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Online gallery of the best well-known, traditional and digital modern surrealism artists.

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Fantasy-art-design is a nonprofit educational project. Our visual gallery has no agenda except the promotion of modern fine & computer art. It is free to the viewing public and contributing artists. It does no solicitation or promotional mailing. Sponsored advertising has made this initiative possible. The virtual gallery has no intention to categorize, label, or rank the presented artists.
Our objective is familiarizing general public with contemporary tendencies of modern surrealism and fantasy art, and providing direct access to artwork of respective creative individuals. Fantasyartdesign.com is one of the most heavily trafficked, comprehensive, frequently updated and respected surrealistic & fantasy art galleries on the Web. It tries to keep abreast of the latest and best in contemporary 3D, digital and fine art movements. We expect it is a learning experience for artists of all skill levels, and for the viewing public as well.
The gallery was established in 2003 to promote modern art in its various forms and manifestations, including fine art, 3-D rendered art, fractals, enhanced photography, animation, mixed media, computer-painted and -drawn art, etc. Many talented artists have given us access to their best work that we have solicited.
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Would you like to know more about surrealism movement and its history? Visit free books and magazines by Questia

neo surrealism fantasy art images, free arts pictures fantasy paintings surrealist artists What Painting Is: How to Think about Oil Painting, Using the Language of Alchemy
Book by James Elkins; Routledge, 2000 - Introduction

WATER AND STONES. Those are the unpromising ingredients of two very different endeavors. The first is painting, because artists' pigments are made from fluids (these days, usually petroleum prod-ucts and plant oils) mixed together with powdered stones to give color. All oil paints, watercolors, gouaches, and acrylics are made that way, and so are more solid concoctions including pastels, ink blocks, crayons, and charcoal. They differ only in the proportions of water and stone-or to put it more accurately, medium and pigment. To make oil paint, for example, it is only necessary to buy powdered rock and mix it with a medium, say linseed oil, so that it can be spread with a brush. Very little more is involved in any pigment, and the same observations apply to other visual arts. Ceramics begins with the careful mixing of tap water and clay, and the wet clay slip is itself a dense mixture of stone and water. Watery mud is the medium of ceramists, just as oily mud is the medium of painters. Mural paint-ing uses water and stone, and tempera uses egg and stone. Even a medium like bronze casting relies on the capacity of "stone"-that is, the mixture of tin, lead, copper, zinc, and other metals-to become a river of bright orange fluid.

So painting and other visual arts are one example of negotiations between water and stone, and the other is alchemy. In alchemy, the Stone (with a capital S) is the ultimate goal, and one of the purposes of alchemy is to turn something as liquid as water into a substance as firm and unmeltable as stone. As in painting, the means are liquid and the ends are solid. And as in painting, most of alchemy does not have to do with either pure water or hard stones, but with mixtures of the two. Alchemists worked with viscid stews, with tacky drying films, with brittle skins of slag: in short, they were concerned with the same range of half-fluids as painters and other artists.

That is the first point of similarity between alchemy and painting. There is a second similarity that runs even deeper, and gives me the impetus to explain painting in such a strange way. In alchemy as in painting, there are people who prefer to live antiseptically, and think about the work instead of laboring over it. In alchemy, those are the "spiritual" or "meditative" alchemists, the ones who read about alchemy and ponder its meaning but try not to go near a laboratory; and in painting they are the critics and art historians who rarely venture close enough to a studio to feel the pull of paint on their fingers. 1 Perhaps because they are uncomfortable with paint, art historians prefer meanings that are not intimately dependent on the ways the paintings were made. Consider, for instance, the first of the color plates in this book (COLOR PLATE 1). An historian looking at this painting might recognize Sassetta, a fourteenth-century painter from Siena. Sassetta is known to art history as a late medieval artist who slowly adjusted his work to the emerging sensibility of the Florentine Renaissance. He knew about the important new works that were being made in Florence, and there are echoes and hints of them in his paintings, though in the end he remained faithful to the conservative Sienese ways. 2 We know a little about his life, and about his patrons and commissions; and we can guess at his friends, and the places he visited. Pictures can have many meanings of those kinds, and art history is a rich and complex field. But a painting is a painting, and not words describing the artist or the place it was made or the people who commissioned it. A painting is made of paint-of fluids and stone-and paint has its own logic, and its own meanings even before it is shaped into the head of a madonna. To an artist, a picture is both a sum of ideas and a blurry memory of "pushing paint, " breathing fumes, dripping oils and wiping brushes, smearing and diluting and mixing. Bleary preverbal thoughts are intermixed with the namable concepts, figures and forms that are being represented. The material memories are not usually part of what is said about a picture, and that is a fault in interpretation because every painting captures a certain resistance of paint, a prodding gesture of the brush, a speed and insistence in the face of mindless matter: and it does so at the same moment, and in the same thought, as it captures the expression of a face.

fine art surrealism gallery surreal fantasy drawings, surreal graphic art pictures In Sassetta's painting little brushstrokes form the face: they are delicate light touches that fall like lines of rain over the skin, coming down at a slight angle over the temples and next to the mouth. Brighter marks spread from the top of the forehead, crisscrossing the canted strokes over the temple. There are larger milky dapples just under the pink of the cheek-almost like downy hair-and curling marks that come around the neck and congregate on the collar bone. Sassetta has clasped three bright rings of sharp white (they are called Venus's collars) around the neck. The sum of brushstrokes is the evidence of the artist's manual devotion to his image: for Sassetta painting was the slow, pleasureful, careful and repetitious building of a face from minuscule droplets of pigment. The initial strokes were darker and more watery, and as the contours began to emerge he used whiter paint, and put more on his tiny brush, until he finally built up the forehead to a brilliant alabaster. This is a tempera painting, and in its period many painters used the medium as a way of showing devotion. Sassetta's lingering patience and fastidious attention remain fixed in the painting for everyone to see: they are a meaning of the method itself. 3

Recently, some art historians have become more interested in what paint can say. They suggest that since art history and criticism are so adept at thinking about what paint represents (that is, the stories and subjects, and the artists and their patrons), then it should also be possible to write something about the paint itself. What kinds of problems, and what kinds of meanings, happen in the paint? Or as one historian puts it, What is thinking in painting, as opposed to thinking about painting? 4 These are important questions, and they are very hard to answer using the language of art history. This is where alchemy can help, because it is the most developed language for thinking in substances and processes. For a "spiritual" alchemist, whatever happens in the furnace is an allegory of what takes place in the alchemist's mind or soul. The fetid water that begins the process is like the darkened spirit, confused and halfrotten. As the substances mingle and fuse, they become purer, stronger, and more valuable, just as the soul becomes more holy. The philosopher's stone is the sign of the mind's perfection, the almost transcendent state where all impurities have been killed, burned, melted away, or fused, and the soul is bright and calm. Alchemists paid close attention to their crucibles, watching substances mingle and separate, always in some degree thinking of the struggles and contaminations of earthly life, and ultimately wondering about their own souls and minds...

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Modern Surrealism Art Gallery: surrealistic paintings surreal images. Artwork surreal art modern, digital contemporary arts production online modern gallery.