Category: Artist Library

Fernand Leger

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Fernand Leger was born in the Argentan, Orne, Basse-Normandie. He apprenticed with an architect from 1897-1899 before moving in 1900 to Paris, where he supported himself as an architectural draftsman. After military service in Versailles in 1902-1903, he enrolled at the School of Decorative Arts; he also applied to the Ecole des Beaux-Arts but was rejected. He nevertheless attended the Beaux-Arts as a non-enrolled student, spending what he described as “three empty and useless years” studying with Gérôme and others, while also studying at the Académie Julian.

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He began to work seriously as a painter only at the age of 25. At this point his work showed the influence of Impressionism, as seen in Le Jardin de ma mère (My Mother’s Garden) of 1905, one of the few paintings from this period that he did not later destroy. A new emphasis on drawing and geometry appeared in Léger’s work after he saw the Cézanne retrospective at the Salon d’Automne in 1907.

In 1909 he moved to Montparnasse and met such leaders of the avant-garde as Archipenko, Lipchitz, Chagall, and Robert Delaunay. His major painting of this period is Nudes in the Forest (1909-10), in which Leger displayed a personal form of Cubism—his critics called it “Tubism” for its emphasis on cylindrical forms—that made no use of the collage technique pioneered by Braque and Picasso.

In 1910 he joined with several other artists, including Delaunay, Jacques Villon, Henri Le Fauconnier, Albert Gleizes, Francis Picabia, and Marie Laurencin to form an offshoot of the Cubist movement, the Puteaux Group—also called the Section d’Or (The Golden Section). Leger was influenced during this time by Italian Futurism, and his paintings, from then until 1914, became increasingly abstract. Their vocabulary of tubular, conical, and cubed forms are laconically rendered in rough patches of primary colours plus green, black and white, as seen in the series of paintings with the title Contrasting Forms. Leger’s experiences in World War I had a significant effect on his work. Mobilized in August 1914 for service in the French Army, he spent two years at the front in Argonne. He produced many sketches of cannons, airplanes, and fellow soldiers while in the trenches, and painted Soldier with a Pipe (1916) while on furlough. In September 1916 he almost died after a mustard gas attack by the German troops at Verdun. During a period of convalescence in Villepinte he painted The Card Players (1917), a canvas whose robot-like, monstrous figures reflect the ambivalence of his experience of war. As he explained: …I was stunned by the sight of the breech of a 75 millimeter in the sunlight. It was the magic of light on the white metal. That’s all it took for me to forget the abstract art of 1912-1913. The crudeness, variety, humor, and downright perfection of certain men around me, their precise sense of utilitarian reality and its application in the midst of the life-and-death drama we were in…made me want to paint in slang with all its color and mobility.

This painting marked the beginning of his “mechanical period”, during which the figures and objects he created were characterized by sleekly rendered tubular and machine-like forms. Starting in 1918, he also produced the first paintings in the Disk series, in which disks suggestive of traffic lights figure prominently.

