$495 with the Canon 18 to 55 mm, that would do nicely.7610. alistairconnor - 9/6/2004 7:47:39 PM
Looks like the Rebel hasn't arrived in France yet. Good. I haven't got the money yet.
7611. TheWizardOfWhimsy - 9/14/2004 11:15:45 PM
7612. wonkers2 - 9/14/2004 11:24:04 PM
Nice!
7613. TheWizardOfWhimsy - 9/14/2004 11:29:22 PM
Thanks wonk--if you click on it, you'll see a larger version.
7614. PelleNilsson - 9/15/2004 12:01:16 AM
I like the top left one the most.
7615. wabbit - 9/15/2004 1:17:34 AM
Gorgeous!
7616. TheWizardOfWhimsy - 9/15/2004 2:24:20 AM
Thanks, wabb! And to think that Mrs. Lawlor, (my second grade teacher) who "needed to prod me out of my dreaming" would always say: "Get your head out of the clouds, and come back to Earth."
Now she's in the Earth and I'm still flyin' high over the same sad little planet.
Pelle- that one is titled: "Oversand Station With Lemon Sky."
Here is a brief introduction written by the poet and art critic, John Yau, for the show's card;
7617. TheWizardOfWhimsy - 9/15/2004 2:24:57 AM
In Robert Dente’s monoprints, there is an upper and lower world. The upper world is made of different densities and layers of paint, which we translate into atmosphere, light, and wind currents; it is a radiant place of constant movement and change. In the lower world, we translate the paint into earth, stone, wood, grass, sand, and reflection; it is a place of stillness populated by solemn silhouettes. Although full of human traces, the world feels abandoned, as if the living have moved elsewhere or vanished. The acts of seeing and sifting, looking and reflecting are linked.
Dente arrives at a disquieting luminosity by having the paint remain paint. His juxtaposition of two distinct worlds is direct, and even simple, but the result is a state of complex feeling. Both dependent and independent, each world needs the other to become itself. The conjunction of movement and stillness is one of the activating formal tensions. Another formal tension is generated by the relationship between the works’ scale and the implied space of the artist’s subject matter. Between five inches and sixteen inches high and wide, these intimately scaled monoprints embrace the sky, and a vastness one associates with infinity. In its stillness and quietude the lower world echoes this immensity
7618. TheWizardOfWhimsy - 9/15/2004 2:25:06 AM
Dente evokes, as well as describes, a vast, various space with remarkable economy. It is one of the formal and emotional keys to his work. In Provincetown in Moonlight, the synthesis of the brush’s movement, tonal shifts and striations of color, endow the sky with a light that is both palpable and remote; it stretches out and back. Cropped by the monotype’s edges, the striations convey the artist’s sense that reality exceeds our attention, that it can only be glimpsed piecemeal, and that it is relentlessly modifying itself. At the same time, the two buildings standing on the crest of the slight inclination that lies just ahead offer a counterpoint to the sky. Dark and silent, they are like sentinels that are no longer sure of their official duties. This sense of loss suffuses throughout Robert Dente’s monoprints, and yet it should not be construed as romantic or even expressive. It comes from a place deeper than that, it comes from the very paint itself.
John Yau
Needless to say, I think he's a brilliant writer! {:?)
7619. arkymalarky - 9/15/2004 7:07:17 AM
Wow, Wiz.
7620. judithathome - 9/15/2004 8:37:40 AM
Superb...absolutely superb!
