Featured Artist of the Month:Ronald Slauson
A native of Florida, I studied photography in High School at Miami Beach and worked as assistant to a professional photographer during after school and weekend hours.
I maintained an active interest in photography while in the military but later set it aside to pursue a career and raise four children.
My interest in photography surfaced again in 2003 while working on training and promotional documentation assignments and other company project
My interest in photography surfaced again in 2003 while working on training and promotional documentation assignments and other company projects. Retiring from an engineering position in January, 2007, I purchased a Nikon digital SLR camera along with several lenses, software and basic studio gear as a retirement present to myself.I started pursuing photography as a hobby, occasionally doing photo assignments for my former employer, until I moved back to Florida. Recently, several friends encouraged me to join the Belleview Art Club and start displaying some of my art photos.
Curently Ron is exhibiting at Community Bank in Belleview. Come to see his wonderful photos .
During January 2009, you could see art exhibition of ACB members at Gallery East, Ocala. 
Famous Artist Quotes(Which is your favorite?)
"There are painters who transform the sun into a yellow spot, but there are others who, thanks to their art and intelligence, transform a yellow spot into the sun." - Art quote by Pablo Picasso
"A work of art which did not begin in emotion is not art."- Art quote by Paul Cézanne
One must from time to time attempt things that are beyond one's capacity.- Art quote by Auguste Renoir
CELEBRATING SPRING WITH ART
THE ART CLUB OF BELLEVIEW IN CLOSE COOPERATION WITH THE CITY OF BELLEVIEW (with special thanks to City Commissioner Christine Dobkowski,) IS ORGANIZING A CHILDRENS ART EXHIBITION " CELEBRATING SPRING WITH ART. THE ART WORKS WILL BE DIVIDED INTO THREE CATEGORIES 6-9,10-14 AND 15-18 YEARS.
EACH CATEGORY WILL RECEIVE PRIZES. EACH ITEM OF ART WORK SHOULD BE UNFRAMED AND SIGNED WITH FULL NAME , AGE AND NAME OF SCHOOL OF EACH YOUNG ARTIST .
ART WORKS WILL BE EXHIBITED IN BELLEVIEW CITY HALL DURING APRIL 2009.
For more details, please, visit our web site.....
http://artclubbelleview.zoomshare.com/
Exploring New Techniques
Combining two seemingly different materials (chunky clay and refined terra sigillata) make an interesting combination on this plate by Anne Fløche.
Inspired by Terra Sigillata: A New Twist on an Ancient Surface Technique
by Anne Floche When I think of terra sigillata, ( literally translated as "sealed earth." Ultrarefined clay slip, made by deflocculating a clay in water so the heavy particles settle, leaving the finer particles in suspension to be decanted as terra sigillata. Can give a soft sheen when applied to bone-dry wares and, if polished or burnished while still damp, may give a high gloss. All ancient Greek red-black pottery and Roman red wares were finished with this
technique, without the use of glaze) I think of the soft, satin surfaces of low-fired earthenware, like Greek red and black ware that still has that great surface sheen. But Anne Fløche has taken terra sigillata in a different direction. She's allowed herself to use it in a way that goes against tradition, but is true to her own inspiration and way of working. This is a classic example of taking a tried-and-true technique and making it personal. Whether you're using terra sigillata in a traditional manner or pushing it to try something new, Fløche provides a great tutorial (and a recipe) for making this versatile material.—Sherman Hall, Ceramic Arts Daily Terra sigillata is a very old and very simple material used by the Greeks and Romans. They used it to create burnished red-and-black wares fired at low temperatures: 1650°-1830°F (900°-1000°C). I fire higher, to 1100°C (2010°F), because I find that my works are too fragile otherwise. There is a balance to maintain, however, because many colors become dull and dense if the firing temperature is too high. I apply the terra sigillata to bone-dry clay with a brush. Broad brushes are particularly useful.To my basic recipe, I add coloring oxides or stains, as one would with an ordinary slip.I realize that I construct my slips in so many ways (even adding sand sometimes) that some might say that it is not really terra sigillata anymore. I suppose this might be true, but it is a very simple way of working, and I have not had many technical problems. I also do not leave my clay to settle, as is typical with terra sigillata, to obtain the finest grains. Many of the materials I use are so fine that this is not necessary. Only when I use a raw, local clay or a stoneware clay with grog do I leave it to settle and separate into layers. Fundamentally, the china clay can be replaced by any other clay: local clays, stoneware clays, etc. Each clay has its own nuances.Some clays I use on their own, rather than using them in the recipe; however, nonplastic clays may peel. If this happens, I add more ball clay. Peeling may also occur if the terra sigillata is applied too thick. My clay body is very coarse, so the terra sigillata sticks well to the surface. A very fine clay might pose problems. If the clay body is too fine, more grog can be added.
