Archive for the ‘Artists’ Category

Rodel Gonzalez

Thursday, July 2nd, 2009

Artist Name: Rodel Gonzalez

Artistic Discipline: Paintings

Artist Biography:

Rodel Gonzalez is an artist of inspirational talents with a keen eye for seeing the beauty in the commonplace and grace in the ordinary. His story starts with an initiation into the art business through the tutelage of his father, Rick Gonzalez and grandfather, Felix Gonzalez, at the age of 9. “Growing up my father would always tells me to not be intimidated by the paint and be 100% sure about my intentions on my first stroke at the canvas, says Rodel. His explorations of color, form, and composition ignited a lifelong passion for the arts in its many forms.

He studied at the University of Santo Tomas, with a major in painting and went on to earn a degree in Interior Design from the Philippines School of Interior Design. This early training required perseverance in acquiring the skills and discipline that would prove to serve him well in future endeavors on his path to artistic freedom.

His artistry became evident in the field of music and at 20 he founded “Side A” in the Philippines. The band is still active today and is currently the longest-lived band in Manila. Rodel was the lead singer and the band’s most prolific songwriter. His success in the music industry fulfilled a part of him, but exposed a desire for a more meaningful and deeper connection with his audience.

In 1994, Rodel embarked on a new journey. His talents were manifested as a minister in the service of others. Although busy with his official duties, he maintained his connection with art by doing commissioned portraits, murals, and sketches for friends and acquaintances.

In 2002, Rodel began in earnest his dreams of pursuing a fine art career. With inspiration and influence from his brother, Rudolf Gonzalez, and support from his cousin Roy Gonzalez Tabora, he has a newfound energy and dedication for his artwork.

When asked about his latest works for the Disney Fine Art portfolio, Rodel has said, “Having the opportunity to create Disney paintings is such a treat because Disney was definitely part of my childhood. I remember watching my first Disney films “Bambi” and “Snow White” and ever since I’ve been mesmerized by the succeeding Disney movies I’ve seen. I believe a painting is a mirror of the painter’s understanding of an insight he has. The Disney paintings each involved such a strong concept that every brushstroke was a joyful anticipation of the finished product. The energy was very strong therefore my intentions were sure and refined. I would say that there was a lot of grace present on every painting.

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Jim Salvati

Thursday, July 2nd, 2009

Artist Name: Jim Salvati

Artistic Discipline: Paintings

Artist Biography:

Artist Jim Salvati has a message for his students at the prestigious Art Center College of Design in Pasadena: Even “normal people” can make it in the art world.

 

“I’m a very regular guy; there’s nothing fancy about me,” says Jim, who grew up surfing the beaches of Southern California and went on to graduate from the prestigious Art Center College of Design in 1982. “I tell my students that you don’t have to be extremely talented to make it. You can make it in life on passion and determination.”

 

Jim has plenty of those two attributes, and he most certainly has “made it” in the art world. He’s been a prolific artist for movie studios and theaters, with a client list that includes Disney, Warner Bros., Sony Pictures, Paramount Pictures and Radio City Music Hall. He was the master illustrator and conceptual artist behind many of the memorable images and finished paintings associated with the “Harry Potter” films.

 

He describes his style as “painterly realism”, and his favorite subjects are people. Ask him about a painting, and he will tell you the subject’s personal story. Salvati sees his paintings as his portal into various cultures and different areas of society. “I like the connection between people and their culture,” he says. “The different emotions, gestures, moods, environments, and style of people in my life and those that I cross paths with, all become part of my storytelling”.

 

“Even with my Disney art, I think it’s important to show who a person or character is and what is the most interesting part of their life the part that is bold and has guts.” Character and boldness can be observed in the scenes that Salvati chooses to depict. They are often not only a defining moment of a film, but usually the most emotionally charged and sometimes heartbreaking. Bambi alone in the woods, the Huntsman with Snow White, and Scar leaving Simba in the canyon, are all turning points in the story, and when the main character had to show their “guts” or courage.

 

Working in oil paint, Salvati uses panel and sometimes mounted paper preferring the option of layering paint to create a lot of texture, as he feels that an uneven surface adds to the emotion of the story. “My paintings are extremely thick and layered and oil allows me the time I need to play with the color,” he says.