In December 1919 he married Jeanne-Augustine Lohy, and in 1920 he met Le Corbusier, who would remain a lifelong friend. The Railway Crossing, 1919, The Art Institute of Chicago The “mechanical” works Leger painted in the 1920s, in their formal clarity as well as in their subject matter—the mother and child, the female nude, figures in an ordered landscape—are typical of the postwar “return to order” in the arts, and link him to the tradition of French figurative painting represented by Poussin and Corot. In his paysages animés (animated landscapes) of 1921, figures and animals exist harmoniously in landscapes made up of streamlined forms. The frontal compositions, firm contours, and smoothly blended colors of these paintings frequently recall the works of Henri Rousseau, an artist Léger greatly admired and whom he had met in 1909. They also share traits with the work of Le Corbusier and Amédée Ozenfant who together had founded Purism, a style intended as a rational, mathematically based corrective to the impulsiveness of cubism. Combining the classical with the modern, Léger’s Nude on a Red Background (1927) depicts a monumental, expressionless woman, machinelike in form and color. His still life compositions from this period are dominated by stable, interlocking rectangular formations in vertical and horizontal orientation. The Siphon of 1924, a still life based on an advertisement in the popular press for the aperitif Campari, represents the high-water mark of the Purist aesthetic in Léger’s work. Its balanced composition and fluted shapes suggestive of classical columns are brought together with a quasi-cinematic close-up of a hand holding a bottle. As an enthusiast of the modern, Léger was greatly attracted to cinema, and for a time he considered giving up painting for filmmaking.[8] In 1923-24 he designed the set for the laboratory scene in Marcel L’Herbier’s L’Inhumaine (The Inhuman One). In 1924, in collaboration with Dudley Murphy, George Antheil, and Man Ray, Léger produced and directed the iconic and Futurism-influenced film, Ballet Mécanique (Mechanical Ballet). Neither abstract nor narrative, it is a series of images of a woman’s lips and teeth, close-up shots of ordinary objects, and repeated images of human activities and machines in rhythmic movement.

In collaboration with Amédée Ozenfant he established a free school where he taught from 1924, with Alexandra Exter and Marie Laurencin. He produced the first of his “mural paintings”, influenced by Le Corbusier’s theories, in 1925. Intended to be incorporated into polychrome architecture, they are among his most abstract paintings, featuring flat areas of color designed to advance or recede. Starting in 1927, the character of Léger’s work gradually changed as organic and irregular forms assumed greater importance.

The figural style that emerged in the 1930s is fully displayed in the Two Sisters of 1935, and in the several versions of Adam and Eve, which portray Adam in a striped bathing suit, or sporting a tattoo. In 1935, the Museum of Modern Art in New York City presented an exhibition of his work. During World War II Léger lived in the United States, where he found inspiration in the novel sight of industrial refuse in the landscape. The shock of juxtaposed natural elements and mechanical elements, the “tons of abandoned machines with flowers cropping up from within, and birds perching on top of them” exemplified what he called the “law of contrast”. His enthusiasm for such contrasts resulted in such works as The Tree in the Ladder of 1943-44, and Romantic Landscape of 1946. A major work of 1944, Three Musicians (Museum of Modern Art, New York), reprises a composition of 1930. A folk-like composition reminiscent of Rousseau, it exploits the law of contrasts in its realistic juxtaposition of the three men and their instruments. Upon his return to France in 1945, he joined the Communist Party. During this period his work became less abstract, and he produced many monumental figure compositions depicting scenes of popular life featuring acrobats, builders, divers, and country outings. Charlotta Kotik has pointed out that Leger’s “determination to depict the common man, as well as to create for him, was a result of socialist theories widespread among the avant-garde both before and after World War II. However, Léger’s social conscience was not that of a fierce Marxist, but of a passionate humanist.” His varied projects included book illustrations, murals, stained-glass windows, mosaics, polychrome ceramic sculptures, and set and costume designs. After the death of his wife in 1950, Léger married Nadia Khodossevitch in 1952. In his final years he lectured in Bern, designed mosaics and stained-glass windows for the University of Caracas, Venezuela, and painted Country Outing, The Camper, and the series The Big Parade. In 1954 he began a project for a mosaic for the São Paulo Opera, which he would not live to finish. Fernand Léger died at his home in 1955 and is buried in Gif-sur-Yvette, Essonne.

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David Lachapelle

David Lachapelle was born in Connecticut in 1969, he attended the North Carolina School of Arts before heading to New York City, a move that would result in a chance encounter with legendary pop icon Andy Warhol and a job as a photographer at Interview magazine. This in turn provided the springboard and exposure that allowed David LaChapelle to become a household name through his dynamic and challenging photo features for leading publications, work that has seen him ranked among the top ten Most Important People in Photography in the world by American Photo magazine.