Art Club of BelleviewMonthly Focus on the Masters
Georgia O'Keeffe
When I was still a little girl, I used to think that since I couldn't do what I wanted to… at least I could paint as I wanted to, and say what I wanted to when I painted." Georgia O'Keeffe.
Georgia O'Keeffe is known for her brilliantly colored paintings with confident shapes and simple patterns. She painted a great many floral paintings which were large pieces with the flower exaggerated and enlarged to completely fill the canvas, then stylized to their most essential forms. She is also known for her Southwest paintings which include adobe buildings, desert mountain panoramas or floating cow skulls against rich blue skies. The emphasis on the simplest aspects of the shapes created a surrealistic dynamic that is captivating.
O'Keeffe was born on November 15, 1887 in Sun Prairie, Wisconsin. She knew from a young age that she would be an artist when she grew up. She studied first at the Art Institute of Chicago. After stopping her education due to a bout of typhoid, she resumed study in 1907 at the Art Student League in New York. She was following a family tradition of educated women- an idea not prevalent at that time. Even as she excelled in her studies it was believed that she would end up teaching art rather than making it.
Georgia moved for a time with her family to Virginia, but in 1914, when a teaching job opened in Amarillo, Texas, she took it. After two years she went to New York's Columbia Teacher's College, and took a job at Columbia College in South Carolina.
Georgia O'Keeffe's friend Anita Pollitzer was taken by O'Keeffe's works and took some samples to show Alfred Steiglitz at the 291 Gallery in New York. Some sources say that she did so without O'Keeffe's permission. Steiglitz was a respected Gallery curator and artist himself, and O'Keeffe respected his opinion, but even though he loved them it took some negotiations with O'Keeffe to convince her to let him exhibit her work.
O'Keeffe returned to Texas and worked at the West Texas Normal College while painting the scenes she loved, and hiking the Palo Duro Canyon. An illness caused her to quit her job- or perhaps it was her radical political views clashing with her colleagues. In any case, she returned to New York at Alfred Steiglitz's urging. After several years of cohabitation, Steiglitz divorced his wife and they married when she was 23 and he was 54. O'Keeffe was not enthusiastic, however.
Their many trips to the Steiglitz family home in the Adirondacks were the inspiration for many paintings.
They spent several years living in a New York City hotel, and her view there also served as inspiration. It was in New York that she painted her first large flower paintings.
Beck Strand was a friend who invited O'Keeffe on a trip to Taos, New Mexico at a time when the artist was craving new scenery to paint. Steiglitz didn't like travel and firmly stayed in New York except for occasional uncomfortable forays elsewhere with O'Keeffe. She spent all her summers in Taos from then on, and when Steiglitz died in 1946, she moved there permanently.
She purchased a hacienda at Ghost Ranch,New Mexico and it became her lair for much of the remainder of her life. Her eyesight began to fail in the early seventies and by 1972 she could no longer see well enough to paint. A young man named Juan Hamilton, a potter, came to do odd jobs for O'Keeffe and ultimately became her closest companion in her later years. Many felt he was using her for his own ends, but O'Keeffe liked him and he stayed. She even did a bit of pottery herself while knowing him.
At the very end of her life she moved to Santa Fe, New Mexico. It was there that she died in 1986 at the age of 98. She was cremated the next day and Juan Hamilton scattered her ashes from Pedernal Mountain as she had requestest.
Combining two seemingly different materials (chunky clay and refined terra sigillata) make an interesting combination on this plate by Anne Fløche.
