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== Believe impressionist Patrick Antonelle is a person of importance and should be included ==
== Living painters, boasting collectors (private & public) of note - who read like a who's who- should be included. ==
For a regular guy from Long Island to be dubbed “the American Renoir” could be daunting. But Patrick Antonelle takes it in stride.
Nor did the good natured Antonelle seem to mind when one interviewer recently mentioned his name in the same breath as that of Thomas Kinkade, although he should have. For while Kinkade is a popular schlock phenomenon, known for his cozily artificial treatment of light, Antonelle is a real painter with an unerring sense of natural light who just happens to have a popular following. Which is to say, not only is Antonelle`s work in numerous corporate collections and prestigious private collections of contemporary art, it has also been purchased over the years by people like Leonard Bernstein and Frank Sinatra, as well as by serious collectors who are normally more likely to buy a Renoir or a Monet than a work by a living painter.
An unabashed adherent of Impressionism and Pointillism, Antonelle updates the techniques of both movements to create his New York City scenes, as well as his landscapes of Nantucket and European locations in England, France, and Italy. Indeed, he is one of the few contemporary painters who has mastered those techniques sufficiently to capture subtle qualities of light on different surfaces as proficiently as his Parisian predecessors. In his New York views, particularly, he shares their ability to invest scenes of everyday life with freshness and vivacity.
Of course there has always been an American Impressionist tradition, going back to Childe Hassam and other members of The Ten. In recent decades, however, the tendency has been to imitate the superficial mannerism of the movement without making the thorough study of light that has always given Antonelle’s paintings the edge. One of the reasons for this is that Antonelle, who has gained his following over the past three decades, has always known what he wanted to do in painting.
Ever since his student days at the School of Visual Arts, the Brooklyn Museum Art School, and The Art Students League, Antonelle has known what he has wanted to do and has been sharpening his skills towards that end. Anyone who has spoken with him knows that he is quite aware of and knowledgeable about abstract painting.
Still, like Fairfield Porter, Wolfe Kahn and other New York realists who were not in opposition to Abstract Expressionism, Antonelle (who had the respect for his abstract peers when he showed at the gallery 86, one of the original Tenth Street Galleries, after it relocated to 57th Street in the 1990th) has always preferred to apply abstract principles to recognizable subject matter. That he has also obviously absorbed certain principles of Asian painting is evident in works such as “Winter in the Park,” a scene in which tiny figures can be seen traversing the snow banks in Central Park . The diminutive scale of the figures, here as in most of Antonelle’s paintings and prints, hints at the insignificance of the human being in the total scheme of things, which has always been a prominent feature of traditional Chinese landscape painting. Here, too, the misty quality of the tall buildings looming over the park and its bare, slender trees also harks back to the misty mountains seen in Chinese scrolls, although the falling snow affords Antonelle the perfect opportunity to display his pointillist technique as well. And while most Chinese painting is basically monochromatic, being accomplished with gray tones in variously diluted shades of black carbon ink, Antonell also brings all of the chromatic subtlety he acquired in his study of the Impressionists to bear in the soft pink tints of the sky and the variety of delicate hues he employs to the sense of waning afternoon light on the snow in this exhilarating winter scene.
By contrast , Antonelle is able to indulge his love of lush of color and richly textured foliage in another New York scene called “Gramercy Park Summer,” with its silver of clear blue sky peeking through the verdant trees and lawns, while a person walks a little dog a pure path dappled with the shadows of the leaves. Here, particularly, one sees the artist’s almost transcendent way with light in his handling of the yellow accents on the grassy areas bordering the path, as well as in the shimmering atmosphere he evokes where the trees recede into the distance on the lawn.
As a young man Antonelle considered becoming an architect, and this has inspired him over the years to make the landmark buildings of old New York some of his favorite subjects. But while these paintings are tinged with nostalgia for the older style of architecture that he prefers over the glass facades of more recent buildings, his command of firm, architectural linear strokes, along with his softer handling of the more ethereal elements of light and shadows, have long made his city scenes favorites of discerning collectors.