 

For the past 22 years, he’s been teaching at Art Center himself, a gig he’s found just as rewarding and inspiring as painting. “I love teaching, and students respond to my style because I’m so down to earth,” he says. Abyproduct of his years as an instructor is his strong connection to artistic diversity as well as a careful observation of the changing world of art and how art interrelates with technology. His experience and knowledge cross many boundaries into Print, Film, Animation, and the fine arts.

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Mike Kupka

Thursday, July 2nd, 2009

Artist Name: Mike Kupka

Artistic Discipline: Paintings

Artist Biography:

The art of illustration is multifaceted and requires extensive training as well as artistic ability. It is only natural for a great illustrator to be able to switch their style with little effort, growing an incredible portfolio and several types of artwork that demand attention. This is apparent when you see the work of Mike Kupka. Whether painting well-known rock stars like Ozzy Osbourne, or adding new depths to the classic horror characters of Frankenstein and Dracula, to his amazing depictions of the Disney Villain’s. His affinity for the darker characters in life has developed into quite a scary portfolio.

 

As with most artists the desire was there to draw early on, he would wait all week for the Sunday comics and eagerly copy the latest Beatle Bailey. Mike started to paint during his time at duCret school of art in New Jersey when he found his mentor Peter Caras. He has not put the brush down since.

 

Even at the young age of 32, Michael’s artwork captures more than a likeness of the characters he paints, his work creates old world flair. Bringing together all the ingredients necessary to make a painting work, which is why he attracts the eye. With the soft lines and rustic palate, The villains he depicts have always shown a greater range of emotions whether Captain Hook’s eyes are boaring into you sizing you up or Cruella dreaming about the newest batch of puppies for her next fur coat. One thing is for sure you know that the characters he renders are so glad to be bad.

 

Shadow, mood, composition, and color, his style lends to it and as he says about why villains, “You get more!” You can see from his works he is right.

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Michael & Inessa Garmash

Thursday, July 2nd, 2009

Artist Name: Michael & Inessa Garmash

Artistic Discipline: Paintings

Artist Biography:

Husband and Wife Team, Romantic Impressionists

 

It all started in the little town of Lugansk in Ukraine, 1969. An early starter, Mr. Garmash began painting at the age of three. By age six he started his formal education at the Lugansk Youth Creative Center. Recognizing rare, natural talent, his teachers sent his works to a variety of exhibitions in the then Soviet Union.

 

An award winning artist from the onset, Mr. Garmash received first prizes at several juried exhibitions, including the Lugansk Regional Juried Exhibition 1977 (Best Poster), the Czechoslovakian International Youth Competition 1978, and the Hungarian International Art Competition of Circus Related Art 1978.

 

After graduating, valedictorian from the Lugansk State Fine Art College in 1987, Mr. Garmash began teaching there the following year. From 1989 to 1991, he served in the army (when he met his wife and partner, Inessa) and in 1992 began studying at the St. Petersburg Academy of Art. Prior to graduating at the top of his prestigious school’s class, Mr. Garmash exhibited in France at galleries in cities such as Paris, St. Etienne, Avignon, Lion and Marcel.

 

Mr. Garmash also took part in the annual Exhibitions in St. Petersburg, Russia. In addition to painting, he has also excelled in the creation of stained-glass windows and received an honorary medal for his work in the Suvorov Military Museum in St. Petersburg.

 

Ms. Garmash, born Inessa Kitaichik in 1972 Lipetsk, Russia, has excelled in the arts since early childhood. Proving herself in ballet, gymnastics and music, Ms. Garmash attended classes in all three disciplines and, after graduating from music and ballet school, entered the Lugansk Fine Art School at age fifteen. At seventeen she was accepted as that year’s best undergraduate to the Lugansk State Fine Art School.

 

Today, Mr. and Mrs. Garmash are considered two of the finest Romantic Impressionists of our day. Their incredible talent is only matched by their love and career stories. In similar fashion to the determination of his artwork, Mr. Garmash courted his future wife, after seeing her for but a moment, by painting her image all over her hometown while she slept. She immediately recognized the passion with which this man cared so dearly and married him shortly thereafter.

