In May 2017, in an Avenuege event at lovely localities at
Handverkeren in Oslo, the first "Avenuege library" book
was published, entitled, "The Beauty of Ballerinas--
awakening non-artificial intelligence". At roughly
samte time, it was listed at the databases of the National
Libraries of Norway.
The book is foundational for the entire spectre
of Yoga4d Avenuege activities, what with its
physics and all that. More than a dozen paintings were on
display and cool music played in the background. The book
will regularly be reprinted and complements books also
associated with our Intraplates activities.
Art as Permanent Imprint of Fuzzy, Real Harmony
Art as Inspiration for Excellence in Dance
Art as the Thought-Form of Your Upcoming Success
Art as the Hard Work of Not Imitating
Art as Ballerinas Beyond Gravitation
Art as First-Hand Expansion of Your House
Art as Bringing Together People to Think Freely
..the impressionism of our times is not about self-pity,
but going beyond self; and the pain of discipline
behind the effortlessness of the ballet dance movement
exhibits something of the muse-like quality we need,
in our times. Impressionism in early 20th century
was first rather patch-like, eg reflections in water,
but now it is any painting-style between cartoon and photo,
in which a sense of energy impression is conveyed. --S.R. Weber
Yes, they are ballet dancers, doing some form of
contemporary or classical ballet dance with exquisite
technique and majestic beauty, or they may be training,
or preparing, or resting/meditating; but the surroundings
may be as much as in space, with energy bands flashing
through, as it can be indoors--and the dancers, of
course, are our muses
A ballerina with ballet slippers over her shoulder by S.R.Weber, 50x50 cm
Click on it to enlarge.
To view or buy paintings, contact srw @ avenuege dot com
Norwegian price in year 2018 is at NOK 10.000 kroner.
As you know, paintings appear different every day, depending on
such as with angles and tones of the light and with your perspective;
please remember that when viewing photos of paintings!
Newest paintings: scroll to the completion of this page, and a
little up. These dance or muse oriented contemporary
impressionism paintings in acrylic are suitable also to
stimulate creative work and harmony, both in private and
public spaces, both office and home living environments. You see
that the price is actually quite close what's typical of graphical
print produced in series of hundreds; here, the energy of each
painting is, of course, coming forth more strongly in that
there is only one of each ("OOE", as we sometimes call it).
Earlier paintings and background are also shown on this page. More
of the newest, from this year, in the section nearer the bottom
of the page.
On a distant planet (or maybe Earth),
the Three Graces (or Muses)
greet the Sun (or dance one of their
muse-acts to change a world)
Muse impressionism, signed SRW
PAINTINGS BY S R WEBER
The melting of philosophy, a relaxed, openminded
spirituality and art {for clarification of the
concept of "muses" see also a footnote on this
page}. Half a meter in width & height.
Three muses. In all art history, from the time when such as the
classical greek sculptures were made, and then so revered, and imitated
by the Roman empire, throughout the baroque and gradually more and more
modern periods--and with parallel developments, more or less, in India
and other parts of the world, artists have explored the notion of angelic
muses or supreme beings--often three of them at a time--as sources of
luck and happiness, wealth, fortune and good health for those who find
themselves within their sphere of influence when they are benevolent.
Since the oracles at Delphi, Olympia and elsewhere conveyed messages
to the leaders of states and armies by the means of the nymphetic
priestly sylphs--humans imitating some aspect of the higher muses,
and with the more modern concepts presented in various newer developments
since then (also in theology), the young woman, sometimes etherically
slim and, as for the greek gods or muse-beings, often with a gracefully
athletic build, long legs defying gravitation by powers greater than
those ruling over mortals, has persisted to be a symbol of wholeness,
whether divine or nearer to gold and mammon. What you see above is some
of the ripe forms of acrylic 'impressionistic' (or 'muse
impressionistic') feeling and sense of such sentiments (in addition
there are variations including face portraits etc, scroll below). This
explores the exciting middle-ground, so to speak, between the anatomy as
can be shown on a photography, and the sketchiness that leaves much room
open for imagination; it involves a nudity that is not imposing;
and with a landscape that COULD be a beach, or a landscape, but also
could be kind of free, auric, energetic space, or a different level
of existence, or the inside of an exotic building with a magnificent
display. Though perhaps it is as if an auric photograph from a place
somewhere behind and up, on a small hill behind a beach, gazing on
the grace of the relaxed muse or muses; they, in turn, are perhaps
taking in the immensity of the energy of the Sun, and the play of
reflections on the waves, or buildings, or whatever is in front of
them--shielded, sometimes, by a rockwall of sorts, or by standing
sufficiently behind the beach proper, letting the horizon line be
seen in the distance above them; and other variations that play on
the fundamental forces of Nature--air, or space, light, as the Sun
or stars or the fire of awakening, rocks, as stone or a hint of
mountains, water, as ocean or sea, and the living force of the feel
of beautiful human skin, hinted at, and as such more real, for the
living human mind, than when attempted to be imitated.