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The Fellini of photography” (New York Magazine), David LaChapelle holds a rightful place as one of the most high profile, spectacular and respected photographers of the day. Working mainly in the field of fashion and celebrity, countless VIPs have gone before his hallowed lens, including Britney Spears, Madonna, Naomi Campbell and Paris Hilton, while magazines Vogue Italia, Vanity Fair and The Face have used his fantasy imagery and viewer eye candy on their pages for the last decade.

In 2006, David LaChapelle decided to minimize his participation in commercial photography, and return to his roots by focusing on fine art photography. Since then, he has been the subject of exhibitions in both commercial galleries and leading public institutions around the world. He has had record breaking solo museum exhibitions at the Barbican Museum, London (2002), Palazzo Reale, Milan (2007), Museo del Antiguo Colegio de San Ildefonso, Mexico City (2009), the Musee de La Monnaie, Paris (2009), the Museum of Contemporary Art in Taipei, Taiwan and the Tel Aviv Museum of Art, Israel. In 2011, he has had a major exhibition of new work at The Lever House, New York and retrospectives at the Museo Arte Contemporáneo de Puerto Rico (through March 2012), the Hangaram Design Museum in Seoul (through February 2012) and Galerie Rudolfinum, Prague (through February 2012).

The galleries he has exhibited in include Tony Shafrazi and Paul Kasmin galleries in New York, Robilant + Voena in London, Alain Noirhomme Gallery in Brussels, Galerie Thomas, Munich and de Sarthe, Hong Kong. In 2012, David LaChapelle is breaking new ground in his own career by showing an exhibition titled Earth Laughs in Flowers at four different international galleries simultaneously: Reformierte Dorfkirche in St. Moritz, branches of Robilant + Voena in London and Milan, and Fred Torres Collaborations in New York.

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Keith Haring

Keith Haring - Retrospect
 
 

Keith Haring was born on May 4, 1958 in Reading, Pennsylvania, and was raised in nearby Kutztown, Pennsylvania. He developed a love for drawing at a very early age, learning basic cartooning skills from his father and from the popular culture around him, such as Dr. Seuss and Walt Disney.

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Upon graduation from high school in 1976, Keith Haring enrolled in the Ivy School of Professional Art in Pittsburgh, a commercial arts school. He soon realized that he had little interest in becoming a commercial graphic artist and, after two semesters, dropped out. While in Pittsburgh, Keith Haring continued to study and work on his own and in 1978 had a solo exhibition of his work at the Pittsburgh Arts and Crafts Center.

Later that same year, Keith Haring moved to New York City and enrolled in the School of Visual Arts (SVA). In New York, Keith Haring found a thriving alternative art community that was developing outside the gallery and museum system, in the downtown streets, the subways and spaces in clubs and former dance halls. Here he became friends with fellow artists Kenny Scharf and Jean-Michel Basquiat, as well as the musicians, performance artists and graffiti writers that comprised the burgeoning art community.

Keith Haring was swept up in the energy and spirit of this scene and began to organize and participate in exhibitions and performances at Club 57 and other alternative venues. In addition to being impressed by the innovation and energy of his contemporaries, Haring was also inspired by the work of Jean Dubuffet, Pierre Alechinsky, William Burroughs, Brion Gysin and Robert Henri’s manifesto The Art Spirit, which asserted the fundamental independence of the artist. With these influences Keith Haring was able to push his own youthful impulses toward a singular kind of graphic expression based on the primacy of the line. Also drawn to the public and participatory nature of Christo’s work, in particular Running Fence, and by Andy Warhol’s unique fusion of art and life, Haring was determined to devote his career to creating a truly public art.

As a student at SVA, Haring experimented with performance, video, installation and collage, while always maintaining a strong commitment to drawing. In 1980, Haring found a highly effective medium that allowed him to communicate with the wider audience he desired, when he noticed the unused advertising panels covered with matte black paper in a subway station. He began to create drawings in white chalk upon these blank paper panels throughout the subway system.