 

The Garmashs began their artistic collaboration in much the same way. Several years after their marriage, Mr. Garmash began a painting of their two-year old daughter, Polina, for a project at school. However, Polina found the painting during her father’s absence and decided to embark upon her own artistic career. Ms. Garmash, after seeing what her daughter had done and not wanting her husband to be upset, fixed the painting using her own training, packed it up and gave it to him for submission. Mr. Garmash submitted the painting for review and was praised for completing his best work ever. He was surprised to see the “new” painting and immediately recognized his wife’s hand. They have painted together every since.

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Peter Ellenshaw

Thursday, July 2nd, 2009

Artist Name: Peter Ellenshaw

Artistic Discipline: Paintings

Artist Biography:

Born in 1913, barely a year before World War I was to assail England with bomb-dropping zeppelins and an economic downturn that would last for decades, master painter Peter Ellenshaw would spend his early years in hardship. War was the devil that haunted all of us, driving out happier memories, he writes in is pictorial autobiography, Ellenshaw Under Glass (Camphor Tree Publishers, 2003).

Ellenshaw’s father died in 1921, and his mother soon married the groundskeeper on an estate in Kent. Ellenshaw’s biological father had family living in Wilton Castle, near Enniscorthy, Ireland, and prior to his father’s death, Peter had been attending a private school in which he was taught, among other things, fine social graces. This ended abruptly as his mother remarried and his family moved into cramped living quarters on the estate his new stepfather tended to. Here, instead of kindly doffing his hat for the ladies, the seven-year old Ellenshaw was enlisted for the purpose of holding the lantern while the latrines were emptied at night.

Recurrent and frequent childhood illnesses left Peter unable to pass the basic entrance exams for grammar school, and at his mother’s suggestion, he became an auto mechanic at 14. Simultaneously, his mother also encouraged him to develop his artistic talent, especially painting and drawing. It was in this manner that Peter managed to keep his floundering self-esteem afloat. [I] Certainly developed an inferiority complex, he wrote years later. “because in England, dirty unskilled work was the lowest rung on the social ladder.

It was around this time that Ellenshaw had a chance meeting with a local artist who would later mentor him not only in painting on canvas, but in painting on glass for the purpose of creating matte backgrounds for film. This man would play a pivotal role in his life in several ways. Percy Pop Day, as he was called, was to become a legend in pioneering visual effects for film. Later a recipient of the O.B.E., Days relationship with Ellenshaw became one of mentor-apprentice, as the younger of the two began working alongside the elder doing visual effect work for studios.

After serving his country as an RAF pilot in World War II, Ellenshaw returned to work for Mr. Day at the studios. After a brief yearlong stint at MGM, Ellenshaw left in 1947 upon receiving a call to work for Walt Disney Studios on the film, Treasure Island. As it turned out, his partnership with Disney would last over thirty years and earn him five Oscar nominations. For his work on “Mary Poppins” in which he recreated scenes of Edwardian London in 102 different mattes, he won an Academy Award. Walt Disney became Ellenshaw’s mentor and friend, spurring him on continually to perfect his craft and push the creative envelope. Walt was the dominant figure in my life for all those years,” he wrote years later. He talked to me as a father would. I cherished our relationship. However, after Walt Disney passed away in 1968, making movies wasn’t the same anymore. After Walt was gone, things were different, he wrote in his autobiography. I ceased to be as interested in film making.

At this time more than ever, Ellenshaw became more engrossed with his second career” – painting landscapes for the sheer beauty of it. By 1968, it was occupying every possible spare moment as he scurried to keep up with the demand created by galleries and collectors.

Disney’s The Black Hole in 1976 was Ellenshaw’s last film for Disney Studios, viewed both as an artistic masterpiece and a cinematic failure. Ellenshaw began to broaden his Hollywood horizons at that point, working on Superman IV with son Harrison in 1984.

The work of Peter Ellenshaw is represented in both public and private galleries worldwide. He has been the recipient of numerous honors and awards, including those by the American Film Institute, the Museum of Modern Art in New York, the Film Institute in Chicago, the Academy of Motion Picture Arts and Sciences, the R.W. Norton Art Museum in Shreveport, Louisiana, and the Disney Legends Awards.

Now in his nineties, Peter Ellenshaw still enjoys the daily regimen of his second career and paints nearly every day.

