. Throughout his life he regularly painted portraits, landscapes, studio interiors, figures, cityscapes, and still life pictures.

On October 25, 1915, the world lost a painter who had contributed much to society. William Merritt Chase passed away in his Town House in New York. He died a well-respected, highly esteemed artist and teacher.
Chase’s New York studio and home (now known as the William Merritt Chase Homestead) are both part of the National Register of Historic Places. Chase is an example of an artist who worked with integrity and relentlessly developed his talent. He is still celebrated to this day.

William Merritt Chase established a school for artists known as the Chase School. He played various roles in his life including an artist, teacher, father, and sophisticated cosmopolitan. Although he worked with all media, he was most talented in oil painting and pastel, as well as watercolor.

He is best known for his portraits, who sitters included important people of the day and also his family members. Locations including Prospect Park, Central Park in New York City, and Shinnecock Hills on Long Island were popular locations for his outdoor paintings.

Patterns includes several self portraits, and numerous portraits including Portrait of a Lady, lady in Pink, Lady in Black, The Blue Kimono, Girl in Red Embroided Jacket, The Mandolin Player, Still Life Fish, At the Seaside, Azaleas, Girl in Japanese Costume, Portrait of Miss Dora Wheeler, and Portrait of Louis Betts.

Do you have a favorite Impressionist Painter? If you could paint an impressionist painting, what color would you choose? Share with Segmation by leaving a comment below.

Sources:

http://www.nga.gov/

http://en.wikipedia.org/wiki/William_Merritt_Chase

Coming soon: If you love art as well as technology, you won’t want to miss our upcoming blog post about word cloud portraits.

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Piero della Francesca – Early Renaissance Artist

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There are still mysteries to uncover about the Italian Renaissance artist, Piero della Francesca. In fact, scholars have not yet come to a unanimous conclusion about when Piero was born, nor do they agree on whether or not he had gone blind prior to his death in 1492. Though he was painting during the same time period as many other famous and well known painters, Piero’s work has not found its way to the spot light until recently.

The reason for the lack of information surrounding Piero’s work, as well as his recent popularity, is largely due to the fact that many of his paintings, and many of the buildings he painted in, have been destroyed. What is known about Piero della Francesca is that he was not only a talented painter, but a man deeply interested in mathematics. It is this love of mathematics and its influence on his painting that sets Piero apart as one of the greatest Early Renaissance artists.

Piero della Francesca was born in modern day Tuscany, then known as San Sepolcro. His father was a tradesman and his mother’s family was part of the Florentine and Tuscan Franceschi noble family. Throughout his life, Piero was always tied to San Sepolcro. However, much of his life was spent traveling and he spent time working in Rimini, Arezzo, Ferrara and Rome.

Around 1439 Piero traveled to Florence to assist Domenico Veneziano in painting the chapel of Santa Egidio. It was here that he most likely came in contact with other well known painters and it is also probable that Florence was responsible for his deep interest in achieving accurate perspective in his painting. Florence would have afforded Piero the opportunity to study light and color in the work of other painters; lessons that became foundational to Piero’s style of painting.

Florence might also have been responsible for Piero’s interest in mathematics as well as other forms of art such as, architecture and sculpting. Many scholars believe that Piero was deeply interested in how other fields of study might influence his painting. Whether or not Florence was where this interest was sparked, it appears that Piero spent his life studying mathematics, light, color, architecture and sculpture, all in the effort to bring the proper perspective to his painting. This love of learning for the sake of perspective in his work is evident in all of his paintings.

Piero mainly painted religious works that are noted for their tranquility and precision. His paintings are characteristically full of bright colors and light. In addition, Piero made a habit of painting both architecture and sculptures.

His most famous work is “Story of the True Cross” which is a series of frescos he painted for the Bacci Family in Arezzo around 1457. These frescos demonstrate that Piero was a master at manipulating light in his paintings. As in many of his other paintings, these frescos appear three- dimensional because Piero combined shadow and shade to create depth.

“The Flagellation of Christ,” painted during the 1460’s in Urbino, is evidence of Piero’s love of architecture, but is also another example of how he utilized light in his paintings. In this painting Christ is essentially in the background yet, Piero manages to draw the eye towards Christ by manipulating the light and colors within the painting.

The “Baptism of Christ” offers an excellent example of Piero’s love of geometry. Each figure in the painting serves to balance the whole. Here again, light and color are used to draw the eye, as well as balance the painting.
Piero also painted portraits that are marked by their realism and sophistication. The background scenes of these portraits are often intricately detailed. Yet, as with all of Piero’s work, these details serve to draw the eye to the subject of the piece rather than overshadow. His paintings are known for the detailed backgrounds; for the care he showed towards aspects of paintings that the eye might never be drawn to.

In 1492, Piero della Francesca died in his home in San Sepolcro. He left his mark on the world in the form of paintings full of light and color and work infused by his knowledge of mathematics. He also left behind a series of treatise that mathematicians still recognize today. For this, Piero della Francesca will remain one of the most appreciated Early Renaissance artists.