Between 1980 and 1985, Haring produced hundreds of these public drawings in rapid rhythmic lines, sometimes creating as many as forty “subway drawings” in one day. This seamless flow of images became familiar to New York commuters, who often would stop to engage the artist when they encountered him at work. The subway became, as Haring said, a “laboratory” for working out his ideas and experimenting with his simple lines.

Between 1980 and 1986, Haring achieved international recognition and participated in numerous group and solo exhibitions. His first solo exhibition in New York, held at the Tony Shafrazi Gallery in 1982, was immensely popular and received critical acclaim. During this period, he participated in highly renowned international survey exhibitions such as Documenta 7 in Kassel Germany, the São Paulo Biennial and the Whitney Biennial. Haring completed numerous public projects in the first half of the 80’s as well, ranging from an animation for the Spectracolor billboard in Times Square, designing sets and backdrops for theaters and clubs, to developing watch designs for Swatch and creating murals worldwide.

In April 1986, Haring opened the Pop Shop, a retail store in Soho selling T-shirts, toys, posters, buttons and magnets bearing his images. Haring considered the shop to be an extension of his work and painted the entire interior of the store in an abstract black on white mural, creating a striking and unique retail environment. The shop was intended to allow people greater access to his work, which was now readily available on products at a low cost. The shop received criticism from many in the art world, however Haring remained committed to his desire to make his artwork available to as wide an audience as possible, and received strong support for his project from friends, fans and mentors including Andy Warhol.

Throughout his career, Haring devoted much of his time to public works, which often carried social messages. He produced more than 50 public artworks between 1982 and 1989, in dozens of cities around the world, many of which were created for charities, hospitals, children’s day care centers and orphanages. The now famous Crack is Wack mural of 1986 has become a landmark along New York’s FDR Drive.

Other projects include; a mural created for the 100th anniversary of the Statue of Liberty in 1986, on which Haring worked with 900 children; a mural on the exterior of Necker Children’s Hospital in Paris, France in 1987; and a mural painted on the western side of the Berlin Wall three years before its fall. Haring also held drawing workshops for children in schools and museums in New York, Amsterdam, London, Tokyo and Bordeaux, and produced imagery for many literacy programs and other public service campaigns. Haring was diagnosed with AIDS in 1988. In 1989, he established the Keith Haring Foundation, its mandate being to provide funding and imagery to AIDS organizations and children’s programs, and to expand the audience for Haring’s work through exhibitions, publications and the licensing of his images. Haring enlisted his imagery during the last years of his life to speak about his own illness and generate activism and awareness about AIDS. During a brief but intense career that spanned the 1980s, Haring’s work was featured in over 100 solo and group exhibitions.

In 1986 alone, he was the subject of more than 40 newspaper and magazine articles. He was highly sought after to participate in special projects and collaborated with artists and performers such as Madonna, Grace Jones, Bill T. Jones, William Burroughs, Timothy Leary, Jenny Holzer and Andy Warhol. By expressing universal concepts of birth, death, love, sex and war, using a primacy of line and directness of message, Haring was able to attract a wide audience and assure the accessibility and staying power of his imagery, which has become a universally recognized visual language of the 20th century. Keith Haring died of AIDS related complications at the age of 31 on February 16, 1990.

A memorial service was held on May 4, 1990 at the Cathedral of St. John the Divine in New York City, with over 1,000 people in attendance. Since his death, he has been the subject of several international retrospectives. The work of Keith Haring can be seen today in the exhibitions and collections of major museums around the world.

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Richard Hamilton

Richard William Hamilton (24 February 1922 – 13 September 2011) was a British painter and collage artist. His 1955 exhibition Man, Machine and Motion and his 1956 collage, Just what is it that makes today’s homes so different, so appealing?, produced for the This Is Tomorrow exhibition of the Independent Group in London, are considered by critics and historians to be among the earliest works of Pop Art.

