For those of you that are visiting for the first time, we hope you enjoy the site. For the rest of you, welcome back and thank you for your patience!!
Things may look the same but they have been rebuilt from the ground up. We will gradually be adding content back to the site as time permits, but unfortunately some of it will be gone forever. We do look forward to adding new and exciting content in the future and hope that you pop by every so often to see what has changed.
We have reluctantly changed The Gallery to a format that should be a bit more intuitive and it loads much faster now. Even though the old one was prettier, it was just getting too slow with the number of photos we had. Although it looks similar, The Store is completely new, and should be a little bit more intuitive this time around. We've also added a bit of extra security to prevent us from getting all that spam.
Please let us know if you run into any troubles with the website and we will be sure to check into things.
If you have any questions, or concerns, John can be contacted here:
Most will think they know Monet's Water Lillies but when pressed to describle the actual composition they cannot. This is because in reality his famous subject and colour pallete span a group of approximatley 250 paintings, painted between 1840–1926.
As an avid gardener Monet was constantly remodeling and planting the grounds of his rented home in Giverny France to inspire his landscape paintings. He created the perfect place for quiet reflection, then spent the rest of his days capturing it in oils.
The ambitious painter imported water lilies for his Giverny garden from Egypt and South America, which drew the ire of local authorities. The council demanded he uproot the plants before they poisoned the area's water, but thankfully Monet ignored them.
Commenting on what he called his "water landscapes," Monet once declared, "One instant, one aspect of nature contains it all." No wonder he dedicated much of the last 30 years of his life to painting them, forging on even when cataracts began threatening his vision in 1912.
Critics called the Impressionist paintings messy and suggested the works were less about a creative vision than Monet's blurred vision. As his eyes were failing, critics sneered at Monet's color palette and his argument that his depiction of flora, water, and light was an artistic choice, spurring an initial disdain of Monet's now-revered series.
Considering how cruel his critics were, it's little wonder that in his later years Monet became incredibly selective about which paintings he would sign and attempt to sell. Just four paintings made the grade in 1919. As the work progessed it become more and more of a meditation on colour and form.
Early Impressionism had views of nature such as looking at a seaside or out looking at a field. There were markers of location that the viewer could understand, "Here I am as a person. Here's the view that the painter is portraying for me." With the Water Lily panels, Monet changed this completely so that rather than the viewer being larger than the view being depicted on an easel-sized canvas, you are immersed in the scene of this water lily pond. All the normal markers, like the edge of the water or the sky or the distant trees, have disappeared. The viewer becomes one with the water lilies and the surface of the water with the clouds reflected from above; lost in the expanse of water and of light.
In this way, Monet's unique vision forever changed Impressionism, creating a new form that inspired untold artists and admirers.
Glass is a beautiful and fascinating medium and photographing glass can be very challenging!!
The angle and intensity of the changing light, as well as the contrast of the different colours give John's pieces a life far greater than what can be captured on film. They are constantly changing throughout the day and choosing just one photo to represent them on the webpage can be very difficult! A perfect example of this is a collaboration that John has just completed with fellow glass artist Teresa Seaton.
When presenting this piece we have decided it required 2 photos.
|One to show the piece in full
sun that highlights the glass.
|Another that shows the surface
detail of the roots.
You can click on each picture to see a larger example of this design.
You can read more about this design and the meaning behind it by clicking this link:
which will take you to the Store.
John enjoyed working with Teresa on this piece very much and looks forward to future collaborations with her.
Please be sure to check out more of Teresa's work here: Teresa Seaton