This, then, is how we build upon the past of
art history to put forth the coherent definition of
what we call muse impressionism
(or, if you like, contemporary impressionism,
or contemporary muse impressionism).
Acrylic 50 centimeter x 50 centimeter: Muse touring a scifi city
The human mind is magnificent when given a chance. Paintings of
this sort, with a rich, harmoniously crafted texture, indeed do
the mind, your mind a good chance, of shuffling through alternative
views of the patterns, and thereby of stimulating to new harmonies and
intuitions each day in yourself and in those around you. This, then,
is a 21st century evolved form of what perhaps can be called
'impressionism'--in the sense that it is neither abstract nor
photo-imitating figurative, but a particularly tuned in-betweenness
that computer graphics cannot fully approach on itself.
Those who are lucky enough to have such paintings in their daily life
and work environments, living-rooms, offices, sleeping rooms, hallways,
training rooms, and so on and so forth, will find new freedoms in
the spaces that these open in the mind. The paintings have hints
of various forms of wholeness and gestalts that can inspire to
melodious, musical ideas; of course the word 'music' comes from the
same root as 'amusement', namely, again: muse, the muses, the three
muses, and so this is a musical, or muse impressionism.
Acrylic 1/2m x 1/2m: Girls talking, city muse impressionism
These forms were evolved, in what we can term relaxed colors,
after an extensive period of contact of Stein Henning W Reusch Braaten,
whose artist name is Stein R Weber, with the famous Norwegian painter
Frans Widerberg (see intro-text below, or scroll at once to the section
near completion of this long page to see more samples in the style above).
For one thing, Widerberg emphasized, more than most productive Norwegian
painters in the 20th century, a certain type of elegant sketchiness
that is suggestive of an evolved type of impressionism. Another thing
that Widerberg brought forth is the esthetical validity of allowing the
'beings of space' have legs that often may be thought of as a kind
of radiant energy, sometimes permittinga length and a thinness that
have a particular beauty due to the geometric proportions possible in
such imagined spaces, without the restrictions that gravitation imposes
on natural bones. This can be--as SRW has done--be looked into further
also by means of various forms of order and golden ratios, including,
of course, also the the Fibonacci series of numbers, cfr the G15 PMN
programming page by SRW a series of comments about orders of harmony and
indeed also an algorithm 'Fibo' that shows how to easily make these
numbers in his own programming language.
Three additional sources of influences should be mentioned at once,
for completeness: the contact with the mountaineer and deep ecologist,
the philosopher Arne Naess, over quite some time; earlier on, some
contact with the physicist David Bohm, and his view of the universe as
what he, in his explorations of the concept of 'wholeness' termed 'the
implicate order'--Bohm evolved this some decades after his meetings
with Albert Einstein, meetings that led directly to Bohm developing
what has become regarded as an important alternative interpretation of
quantum phenomena--and, thirdly, and perhaps fourthly, dance and
photography, also connected to art photos of dancers, and to the wider
range of photography where one can touch on that which is called 'the
tantric' (a blending of meditation and sensuality) {there's more
information on these influences further on in this page, also through
links here}.
As preparation for this ripe style, much work has been put into finding
the color tones that reflect both vividness and harmony; both energy and
tranquility; and that are compatible with a variety of life situations
without being too imposing. These are all about half a meter times half
a meter, acrylic paintings made on solid classic canvases and sold for
a stable price (updated only for inflation). The price is set by the painter
according to the intensity of work associated, on the average with each
painting. The canvases have a high-quality handcrafted feel. From the first
to the last of how these artworks come about, there's no sense of any
second-hand or mass-produced about these, and each painting unfolds on its
own premises rather than being a duplicate derived from a single sketch or
from some form of computer graphics. This contributes to ensuring that the
feel of the artist and the esthetical insights of the same are present in
a first-hand sense in each. The Avenuege stores, made by the same, are,
in addition to atelier sales, a stable environment for providing new
SRW paintings. These have an economy in that when resold, later, eg
by art sellers and galleries, there will be a reference from it in this
catalogue and the original price level will be known thereby. The
interested reader may want to know that these activities by Stein Weber
complements, among a range of other activities including writing,
more technical activities and other design activities of the same
as eg at shown at intraplates.com/learningpmn.htm. This is a new and
original type of programming language made by same (programmer's name is
an alias of SRW, Aristo Tacoma), which is fully complete, and has another
aspect [that's still in development], which is a new type of PC hardware.