More recently, however, Antonelle’s European landscapes have become just as prized, particularly his scenes of Tuscany, Italy, with its hilly topography and fertile vegetation, which he evokes with great vigor. Particularly exemplary in this regard is “Sunflowers-Tuscany,” where clusters of the big, brilliant yellow flowers dominate the foreground of the composition and recede into the distance, where red-roofed rustic houses are visible, set against the verdant hills.
Byron Coleman “Gallery & Studio” magazine
Revision as of 21:49, 3 April 2008
Welcome to my talk page. Please sign and date your entries by inserting -- ~~~~ at the end. Start a new talk topic.
hi, i saw that the william tremblay page had problems (copywright?), so i tried to rewrite it (just a stub). is it ok now? thanks. Pamplonatate01:45, 1 August 2006 (UTC)[reply]
Sorry. But it states that no one should edit it for the time being. But you're welcome to contribute to other articles. --Tuspm(C | @)01:47, 1 August 2006 (UTC)[reply]
Hello Mike, Thanks for participating in my RFA! Ultimately, no consensus was reached, but I still appreciate the fact that you showed up to add in your two cents. I know you were concerned about my lack of activity in encyclopedic pages, so I've made a vow to not apply again until I have at least 1500 mainspace edits. You can feel free to talk to me about it or add some advice on my improvement page.
Hi, you said you would be willing to help with the Simpsons project. Well, if you wish, you can help me convert all the capsules into a standardized format. I'm starting with Season 17 and moving back, so maybe you could start at Season 1 and move forward (i've already finished Season 17 and most of 16). This is the format I'm using if your interested:
Synopsis
Trivia
Cultural References
Anything episode specific
Awards (If applicable)
Goofs
Quotes
Airdates
Check out any of the capsules from 17 and (most of) 16 for more. If your willing to help, it would be GREATLY appreciated. ~Scorpion0422
Thanks for your help! It's greatly appreciated. But, I looked at a couple Season 1 capsules and the area that should be called "Cultural References" has various different names - Parodies, References, etc. I've been trying to standardize all the capsules, which means having the same headings for each, so in the future please change the existing titles to fit the format. My basic goal is to get EVERY capsule similar and having a Trivia and Cultural References section (and put a few entries in each) and hope that others will fill them. Thanks! -- Scorpion042208:04, 2 August 2006 (UTC)[reply]
The edit was made because "Совет" transliterates to "Sovet", with the "i" being included in English translations. For an example see Sovnarkom which provides "Sovet Ministrov" for "Совет Министров". I will add back the edition. 202.89.151.8813:14, 2 August 2006 (UTC)[reply]
Thanks for informing me of your intentions. I would suggest explaining your edits in the edit summary so other users don't think you're misspelling words on purpose. --Tuspm(C | @)13:16, 2 August 2006 (UTC)[reply]
My RfA
Thankyou for your participation in my RfA. Due to an almost even spread of votes between Oppose and Support (Final (16/13/6)) I have decided to withdraw for now and re-apply in a couple of months as suggested. I thank everyone for their kind support of my editorial skills; it meant a lot to me to get such strong recommendations from my fellow editors. If you ever have any hints as to how I can improve further, I would love to hear from you. ViridaeTalk15:24, 2 August 2006 (UTC)[reply]
Good luck
Hello there Tuspm, it's much too bad to see that you will be leaving Wikipedia. It's probably a good thing that you recognized that things in that pesky real life are important, though. ;) Best of luck out there, and I'm sure we'll enjoy your anonymous editing. (though not as much as your editing here) -- Natalya15:53, 4 August 2006 (UTC)[reply]
Farewell!