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Hamilton was born in Pimlico, London. Despite having left school with no formal qualifications, he managed to gain employment as an apprentice working at an electrical components firm, where he discovered an ability for draughtsmanship and began to do painting at evening classes at St Martin’s School of Art. This led to his entry into the Royal Academy Schools.

After spending the war working as a technical draftsman, he re-enrolled at the Royal Academy Schools but was later expelled on grounds of “not profiting from the instruction”, loss of his student status forcing Hamilton to carry out National Service. After two years at the Slade School of Art, University College, London, Hamilton began exhibiting his work at the Institute of Contemporary Arts (ICA) where he also produced posters and leaflets and teaching at the Central School of Art and Design.

Exhibitions

The first exhibition of Hamilton’s paintings was shown at the Hanover Gallery, London, in 1955.  In 1993, Hamilton represented Great Britain at the Venice Biennale and was awarded the Golden Lion.[16] Major retrospective exhibitions have been organized by the Tate Gallery, London, 1970 and 1992, Solomon R. Guggenheim Museum, New York, 1973, MACBA, Barcelona, Museum Ludwig, Cologne, 2003, and the Neue Nationalgalerie, Berlin, 1974. Some of the group exhibitions Hamilton participated in include: Documenta 4, Kassel, 1968; São Paulo Art Biennial, 1989; Documenta X, Kassel 1997; Gwangju Biennale, 2004; and Shanghai Biennale, 2006. In 2010, the Serpentine Gallery presented Hamilton’s ‘Modern Moral Matters’, an exhibition focusing on his political and protest works which were shown previously in 2008 at Inverleith House, Royal Botanic Garden in Edinburgh. Dublin City Gallery The Hugh Lane is currently showing a joint retrospective exhibition of both Hamilton’s and Donagh’s work called Civil Rights etc., which will be shown until January 2012. The Minneapolis Institute of Arts showcased Hamilton’s work in Richard Hamilton: Pop Art Pioneer, 1922-2011 from November 19, 2011—March 18, 2012.

The Walton Fine Arts in London is the distributor of Hamilton’s prints.

Collections

The Tate Gallery has a comprehensive collection of Hamilton’s work from across his career.  In 1996, the Kunstmuseum Winterthur received a substantial gift of Hamilton’s prints, making the museum the largest repository of the artist’s prints in the world.

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Salvador Dali

Salvador Dali (1904- 1989) Spanish artist Dali is considered one of the most impressive artists of the 20th Century, not only because of his art but of his eccentric character.

Salvador Dali was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters. His best-known work, The Persistence of Memory, was completed in 1931. Salvador Dali’s expansive artistic repertoire included film, sculpture, and photography, in collaboration with a range of artists in a variety of media.

Salvador Dali attributed his “love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes” to a self-styled “Arab lineage”, claiming that his ancestors were descended from the Moors.

Salvador Dali was highly imaginative, and also enjoyed indulging in unusual and grandiose behavior. His eccentric manner and attention-grabbing public actions sometimes drew more attention than his artwork, to the dismay of those who held his work in high esteem, and to the irritation of his critics.


Romero Britto

Romero Britto is a Brazilian neo-pop artist, painter, serigrapher, and sculptor. He combines elements of cubism, pop art and graffiti painting in his work. He is known for hs contemporary work.

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Once he settled in Florida, Romero Britto worked on the streets in Coconut Grove, where he gained great popularity with the community.  He has done portraits of Roger Federer, Dustin Hoffman, Arnold Schwarzenegger, Michael Jordan, Gloria Estefan, Andre Agassi, Eileen Guggenheim, David Rockefeller, and Senator Ted Kennedy, as well as dozens of other societal, political and entertainment figures, in order to further his career.

Romero Britto, Squeaki Britto. Britto has been a fixture in the international art scene since 1989, when he was commissioned by Absolut Vodka to design a bottle label for a company advertising campaign. Following this, Romero Britto’s whimsical cartoon style art was consistently sought-after for commissioned by major corporations for large-scale murals, sculptures and product logos around the world. He has recently been requested for commissions by companies such as Disney and Evian.