The interaction with the entirely 'analog' nature of the paintings and
the orientation towards beauty and anatomy is particularly harmonious
when blended with exact 'hardcore' work of this sort. For any company that
seeks a blending of creativity and harmony, of logic and intuition, of
orientation both toward the technical and towards the esthetical, this
scope of activities may suggest that these muse-impressionistic paintings,
signed SRW, are just the right type to hang up around in a company setting,
too; and to be replaced for additional stimulation after a season or two
with newer ones by same.
How did this style emerge? What phases, what other colors and shapes and forms have been experimented with? This page is the permanent ArtCatalogue at Avenuege.com, and it lists ALL the paintings by Stein R Weber from 2014 and onwards.
Canvas of size about 50cm x 50cm
(about 19.5 inches x 19.5 inches)
and: it's only one of each painting
Consult if you like the 'Dialogue' about how this style of painting emerged. Remember that the paintings speak much more vividly when seen in both full real size and with the sparkles of real light playing upon the paint For the newest painting series, pls move ahead on this page several screenfuls. The present year is listed there.
TRANSLATED EXCERPTS:
<<[...] Frans Widerberg [...] was one of the most
significant characters in newer Norwegian art history
[...]. His name is associated with long, slender beings
perhaps with big feet planted solidly on Earth, striving
high up towards a blue heaven, or they may be on a
free-floating journey in between planets and galaxies. He
illustrated the life journey of the human being with
powerful brush strokes of mostly blue and yellow colors.
"The art of Widerberg enlives, confronts and
challenges the aware attentiveness of the senses with
its powerful images and the raw if not brutal brush
language.
"Widerberg had a natural authority through his great
skills, the originality in his art, and his charismatic
personality. As a young man he got instruction in the
foundational techniques by his relation, Birger Moss
Johnsen, painter and criticist. Then he studied at
Kunst og Handverksskolen, Studieatelieret in Bergen, as
well as the Academy of Art in Oslo. He learned much from
the danish graphic artist Povl Christensen and the
painter Aleksander Schultz. They gave him a solid,
classical academic foundation suitable for further work.
[...]
Widerberg belonged to the group of artists who explores
the existential and spiritual dimensions of existence.
His language was rich in symbols and metaphors, both
verbally and in terms of his images. In his art
Widerberg is a friend in spirit of the mystic Willian Blake
(1757-1827) and our own visionary romanticist Lars
Hertervig (1830-1903). [...] As in a harmonic composition
is every little detail part of the great whole.
But Widerberg was also a modernist. His art cannot be
understood without strong impulses from Edvard Munch's
later art. [...]
Frans Widerberg belonged to the happy few artists who,
early on, was embraced by criticists, museums and the
public. [...]
[He] was one of the artists who represented Norway most
often in international contexts in the period from 1970 to
2000. [...] The large exhibition in Oslo in 1996 at Astrup
Fernley Museum of Contemporary Art was a peak point in his
career, an abundant generosity of art. [...]>>
(Translation by SRW)
A DIALOGUE WITH S.R.W.
Muse-Impressionism: how SRW defines it, as of the startup
of this always ongoing painting series {year 2014 & 2015}:
<<A painting in the 21st century, it appears to me,
must defy all laws of photography and yet manage
to achieve that which photography always strives for.
The very possibilities, that whispered beauty,
must be forcefully realised; and in spite of the painter, also.
They must have an otherworldly beyond-gravitation beauty
more or less impossible to concretely achieve in reality.
Humans compare each other by photographs; but a painting
of a muse-being is beyond comparison; the muse is there to
lift up, not to be compared with. We can pride ourselves
with the anatomical exactness with which we can replicate eg
the impression of a foot, but the muse knows what she
wants to convey, and has no patience with our
desires to demonstrate our technical skills.
Even so, we can obviously find shadows of the muses
in mere manifest human beings, and paint with inspiration
and enjoyment whether from live models or photos;
though at some stage the painting process must leap
beyond the explicate universe, shamelessly.
<<It is perhaps pretentious, but it is quite clear to me
that if a painting doesn't want to be painted, it shouldn't
be painted. Effortlessness is the door to make of the
action that of the feeling that one is a camera, however
what is 'photographed' here is not the manifest reality,
but something stronger, and more real, and more sublime
than manifest reality. The muses are real: the painter
is at best a lens, getting out of the way so that they
can show what they want to show. As the poet "must get
off the page" -- J.D. Salinger said that -- the painter
must 'get off the painting'. There's no choice in it.
and the lack of choice is the fairly masoschistic fun
of the muse-impressionistic painting process.
<<What is the effect of the painting on the
observer? How, at best, is it to have them in a room
one is having work-time or leisure-time in? One gazes
not into them, but out into the multiverse through them;
they enlarge the room, but without coolness; and the
observer will feel that playful awareness flows in them.