I didn't run into you a lot, but you were a good user. I hope you come back, it will would be a great readdition to the community! But for now, farewell! -zappa.jake (talk) 05:48, 5 August 2006 (UTC)[reply]
Hello. I'd like to you please re-evaluate my RfA, as it seems your weak oppose was based largely on my answers to the questions. These answers have since been revised, and the RfA is to be closed soon. Thanks! -- Rmrfstar11:43, 8 August 2006 (UTC)[reply]
Thank you for taking part in my RfA! Unfortunately, it ended with a final result of (62/23/7), and with only 73% support, no consensus was achieved. Nevertheless, I'm happy to hear your comments and hopefully I'll do better next time. :)
Thank you for participating in my RfA! Unfortunately, it ended with a final result of (32/31/5) which no consensus was achieved. Nevertheless, I'd like to thank you again for your support and to keep an eye out for me within the next 3 months. Also, please so kind ans to drop by my suggestions page for my next RfA :) SynergeticMaggot21:39, 10 August 2006 (UTC)[reply]
The Esperanza To-Do List is a place where you may list any request, big or small, for assistance. If you need help with archiving your usertalk, for example, all you need to do is list it here and somebody will help you out. Likewise, if you need help with some area of editing on Wikipedia, list it here! Again, any matter, trivial or not, can be placed on this page. However, all matters listed on this page must not be of an argumentative nature. You do not need to be a member of Esperanza (or this program) to place or fulfill requests on this page. If you don't have any requests, consider coming by and fulfilling a few! This program has not been very active, but has lots of potential!
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Thanks for being such a great contributor to Wikipedia. I'm very sorry to see you go; I didn't know you personally, but I saw you on various aspects of Wikipedia numerous times and knew you were a wonderful editor. If you do return, I hope I can be the first in welcoming you back. Farewell. WebdingerTALK | 00:31, 21 August 2006 (UTC)[reply]
Hi Tuspm. I saw the update on your userpage announcing that you would be making redirects on pages. I did not know you personally, but I saw your name on the Leaving Wikipedia section of the Esperanza/Alerts page. I am glad that you are staying, at least in your spare time. Please know that we value all of your edits and wish you the best in your outside life.--Chili1403:19, 27 August 2006 (UTC)[reply]
Here in Wikipedia there are hundreds of wikipedians whose work and efforts go unappreciated. One occasionally comes across editors who have thousands of good edits, but because they may not get around as much as others, their contributions and hard work often go unnoticed. As Esperanzians we can help to make people feel appreciated, be it by some kind words or the awarding of a Barnstar. This is where the Barnstar Brigade comes in. The object of this program is to seek out the people which deserve a Barnstar, and help them feel appreciated. With your help, we can recognize more dedicated editors!
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The September 2006 Council elections will open for nominations on 18 September 2006. The voting will run from 25 September 2006 until 30 September 2006. If you wish to be a candidate or a member of the elections staff, please list yourself!
The new Esperanza front page design has but put up - many thanks to all who worked on it!
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Although having the newsletter appear on everyone's userpage is desired, this may not be ideal for everyone. If, in the future, you wish to receive a link to the newsletter, rather than the newsletter itself, you may add yourself to Wikipedia:Esperanza/Newsletter/Opt Out List.
Admin Coaching needs coaches!!! If you are an administrator, or even a generally experienced user, do consider signing up to be a coach.
Admin Coaching, now being coordinated by HighwayCello, is a program for people who want help learning some of the more subtle aspects of Wikipedia policy and culture. People are matched with experienced users who are willing to offer coaching. The program is designed for people who have figured out the basics of editing articles; they're not newcomers any more, but they might want some help in learning new roles. In this way, Esperanza would help keep hope alive for Wikipedia because we would always be grooming the next generation of admins.
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Special note to spamlist users: Apologies for the formatting issues in previous issues. This only recently became a problem due to a change in HTML Tidy; however, I am to blame on this issue. Sorry, and all messages from this one forward should be fine (I hope!) -Ral315
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Believe impressionist Patrick Antonelle is a person of importance and should be included
Living painters, boasting collectors (private & public) of note - who read like a who's who- should be included.
For a regular guy from Long Island to be dubbed “the American Renoir” could be daunting. But Patrick Antonelle takes it in stride.