Source:
http://en.wikipedia.org/wiki/Piero_della_Francesca

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How the Father of Abstract Expressionism Forsook Fame to Pursue Art

Have you ever heard of Clyfford Still? Many modern-day art lovers have not. The irony in this is that Clyfford Still was and is incredibly influential to the art world. In fact, Still, who was born in 1904 and died in 1980, was one of the pioneers of abstract expressionism.

Still’s early pieces (from the 1930’s), which depicted farmhands during the Great Depression, give a nod to Alberta, Canada and Washington State, the locations he was raised in. In the following decade or so, Still’s work began to take on a more abstract shape. It would be later in his career that Clyfford Still would help father the movement of abstract expressionism.

The young artist spent some time in California, then moved to New York City, a place where other would-be abstract artists, such as Jackson Pollack, Mark Rothko, and Willem de Kooning, lived. While Still shared some commonalities with these artists, his artwork was decidedly unique and strayed from geometric shapes.

People had begun to take notice of Still around 1951, but by then he had chosen to separate himself from the commercial art world. Still was certainly not forsaking his art by doing this, but rather devoting himself wholly to it by distancing himself from distractions. This noble decision was probably one that prevented Clyfford Still from becoming widely well known.

After relocating to Maryland in 1961, Still consistently produced painted artwork on canvases and pastel drawings. He did all of this independently of the commercial sector of the world of art.

While in the past Still has been somewhat obscure, the opening of The Clyfford Still museum in Denver, CO, might change all of that. The museum shows only a portion of Still’s pieces of art, which are “considered the most intact body of work of any major artist.” Even more of Still’s works are being uncovered as curators discover pieces from his farmhouse. As this man’s collections are viewed by more and more people, it is likely that recognition of him and his contributions to art will increase.

Is fame necessary to validate an artist’s brilliance? Clyfford Still’s life proved that the answer to this question is no. Still was truly devoted to art and obviously cared little for the accolades of man. But while Clyfford Still didn’t receive all the praise he deserved on this earth, his life is beginning to speak in increasing volumes to a new generation of artists.

http://www.cnn.com/2012/06/09/living/artist-clyfford-still-profile/index.html?iphoneemail

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Travel Like an Artist

Sansepolcro, Italy, will not likely be pursued as a travel destination for food lovers, architecture buffs, or history professors. It is not well-known for its topography or sought after for its museums. But for an artist, Sansepolcro might be considered heaven on earth. Why? Because it was the birthplace and hometown of Piero della Francesca, painter of the Resurrection. The Resurrection is located in Sansepolcro, making this small town a potentially big draw for artists searching for a travel destination.

The Resurrection is known as a “special masterpiece,” therefore it and its creator are mainly familiar to art historians. Still, Sansepolcro is a destination that would probably be very much appreciated by any artist, especially after he or she learned more about Piero della Francesca.

Born sometime near 1415, artist Piero della Francesca authored geometry and mathematics books. His did not leave a vast amount of artwork, but what he did leave is remarkable. Flagellation of Christ, Pregnant Madonna, Resurrection, and Legend of the True Cross were all crafted by Francesca. Each is captivating in its own way.

The Resurrection was probably painted by Piero della Francesca in the 1460s. Susan Spano, writer for the Los Angeles Times, explained the Resurrection in these words: “It depicts Christ climbing out of his tomb on Easter morning, eyes fixed on something beyond, still morbidly pallid but strong, in the very process of changing from mortal to god.” With a description like this, it is little wonder that the Resurrection is a jewel in Sansepolcro’s crown.

Every year in September, Sansepolcro’s citizens celebrate Piero della Francesca in elaborate festivals that feature flag-waving and medieval crossbows. (The flag and crossbow-bearing partakers wear costumes similar to clothing depicted in Francesca’s paintings.) These festivals draw tourists and are a nod to the legacy that Francesca left for his hometown.

Many creators of art glean untold inspiration and creative capacity from traveling. In fact, some individuals would argue that travel is not a privilege, but a necessity for artists. If you are an artist or even a lover of art, perhaps Sansepolcro would be an excellent travel destination for you.

http://www.latimes.com/travel/la-tr-piero-20120610,0,3644415.story

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The Op-Art of Josef Albers

Josef Albers, photograph by Arnold Newman, 1948. © Arnold Newman

In a recent post, a popular art form of the 20th century was introduced. Op-Art puts thought provoking optical illusions onto a flat canvas. During the early 1900’s, the art form flourished with the creative use of lines and patterns. At the start, artists used black and white paint or ink to create captivating images; color was incorporated later. One artist and theorist at the forefront of this art style, who also pioneered the technique of adding color, was a man by the name Josef Albers.

German-born American artist, Josef Albers studied at the Bauhaus school for arts and crafts in Germany. The school existed at the time of Nazi dominance in Germany and, subsequently, closed in 1933. After spending decade at Bauhaus as an art instructor, Alber’s emigrated to the United States, where he continued his career as an artist and teacher.