He has been named the state of Florida’s Ambassador of the Arts. In 2004, his Welcome sculpture, the world’s largest aluminum sculpture, was erected at Dadeland station in Miami.

Romero Britto’s monumental sculpture this year commemorated the 40th anniversary of the Montreux Jazz Festival, and his portrait of legendary art dealer and the founder of Art Basel, Ernst Beyeler, now hangs at Fondation Beyeler, the Swiss museum that also houses the works of Klee, Cézanne, Picasso, Monet, Matisse and Giacometti.

Romero Britto’s works have appeared in numerous publications worldwide, and his designs are not limited to canvas; he has designed logos, furniture and costumes, and most recently the costumes for the pre-game ceremonies 41st Super Bowl.

Works on Display

In the United States, Europe and Japan

  • The Mariner of the Seas Royal Caribbean
  • Bean Man Governor’s Mansion, Tallahassee
  • California Gold California Winery Associates California
  • The Nurse American Red Cross Headquarters, Washington
  • Welcome Monumental Sculpture for Dadeland North Station, Miami
  • Confetti Mayfair Galleria Mall, Coconut Grove, Florida
  • In the Air US AIR Frequent Flyer’s Club, Palm Beach
  • Paradise City of Miami Beach, City Hall
  • The Ultimate Kid Strong Memorial Hospital New York
  • Kiss & London Teen Grove Isle Yacht & Tennis Club, Coconut Grove
  • Michel Roux Carillon Importers Headquarters,Teaneck
  • Growing as a Child St. Christopher’s Hospital for Children, Philadelphia
  • Star Art Star Art Foundation, Coral Gables, Florida
  • Our Guardian Angel Jackson Memorial Hospital mural Miami, Florida
  • Mural Miami Children’s Museum, Miami
  • One People–One Planet The Tae Jon International Exposition, Korea
  • Medallion Swedish Wine & Spirits Corp. Sweden
  • Absolut Britto II, ABSOLUT Vodka Headquarters, Stockholm, Sweden
  • Dance of Hearts Ormond Street Children’s Hospital, England
  • Mural Pernambuco Catholic University, Recife, Brazil

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Henri Matisse

Henri Emile-Benoit Matisse, one of the lions of the Modern era and an artist whose sensual forms and pure colors conveyed the philosophy of “luxe, calme and volupte,” was born on New Year’s eve in 1869. Influenced heavily by Cézanne, Henri Matisse was also a friend and contemporary of Picasso and Gertrude Stein. His brilliant colors and primitive forms shocked critics, who dubbed Matisse and the painters in his circle the “Fauves,” a French word for “beasts.” His greatest artworks combine form and content in a way that evokes in the viewer intense responses of joy and unity.

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Henri Matisse is known for his still lifes, his interiors, and his nudes—all of which make up a vivid emotional landscape in which childlike shapes reveal a sophisticated interplay of color and form. The painter also created murals and designed stained glass windows, integrating architecture and images in a way that allowed him to “express himself fully.”

Late in his life, Henri Matisse’s hands lost their ability to control a paintbrush with precision. Thus he began work in one of his last great media, the cutouts. The “Jazz” series is perhaps the most well known of these projects. The bright, clear shapes, snipped freehand from paper, expressed, for Matisse the “crystallizations of memories.” They combine the joyousness of form with a sense of nostalgia, are simultaneously naïve and imbued with the power of a master who can strip an image of extraneous detail, revealing its vibrant core.

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Bambi

Walton Fine Arts are Bambi Artist’s exclusive global agents for all original art!