Inspired by Terra Sigillata: A New Twist on an Ancient Surface Techniqueby Anne Floche When I think of terra sigillata, ( literally translated as "sealed earth." Ultrarefined clay slip, made by deflocculating a clay in water so the heavy particles settle, leaving the finer particles in suspension to be decanted as terra sigillata. Can give a soft sheen when applied to bone-dry wares and, if polished or burnished while still damp, may give a high gloss. All ancient Greek red-black pottery and Roman red wares were finished with this
technique, without the use of glaze) I think of the soft, satin surfaces of low-fired earthenware, like Greek red and black ware that still has that great surface sheen. But Anne Fløche has taken terra sigillata in a different direction. She's allowed herself to use it in a way that goes against tradition, but is true to her own inspiration and way of working. This is a classic example of taking a tried-and-true technique and making it personal. Whether you're using terra sigillata in a traditional manner or pushing it to try something new, Fløche provides a great tutorial (and a recipe) for making this versatile material.—Sherman Hall, Ceramic Arts Daily Terra sigillata is a very old and very simple material used by the Greeks and Romans. They used it to create burnished red-and-black wares fired at low temperatures: 1650°-1830°F (900°-1000°C). I fire higher, to 1100°C (2010°F), because I find that my works are too fragile otherwise. There is a balance to maintain, however, because many colors become dull and dense if the firing temperature is too high. I apply the terra sigillata to bone-dry clay with a brush. Broad brushes are particularly useful.To my basic recipe, I add coloring oxides or stains, as one would with an ordinary slip.I realize that I construct my slips in so many ways (even adding sand sometimes) that some might say that it is not really terra sigillata anymore. I suppose this might be true, but it is a very simple way of working, and I have not had many technical problems. I also do not leave my clay to settle, as is typical with terra sigillata, to obtain the finest grains. Many of the materials I use are so fine that this is not necessary. Only when I use a raw, local clay or a stoneware clay with grog do I leave it to settle and separate into layers. Fundamentally, the china clay can be replaced by any other clay: local clays, stoneware clays, etc. Each clay has its own nuances.Some clays I use on their own, rather than using them in the recipe; however, nonplastic clays may peel. If this happens, I add more ball clay. Peeling may also occur if the terra sigillata is applied too thick. My clay body is very coarse, so the terra sigillata sticks well to the surface. A very fine clay might pose problems. If the clay body is too fine, more grog can be added.Art Club of BelleviewMonthly Focus on the Masters
Georgia O'Keeffe
When I was still a little girl, I used to think that since I couldn't do what I wanted to… at least I could paint as I wanted to, and say what I wanted to when I painted." Georgia O'Keeffe.
Georgia O'Keeffe is known for her brilliantly colored paintings with confident shapes and simple patterns. She painted a great many floral paintings which were large pieces with the flower exaggerated and enlarged to completely fill the canvas, then stylized to their most essential forms. She is also known for her Southwest paintings which include adobe buildings, desert mountain panoramas or floating cow skulls against rich blue skies. The emphasis on the simplest aspects of the shapes created a surrealistic dynamic that is captivating.
O'Keeffe was born on November 15, 1887 in Sun Prairie, Wisconsin. She knew from a young age that she would be an artist when she grew up. She studied first at the Art Institute of Chicago. After stopping her education due to a bout of typhoid, she resumed study in 1907 at the Art Student League in New York. She was following a family tradition of educated women- an idea not prevalent at that time. Even as she excelled in her studies it was believed that she would end up teaching art rather than making it.
Georgia moved for a time with her family to Virginia, but in 1914, when a teaching job opened in Amarillo, Texas, she took it. After two years she went to New York's Columbia Teacher's College, and took a job at Columbia College in South Carolina.
Georgia O'Keeffe's friend Anita Pollitzer was taken by O'Keeffe's works and took some samples to show Alfred Steiglitz at the 291 Gallery in New York. Some sources say that she did so without O'Keeffe's permission. Steiglitz was a respected Gallery curator and artist himself, and O'Keeffe respected his opinion, but even though he loved them it took some negotiations with O'Keeffe to convince her to let him exhibit her work.
O'Keeffe returned to Texas and worked at the West Texas Normal College while painting the scenes she loved, and hiking the Palo Duro Canyon. An illness caused her to quit her job- or perhaps it was her radical political views clashing with her colleagues. In any case, she returned to New York at Alfred Steiglitz's urging. After several years of cohabitation, Steiglitz divorced his wife and they married when she was 23 and he was 54. O'Keeffe was not enthusiastic, however.