After spending some time in the United States, Albers accepted a position at teaching at Yale University. It was there that Josef Albers was able to advance the graphic art program before retiring from teaching in 1958.

In the early years of his retirement, as a fellow at Yale, Albers received funding to exhibit and lecture on the art form he had done so much to advance. By this time, Albers had catapulted many artists into successful careers. The list of notable students includes Richard Anuszkiewicz and Eva Hesse. Both artists are considered major forces in the Op-Art movement that swept the world during the 1960’s and 70’s.

Aside from his artwork and teaching, Josef Albers added another form of art to his long list of talents: In 1963, his book, Interaction of Color detailed the theory behind colorful op-art. This writing built upon a foundational thought of Albers — that colors have an internal and deceptive logic all-their-own.

Albers continued to paint and write until he died in 1976. However, the impression he left on the world of art, especially as an abstract painter and theorist, continues to live and influence abstract art today. Even though much of his work is well known and recognizable, it continues to thrive because of the Josef and Anni Albers Foundation. To this day, the organization supports exhibitions featuring the work of Josef Albers and his wife Anni, who was a textile artist.

The contribution Josef Albers made to the world of art is undeniable. He was successful at merging traditional European art with modern American art, to create an abstract style all his own. While his roots were grounded in the type of constructivist thinking that allowed Bauhaus school of arts and crafts to flourish, his experiences in America allowed him freedom to explore patterns and colors that are now the signature of optical art.

Op-art and graphic art continue to advance while consistently affirming Josef Albers influence. The world renowned teacher, artist, and color theorist is very much alive in the work of abstract artists today. Whether it is through his written words, paintings, or students who survived him, Albers will influence young artists for years to come.

No words can conclude a story about the life of this great man, except, perhaps his own. Alber’s was quoted as saying, “Abstraction is real, probably more real than nature. I prefer to see with closed eyes.” Others are happy to have their eyes opened by the influential life and art of Josef Albers. May his legacy and art been seen for years to come.

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Catch a Wave

American recording artists, the Beach Boys said it best; “Catch a wave and you’re sitting on top of the world.”

Is this how surfing feels? The mighty energy of water folding under one’s feet must be exhilarating, and there is no doubt that it mimics the sensation of sitting on top of the world. But how many people really get to experience this sensation?

Not only is it challenging, it’s a rather limiting exercise, especially considering one’s location may prohibit their access to these energetic waves. That’s why people living in places like Hawaii, California, and Australia are more likely to take up this activity, while those in landlocked regions don’t necessarily have the option. However, the sight of an individual climbing the wall of a crashing wave is alluring to almost everyone. This is why it has become such a popular setting in paintings, photographs, and even movies.

Paintings

There are many ways of painting a wave. Some artists like to paint them as precise as possible, down to the fine detail of the ocean spray. Others, make the art more abstract. However, one thing is necessary when painting a wave– it has to be inspired by the energy of the water.

Surf artist Peter Pierce says that his wave art is, “… inspired by the actual act of riding quality waves. Likewise, the true ‘surf artist’ understands the rareness/value of quality waves via living a life passionately devoted to the pursuit of such waves… ”

Therefore, Pierce paints waves because he knows how to ride waves. But people can also “ride a wave” from the comfort of their beach chair, and capture a similar energy with their paint brush.

Photography

Capturing this energy with a photograph is a bit more challenging. The surf culture itself is very active, and to keep up with the waves, and people riding them, one must be quick to point and shoot.

With the speed and force of rising and falling water, the active lifestyle of surfers and surf artists can be down-right-dangerous. In fact, photographers who desire to get the perfect picture oftentimes put themselves into compromising positions. In pursuit of a breathtaking image, they will put themselves into the water with the surfers but without the advantage of having a floating board (and instead happen to be carrying expensive, water-sensitive equipment).

Although, perhaps that is the price these individuals pay to do what many others cannot: Surf art photographers are able to literally catch a wave so that those who can’t surf still experience the sensation of sitting on top of the world.

Movies

Movies about surfing, and more specifically, movies about the sea creatures who live beneath these transportable waves, have been popular for quite some time. And why wouldn’t they be? A movie about surfing has many elements that a successful movie needs. This is because the active culture of surfing is inviting, crashing waves are thrilling, and the risk of danger is high.

Just this year, the most recent surfing movie, Soul Surfer, was released. With an all-star Hollywood cast and amazing cinematography, the movie captivated its audience and shared the thrill of catching a wave.

There are countless other movies that survey the surfing culture. All of them have something in common — the artistic capturing of natural scenery.

Even though many people don’t have access to large bodies of water conducive for surfing, most everyone enjoys the energy that comes from catching a wave. Whether they can actually ride a wave or just look at one, energy exudes from the image of swelling water that is on the verge of collapse. This allows surfers, artists, and observers of both, to catch a wave and sit on top of the world.

Thank you featured surf artists Peter Pierce and Trent Mitchell. If you want to know more about this art wave and craze, visit http://www.clubofthewaves.com.

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