Yet there are elements, aspects of the elegant that
keep on enthralling as they should, around in the
paintings; and they don't have ego-emotions. They have
a sense of nothingness, of the kind that blesses you.>>
-- Stein Reusch Weber
An early atelier for Stein R Weber
Blue, yellow, and red,
are the elementary colors.
/// J W von Goethe
Yepp, and computer green
/// S R W
The notes about the importance of seeing the paintings in real
life and not merely watch a computer photo taken of them are important,
as the colors speak in a different way when seen in real life. In a
real sense, the colors vary not only with what lights are shone on
them, but -- due to the physical attributes, including size, of the
paintstrokes, -- even varies from left eye view to right eye view,
as angles of perspective for each eye interact with the shapes of
the paint, which in turn constitute a whole with how light shines
just that moment. So, as every painter knows, there's a flavour both
of movement and of the three-dimensional to the substance of paint.
Add to all this the very well-known differences in colors between
computer monitors. As if that was not enough, the principle of making
up colors by adding R, G, and B (red, green, blue) which is the
convention (whether one agrees to this perhaps over-glossifying of
computers or not) in the conventional norm for computers, can dazzle
by million of colors and YET the range of actual colors in the real
world is far, far beyond this range.
So, we can only earnestly, even passionately, say: please visit the
art section of an Avenuege store and meet some of the paintings in real
life! These are made in acrylic -- or, acryllic as we like to spell it,
so as to accomodate prices which makes sense even as they are first-hand
original works and not merely prints of some kind; this leads up to such
prices also more young people can attain to, even for the best of the
productions. There's the notion of continual exhibition as to the newest
works, rolling them forth in founder's own setting without the additional
cost and influence of separate galleries and certain temporary exhibition
arrangements. With all respect for the many forms of art galleries
and art resellers -- with all their enormous importance -- artists
have, throughout all ages, as a complementing way of getting works to
the public, also provided own environments for doing so.
To make these paintings, acrylic is used, sometimes with
hand-mixed color ingredients. In making each painting,
usually, at some stage, also charcoal has been used in
the process, underneath the paint. In some cases, we have
let some of the charcoal elements be visible when it fits
the overall sense of the painting, but then only with
acrylic gloss robustly over these elements. In that way,
these elements seamlessly become part of the acrylic
painting.
THE ARCHIVE--how all this evolved! :) ===> Avenuege Art Catalogue for second half-year of 2014: here ===> Avenuege Art Catalogue for first half-year of 2015: here ===> Avenuege Art Catalogue for second half-year of 2015: here ===> Avenuege Art Catalogue for first half-year of 2016: here ===> Avenuege Art Catalogue for second half-year of 2016: here ===> Avenuege Art Catalogue for first exhibition year 2017: here
Footnote: Clarification of the concepts muses, graces and more. As many notable mythologists have pointed out, there are amazing parallels between most of the world's greatest myths. For simplicity, we will here consider something of the role of the ancient Greek myths in shaping European culture. In ancient Greece, as in any deep and rich culture, the myths existed in many forms, sometimes contradicting each other. As the centuries passed, various warlords gave more emphasis to some features of this myth or these myths; and some magnificent poets, like Homer, gave a certain interpration of many of them and sort of 'cleared up' the field--but never in a way that put a final stop to the story-making. As new cultures arose, including the Latin-Christian cultures, they took on the old concepts and gave some of them new life entirely while other concepts more or less dwindled in the process. Thus, the notion of Gods and Goddesses became, in the flowing of mythic inspirations from Greece to the rest of Europe by means also of the Roman Empire and, gradually, also by means of Christianity, replaced with a sense in which there is one God, named "Deus", derived from "Zeus", and under him there are angels, also archangels and so on; while some of the concepts relating to some goddesses or muses or graces took on roles such as the Mother of God. Yet, the word 'muses' had an independent development, and outlived the ancient Greek myths completely--and can be, indeed, reapplied, long after the culture of the ancient Hellene. If we permit ourselves to be more monotheistic, then Zeus will be Deus, or God, and the goddesses will be angels--but we can, to stick ot a Greek word, but now used in a fresh manner--also say that the modern concept of "muse" can apply to the rest of the Olympic pleroma, with some understanding that genders are different for the higher beings when it comes to male gods who were not Zeus. In the early understanding, the concept of Graces and also Muses referred to sources of inspiration of the making of art, love, and beautiful works, and also commerce. Then there were 'higher' Goddesses, such as Pallas Athena. In a more modern understanding, it may be appropriate to call all of these lovely mythic beings for muses, and when we say Three Graces, we can just as well say Three Muses,--and allow there to be a different sort of hierarchy of them. This, indeed, can be the exploration of each artist, of each interested person. This footnote, then, points out that the modern language use ought to be considered more relaxed than that which scholastic mythologists point out. --S.R.W.