Their many trips to the Steiglitz family home in the Adirondacks were the inspiration for many paintings.
They spent several years living in a New York City hotel, and her view there also served as inspiration. It was in New York that she painted her first large flower paintings.Beck Strand was a friend who invited O'Keeffe on a trip to Taos, New Mexico at a time when the artist was craving new scenery to paint. Steiglitz didn't like travel and firmly stayed in New York except for occasional uncomfortable forays elsewhere with O'Keeffe. She spent all her summers in Taos from then on, and when Steiglitz died in 1946, she moved there permanently.
She purchased a hacienda at Ghost Ranch,New Mexico and it became her lair for much of the remainder of her life. Her eyesight began to fail in the early seventies and by 1972 she could no longer see well enough to paint. A young man named Juan Hamilton, a potter, came to do odd jobs for O'Keeffe and ultimately became her closest companion in her later years. Many felt he was using her for his own ends, but O'Keeffe liked him and he stayed. She even did a bit of pottery herself while knowing him.
At the very end of her life she moved to Santa Fe, New Mexico. It was there that she died in 1986 at the age of 98. She was cremated the next day and Juan Hamilton scattered her ashes from Pedernal Mountain as she had requestest.
Please help support our art club. We are not only endeavoring to have a place to network with each other but we are also interested in reaching out to the community. For that we need funding. If you would like to have a hand in building up our efforts, we are offering to send you a small work of original art by members of the Art Club of Belleview for each $10.00 donation.For details,please, visit our web site or contact Daniela at standanielab@netzero.com .
If you are curious about where we have some of our artwork exhibiting, here is a list of some
businesses exhibiting art in our area :
INDEPENDENT BANK 10990 S HWY 441 BELLEVIEW, COMMUNITY BANK 10131 S. US HWY 441 BELLEVIEW,BELLEVIEW CHAMBER OF COMMERCE 5301 SE ABSHIER BLVD, BELLEVIEW, CAL'S PLACE 11007 SE 66 TERR, BELLEVIEW, STATE REPRESENATIVE KURT KELLY OFFICE 5612 SE ABSHIER BLVD, BELLEVIEW, MASAGE THERAPIST NORMA BARKER 5251 SE 113THE STR. BELLEVIEW, VOICE OF SOUTH MARION,South Hwy. 301 BELLEVIEW, COMMUNITY LINKS,INC. 9977 SE 58 AVE, BELLEVIEW,B.D BEANS CAFE 5148 SE ABSHIER BLVD, BELLEVIEW, HUMANE SOCIETY OF MARION COUNTY 701 NW 14 TH RD., OCALA, MARY FOX TAX & ACCONTING, INC. 5608 SE 113 str BELLEVIEW,
The Cornerstone Team Keller Williams Realty Spruce Creek South, SOLAR TREC,INC 202 S.W 33 Ave, Unit C, Ocala ,
If you are curious about where we have some of our artwork exhibiting, here is a list of some
businesses exhibiting art in our area :
INDEPENDENT BANK 10990 S HWY 441 BELLEVIEW, COMMUNITY BANK 10131 S. US HWY 441 BELLEVIEW,BELLEVIEW CHAMBER OF COMMERCE 5301 SE ABSHIER BLVD, BELLEVIEW, CAL'S PLACE 11007 SE 66 TERR, BELLEVIEW, STATE REPRESENATIVE KURT KELLY OFFICE 5612 SE ABSHIER BLVD, BELLEVIEW, MASAGE THERAPIST NORMA BARKER 5251 SE 113THE STR. BELLEVIEW, VOICE OF SOUTH MARION,South Hwy. 301 BELLEVIEW, COMMUNITY LINKS,INC. 9977 SE 58 AVE, BELLEVIEW,B.D BEANS CAFE 5148 SE ABSHIER BLVD, BELLEVIEW, HUMANE SOCIETY OF MARION COUNTY 701 NW 14 TH RD., OCALA, MARY FOX TAX & ACCONTING, INC. 5608 SE 113 str BELLEVIEW,
The Cornerstone Team Keller Williams Realty Spruce Creek South, SOLAR TREC,INC 202 S.W 33 Ave, Unit C, Ocala ,
OUR ART FUN DAY
this time we painted on the glass.
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