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Harrison Ellenshaw

Thursday, July 2nd, 2009

Artist Name: Harrison Ellenshaw

Artistic Discipline: Paintings

Artist Biography:

Many sons growing up in the shadow of a famous father feel that they want to carve their own paths in life. That was me, says Harrison Ellenshaw, son of Disney Legend and master painter Peter Ellenshaw, who won an Oscar for his visual effects work on “Mary Poppins and was nominated a total of five times for the Academy Award. I had grown up fascinated by my father’s painting.” Harrison says. He would sometimes give me canvas and paints. I have photographs of me painting when I was a small boy. My father’s life was painting, even during meals he would bring the canvases he was working on into the kitchen and sit and eat and look, criticizing his own work. My mother was not always pleased that this was how the family spent mealtime, but she understood his passion. But I found both this passion and his incredible talent intimidating. I was convinced I could never live up to any of it.

Harrison graduated from Whittier College with a BA in psychology. By then, in the early 70s, the country was in the throes of a recession and Harrison found it difficult to find a job. I remember driving with my father one day, he recalls, and he said, Well, you know, just for the time being, if you’re interested, the matte department at Disney is looking for apprentices. The department head at that time was Alan Maley, who had worked as a matte artist with Harrison’s father in years past. So I went and talked to Alan, and we agreed that we’d give it six months.

Alan became my mentor, Harrison says, and it was due to his enthusiasm and encouragement that I really got bitten by the film bug. It had been very unique growing up having a father who knew and worked for Walt Disney — he was a living legend, an icon. But in a sense I took being in a ‘show business family’ for granted. It was Alan who showed me what was so special about film — about matte paintings; how your work on shots could be an integral part of telling a story.” After about four years, Alan Maley retired. “He told me I could take over as department head,” Harrison remembers. It usually takes twelve years as a journeyman to become a department head. The studio was a little hesitant and I was scared to death. Maley offered to return to give Harrison a hand if necessary, so he took the job.

Then, Harrison got a phenomenal break. Fate smiled on me, as it had for my father, he says humbly. I got a chance to do some work on Star Wars. At this point, a tale of two Ellenshaws becomes the tale of two separate Ellenshaws, as this is where Harrison begins to really strike out on his own, away from his father’s legacy. His work on Star Wars was so well received that he was asked to return to work on The Empire Strikes Back. By this time, having clearly carved a niche for himself, Harrison had no problem working with his father on Disney’s The Black Hole in 1979. Harrison then went solo again to add his unforgettable touch to Tron, one of the most unique and visually stunning films ever, now a cult classic.

After work on “Captain Eo,” “Superman IV,” “Ghost” and other films, a memorable year for Harrison was 1989, when he worked on Dick Tracy. The matte paintings were visually the star of that film, he recalls. And by then I was doing some fine art painting on my own. But it was around that time when I was working on this incredibly colorful film that an exhibition of Fauve artists came to the Los Angeles County Museum of Art. Fauve, which in French means wild beasts, was a name given to a group of up and coming rebel French artists in the 1900s, who included among their ranks Henri Matisse and Andre Derain. The Fauve painters took a traditional art form and began using forms and colors which were not found in nature, painting familiar objects with startlingly wrong colors, in an attempt to liberate color.

Up until this point I had been painting trees with black, gray and brown trunks and green leaves, he points out. And then I came across the Fauves, who were only in existence a few years, and their intense use of color. They had done something I really enjoyed and appreciated. So I began to paint far more colorfully than I had in the past. Today, I enjoy painting as much as ever and I enjoy doing things that are really colorful. The great thing is that now with the giclée process of making prints, you can match the colors perfectly. Harrison’s work has been exhibited at the prestigious Hammer Galleries in New York, as well as galleries in London and San Francisco. Collectors Editions is proud to publish the works of Harrison Ellenshaw, in all their true, vivid color.

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James Coleman

Thursday, July 2nd, 2009

James Coleman

Artist Name: James Coleman

Artistic Discipline: Paintings

Artist Biography:

James Coleman – a name synonymous with sweeping skies, tropical rain forests, rich deep woods and silent deserts. The images created by this talented man continue to delight all that view them.