Bambi is a British street artist that has presented numerous works throughout the city of London. Keeping her identity anonymous, she portrays current culture through her unique style, and has received wide recognition for her public murals of such figures as Prince William and Kate Middleton, and a full portrait of Amy Winehouse that is now protected by plastic. Inspired by a cross of artists including Bansky, Bambi addresses controversial subject matter that is accessible to a range of viewers. Bambi describes her work as, “I let my work speak for itself. But dreams can inspire me and I am particularly interested in people who spread love and joy…” Bambi studied at St. Martin’s Art College and she continues to live and work in London. Portrayed by some already as ‘the female Banksy!’ The up-n-coming artist known as Bambi, has set off to a great start in the commercial Urban art market.  Producing Hand-cut, hand-sprayed, hand-papered original one offs as editioned works, as apposed to editioned ‘prints’, such as those made by artists normally. In addition to editioned original works, Bambi produces one-off originals on mediums such as metal & canvas. Walton Fine Arts is the sole, global agent and representative of  Bambi UK street artist’s original art.  All original works by Bambi originate from Walton Fine Arts.  Works will be seen to come and go, in a rather incognito manor.  Rather like Bambi’s credentials which remain unknown.

For inquiries about Bambi please write to: art@waltonfinearts.com

By popular demand – Bambi originals available currently from £4,000 and upwards

Bambi Art Gallery

Bambi, the urban artists latest street works include the following: Bambi - Diamonds are forever - Street piece

Bambi

Diamonds are a girl’s best friend – Street piece

A beautiful tribute to Queen Elizabeth II’s Diamond Jubilee – 60 years of reign.

  Hero to zero street piece I   From Hero to Zero street piece II   From Hero to Zero – Primorose Hill London NW2 Depicting the true story of an Afhghan war veteran… Make Tea not war Make tea not war in Belsize village NW3 On the shutters of Bell Street’s well- known Loretta’s Coffeehouse – spreading the message The simple message from this anonymous artist.   Bambi Baby   The baby from Top fashions accessory 2011′   “Unredeemed Pledge” (ie. Uncollected goods), and one off Essex Road with slogan “Top Fashion Accessory” – which is your favourite?

Ai wei wei street art London

Ai wei wei street art London

The words “You can “Cage theSinger, but Not the Song” fly from an ancestral pot, and the red line could possibly be the Chinese Law, ie,“Stepping over the line.” Followed by a further slogan to free Ai Wei Wei……… Just days after the execution of this great street piece, Ai Weiwei is released!!!!! http://www.guardian.co.uk/artanddesign/2011/jun/22/ai-weiwei-released-from-detention   A Bit Like Marmite - Street piece A Bit Like Marmite – Street Mural was made on The Royal Couple’s Wedding day to commemorate this Historic occassion.  This work is In Islington on the corner of Liverpool Road N1.   Amy Street Peace – A tribute to the legendary Amy Winehouse excecuted in Camden.     I wish – for a white Xmas an end to world hunger poverty animal cruelty and a set of Little Mix dolls  Bambi — at Cross Street Shillingford Street off Upper Street N1 Highbury and Islington.   Amy 2012 Street Piece Amy 2012 Street Piece – After the defamation of the original Amy by an unknown source, Amy gets a fresh 2012 look!   Pickering St, just off Essex Rd. You walk into your local cafe, and pass this on your route…. reminding you that mudanity meets extraordinary sometimes, and that there is more to life than cigarettes, tea, and that full-English breakfast you’ve been craving….. “I believe in Angels!”   ‘You lift my spirits’  Made for the London 2012 Olympics, shows how team GB has shone the path to greatness.   Bambi Ball Dog Street piece ‘Ball Dog’ Bambi street piece for Wimbledon and Olympics Wimbledon 2012.  Great British Bull Dog is king! Rude-Pope-Bambi-NW5   ‘Rude Pope’ Bambi street piece in Rochester Place, London NW5 Bambi quoted as saying: ‘A night in the cells goes with the territory.  It’s going to happen.  The best policy is to be polite to the police: a cup of tea and a blanket goes a long way on a cold winters night’

‘This Can’t Happen’  Bambi Street Artist’s street piece depicting the North Korean Leader tyrant Kim Jong-Un on the brink of a Nuclear War!


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