Nor did the good natured Antonelle seem to mind when one interviewer recently mentioned his name in the same breath as that of Thomas Kinkade, although he should have. For while Kinkade is a popular schlock phenomenon, known for his cozily artificial treatment of light, Antonelle is a real painter with an unerring sense of natural light who just happens to have a popular following. Which is to say, not only is Antonelle`s work in numerous corporate collections and prestigious private collections of contemporary art, it has also been purchased over the years by people like Leonard Bernstein and Frank Sinatra, as well as by serious collectors who are normally more likely to buy a Renoir or a Monet than a work by a living painter.
An unabashed adherent of Impressionism and Pointillism, Antonelle updates the techniques of both movements to create his New York City scenes, as well as his landscapes of Nantucket and European locations in England, France, and Italy. Indeed, he is one of the few contemporary painters who has mastered those techniques sufficiently to capture subtle qualities of light on different surfaces as proficiently as his Parisian predecessors. In his New York views, particularly, he shares their ability to invest scenes of everyday life with freshness and vivacity.
Of course there has always been an American Impressionist tradition, going back to Childe Hassam and other members of The Ten. In recent decades, however, the tendency has been to imitate the superficial mannerism of the movement without making the thorough study of light that has always given Antonelle’s paintings the edge. One of the reasons for this is that Antonelle, who has gained his following over the past three decades, has always known what he wanted to do in painting.
Ever since his student days at the School of Visual Arts, the Brooklyn Museum Art School, and The Art Students League, Antonelle has known what he has wanted to do and has been sharpening his skills towards that end. Anyone who has spoken with him knows that he is quite aware of and knowledgeable about abstract painting.
Still, like Fairfield Porter, Wolfe Kahn and other New York realists who were not in opposition to Abstract Expressionism, Antonelle (who had the respect for his abstract peers when he showed at the gallery 86, one of the original Tenth Street Galleries, after it relocated to 57th Street in the 1990th) has always preferred to apply abstract principles to recognizable subject matter. That he has also obviously absorbed certain principles of Asian painting is evident in works such as “Winter in the Park,” a scene in which tiny figures can be seen traversing the snow banks in Central Park . The diminutive scale of the figures, here as in most of Antonelle’s paintings and prints, hints at the insignificance of the human being in the total scheme of things, which has always been a prominent feature of traditional Chinese landscape painting. Here, too, the misty quality of the tall buildings looming over the park and its bare, slender trees also harks back to the misty mountains seen in Chinese scrolls, although the falling snow affords Antonelle the perfect opportunity to display his pointillist technique as well. And while most Chinese painting is basically monochromatic, being accomplished with gray tones in variously diluted shades of black carbon ink, Antonell also brings all of the chromatic subtlety he acquired in his study of the Impressionists to bear in the soft pink tints of the sky and the variety of delicate hues he employs to the sense of waning afternoon light on the snow in this exhilarating winter scene.
By contrast , Antonelle is able to indulge his love of lush of color and richly textured foliage in another New York scene called “Gramercy Park Summer,” with its silver of clear blue sky peeking through the verdant trees and lawns, while a person walks a little dog a pure path dappled with the shadows of the leaves. Here, particularly, one sees the artist’s almost transcendent way with light in his handling of the yellow accents on the grassy areas bordering the path, as well as in the shimmering atmosphere he evokes where the trees recede into the distance on the lawn.
As a young man Antonelle considered becoming an architect, and this has inspired him over the years to make the landmark buildings of old New York some of his favorite subjects. But while these paintings are tinged with nostalgia for the older style of architecture that he prefers over the glass facades of more recent buildings, his command of firm, architectural linear strokes, along with his softer handling of the more ethereal elements of light and shadows, have long made his city scenes favorites of discerning collectors.
More recently, however, Antonelle’s European landscapes have become just as prized, particularly his scenes of Tuscany, Italy, with its hilly topography and fertile vegetation, which he evokes with great vigor. Particularly exemplary in this regard is “Sunflowers-Tuscany,” where clusters of the big, brilliant yellow flowers dominate the foreground of the composition and recede into the distance, where red-roofed rustic houses are visible, set against the verdant hills.