 

James Coleman was born in Hollywood, California in 1949. As a youth, his creative abilities seemed to dominate his world. Though he lacked the athletic skills of his young friends, he more than made up for it with imagination and ingenuity. As a young man, his interest in filmmaking and fine art would mark the beginning of a long, successful career in animated films. Coleman began his career with Walt Disney Studios in the summer of 1969, when his mother, who had been working as a secretary with Disney since the Hyperion days, got him a job in the studio’s mailroom. His big break came when he entered one of his paintings in the studio art show. Several of the Disney artists viewing his work, saw his potential and realized he had an untapped ability and encouraged him to go into animation background painting.

 

Walt Disney Productions welcomed his creative energies. His first film, “Winnie, the Pooh and Tigger, too,” sparked his interest not only in painting backgrounds but also in background design and color styling.

 

After completing, “The Rescuers”, his first feature film, he was promoted to Background Department Supervisor, a position he held for nearly seventeen years. During that time, he personally hired and trained a select group of artists, whom he would work with for most of his career at Disney. While at Disney, James styled and worked on twelve films and over thirty short subjects which included “Mickey’s Christmas Carol”, “The Fox and the Hound”, “The Great Mouse Detective”, “The Black Cauldron”, “The Little Mermaid”, and Academy Award-winning, “Beauty and the Beast”. All of which came to life with James Coleman’s background images gracing the silver screen.

 

In 1991, after twenty-two years with Disney, James left to pursue a new career. He was ready to devote all of his time and talent to the love of his life, fine art. Today he continues to illuminate the art world with vibrant colors, gentle moods, powerful design and exquisite detail.

 

Coleman works in oil, watercolor, gouache and pastel. His work is impressionistic and luminous. His pieces intrigue the eye and touch the heart. His paintings are warm, inviting and unique. A master of color, light and design, Coleman has become one of the most collected and sought after artists around the world. James Coleman pieces can be found in many fine, personal and corporate collections including that of the Disney family. Coleman is a naturalist and environmentalist who involve himself with the National Parks and other environmental organizations. He has been a finalist for five years in the Arts for the Parks competition.

 

The contribution made by Coleman to the world of art over some thirty years, both in film and fine art, makes him one of the most collected artists in contemporary art. His work is represented by some of the most prominent and respected galleries in North America, the Orient and the Hawaiian Islands.

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Toby Bluth

Wednesday, July 1st, 2009

Artist Name: Toby Bluth

Artistic Discipline: Paintings

Artist Biography:

ART THAT MOVES THE HEART

Walt Disney was a man who had an amazing ability to inspire other people to remarkable creative achievements. Toby Bluth happens to be one of those shining gems of talent that to this day draws inspiration from the life and work of Walt Disney. Starting with Snow White and the Seven Dwarfs then continuing with Pinocchio, Fantasia, Dumbo and Bambi, the first five feature length films to come out of Walt Disney Studios, according to Bluth, are the five gems in the crown of animation’s royal history.

Just as those five films marked Walt’s grand entrance into feature length storytelling they, quite appropriately, set the stage for the first five limited edition giclée’s in Bluth’s Disney Fine Art portfolio. Infused with all the depth, texture and richness of Toby’s original watercolors these fine prints will be enjoyed for generations, very much in the spirit of the timeless classics that inspired them.

Technique and approach

Creating the moment that you think you saw… is how Toby Bluth describes his approach in conceiving each one of his watercolor masterpieces. Believing that how one remembers a film is often different from the actual film itself, Toby paints what he perceives as the collective memory of a film experience and taps into the emotional essence of the story.

Chiaroscuro, defined as the use of deep variations in, and subtle gradations of, light and shade, especially to enhance the delineation of character and for dramatic effect, is a key component in Bluth’s work. The blue shaded undercoat or chiaroscuro effect, seen in this example of his work-in-progress, adds depth, life and warm and cool shadows to each scene Bluth invites us into. Toby also refers to this process as painting the light and the air. Fumado, a word which basically means smoky, is a term Toby uses to describe the notion that as things move away from you in distance or time, they get hazy and out of focus…much like our memory of events in our lives. He uses this principal as inspiration in how he composes his paintings, to draw focus (or lack of) to certain elements in his work. Background Inspired by the work of legendary illustrator Gustaf Tengrenn, whom Walt Disney recruited to work on Snow White and the Seven Dwarfs, Bluth is passionate about his craft. A multifaceted artist, Toby’s creative endeavors do not end at the tip of his brush. He is an accomplished writer, director, designer and a veteran of the American musical stage, having performed and or directed in nearly one hundred musicals, both on Broadway and beyond. Most recently he served as Art Director for The Walt Disney Studios production of The Three Musketeers, having already served in that position for the animated feature film The Tigger Movie.

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John Alvin

Wednesday, July 1st, 2009

John Alvin

Artist Name: John Alvin

Artistic Discipline: Paintings

Artist Biography:

Creating the promise of a great experience” is how John Alvin describes his role as the preeminent designer and illustrator of cinema art in the entertainment industry today. In a business where you are only as good as your last job, Alvin is prolific. He has designed and illustrated some of the world’s most widely recognizable movie art.

 

Of the more than 120 film campaigns he has created, E.T. – the Extra-Terrestrial is the most satisfying to Alvin, and appropriately so, as the movie is one of the most successful in cinema history. In addition to receiving the Hollywood Reporter Key Art Awards’ grand prize, Alvin’s E.T. was the only movie art ever to be honored with the Saturn Award from The Academy of Science Fiction, Horror and Fantasy Films.

 

Alvin has produced many special works for Lucasfilm Ltd.’s Star Wars phenomenon. His Star Wars Concert and Star Wars Tenth Anniversary poster are among the most collectible Star Wars art in the market today. Additionally, The Smithsonian Museum , Washington D.C. , exhibited Alvin ‘s The Phantom of the Paradise as one of the best posters of the 20th Century.

 

The ability to infuse art with feeling was one reason Disney wanted Alvin for The Lion King and the “adult campaigns” for many Disney animated classics. The adult campaign will usually be more elegant, more symbolic, and in Alvin ‘s masterful hands, imbued with a moody, almost magical aura. “His work inspires us,” say the Disney marketing execs. ” Alvin brings emotion into his artwork that can only be captured in an illustration. We call it ‘Alvinizing’.”

 

Alvin much prefers being involved in the total campaign – including designating what the image will be rather than just illustrating. Thus, at times the right solution for a film may be photographic, or a combination of photography, traditional illustration and digital manipulation, decisions Alvin is not adverse to making and personally executing. His diversely extensive portfolio is a testimony to Alvin ‘s consistent determination to make the movie’s image that memorable promise of something great and wonderful.

 

As a youth, Alvin was almost as fascinated with the previews of coming attractions as he was with the movies themselves. He couldn’t wait for the Sunday paper to arrive to see what movies were playing. He reveals, “from the time I was 12, I think I guided myself unconsciously toward the entertainment industry.” Alvin adds, “the closest I could get to the movies without being an actor, author or cinematographer, was to draw ‘terrific art’ about them.”

 

Alvin acquired a full array of artist’s skills and techniques as a student of the distinguished Art Center College of Design in Los Angeles . Soon thereafter, in 1974, he got his chance to put his love of entertainment art and his artist training to work by creating the campaign art for Mel Brook’s Blazing Saddles. Looking back, Alvin is surprised at times to realize that he’s been creating cinema art for nearly thirty years.

 

Alvin has developed and maintained a very loyal following among collectors of cinema art, making his original art and signed reproductions much sought after and treasured pieces of movie memorabilia.

 

Truly, John Alvin belongs to a very special and very short list of cinema art masters whose works have become icons in Hollywood ‘s rich and colorful history.

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Disney Fine Art

Wednesday, July 1st, 2009

Artist Names:

James Coleman

Toby Bluth

Harrison Ellenshaw

Jim Salvati

Mike Kungl

Tim Rogerson

David Garibaldi

Manuel Hernandez

John Rowe

Noah

Trevor Carlton

Rodel Gonzalez

Mike Kupka

 Peter Ellenshaw

among many others…

 

Artistic Discipline: Paintings

Artist Biography: We distribute limited edition and original artwork from many notable Disney Artists such as James Coleman, Toby Bluth, Harrison Ellenshaw, Jim Salvati, Mike Kungl, Tim Rogerson, David Garibaldi, Manuel Hernandez, John Rowe, Noah, Trevor Carlton, Rodel Gonzalez, Mike Kupka, as well as Disney Legend, Peter Ellenshaw, among many others.

Disney Fine Art is available around the world in art galleries throughout Europe, Japan and North America, as well as through Disney Theme Parks and Disney Cruise Lines.

 

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