For the newest paintings, please go to:

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. contemporary impressionism, S.R. Weber painting 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 contemporary impressionism, S.R. Weber painting 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.

Contemporary Impressionism, also called Muse Impressionism, by Stein Weber, SRW Contemporary Impressionism, also called Muse Impressionism, by Stein Weber, SRW 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.
Acrylic by SRW, Stein R Weber detail of acrylic by SRW, Stein R Weber 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). SRW, Stein R Weber 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. SRW, Stein R Weber 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 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. SRW, Stein R Weber
AVE NU EGE /// ArtCatalogue S R Weber Muse Impressionism /// in Space
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, and it lists ALL the paintings by Stein R Weber from 2014 and onwards.
SRW, Stein R Weber
Impressions of muselike girls conveyed in elegant acryllic with a style of spontaniety
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.
AVENUEGE STORES:::ART SECTION:::STEIN R WEBER PAINTINGS After next article is a DIALOGUE (at a fairly early stage in the development of these artworks). Lines are drawn back to SRW's friend and first strong influence, Frans Widerberg. Widerberg died in April 2017. For those who are not very familiar with Widerberg, next is, before the DIALOGUE, a faximile and translated excerpts of a newspaper article about Widerberg written right after his death. Excerpts, translated, from one of the articles (they were in every Norwegian newspaper) about the Norwegian painter Frans Widerberg, after his death in April 2017. The excerpts are from an article by Øivind Storm Bjerke, {cfr faximilie}, art journalist, and the article is copyright him and Klassekampen--for the whole article and for any further use of this text and/or the faximile as shown next cfr the website of the newspaper ( 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.
:::A dialogue A: SRW, let me read to you this letter written by G Brandes after a stay at an atelier in Berlin with artists including young Norwegian Chr. Krogh: <<..And there [in Berlin, in 1878], I came to know a small group of young artists. They lived, or gathered, at an atelier in the tower of a fifth hall in the nice Hohenzollernstrasse. The house was at a corner with a wide and beautiful view of the Schoeneberg Ufer, but the view was the best part of their place. One and the same room had to serve both as art studio and sleeping room. All over the walls there were studies (conducted under the guidance of Gussow) but also many original attempts. They were -- naturally -- enthusiastic nihilists, socialists, atheists, naturalists, materialists and egoists. They begun the day by preaching to each other what would be the most unsettling concepts for anyone in the slightest concerned with social harmony [..] They condemned anyone who could admit to being led by anyone else, who could be led by anything but the most shameless self-love. They nurtured vehement disgust -- hate is much too weak a word -- for the whole of mainstream art [..] (except for Menzel, Boeklin and Gussov). They had seen through life. There was nothing to work for and nothing worth hoping for. It was about, as painlessly as possible, to kill time; they were too old to have passions; too blase to run after illusions, too knowing of art to admit themselves of being geniuses, too proud to care about flatter or reputation. It was about making the day pass as well as any other -- to paint a little, shuffle cards in some good play, and have good and very long sleeps. In a word, they were young, young! in the beginning of their twenties, consumed with pleasure seeking, overly ambitious, fanatically enthusiastic about art, whiteglowing in their rage against hypocrisy [..] and so eager about preaching the gospel of selfishness that they lived in total communism, helped one another, starved for one another, and loved one another.>> This is from Oscar Thue's book Christian Krogh, Oslo, 1997. SRW: Yes? It's a lovely description, of course. Probably quite correct in many ways as well, don't you think? A: Yes.. but how does it fit with your attitude to art? SRW: I think I have a totally different take on it. And yet, -- there's an honesty in the description which I find somewhat irresistible. The paradoxes. How they are wanting to be egoists but somewhat trapped in a state of mutual love because they share their little philosophy; unwantonly, they become communists. I love it! And yet, of course, I don't think they have grasped -- if the description is right -- a few things which are essential in art. A: No? Such as? SRW: Take the thing about 'egoism', or 'egotism', however we phrase it. And this about 'gospel of selfishness'. It's a guess this is coming from much the same type of rebellion against church authorities which also drove the poet Nietzsche on. However there's more anger than wisdom in much of what Nietzsche came up with, I think. A: How? SRW: Well, at least in his publications at a later time than this, I think it's right to say that he goes too far. I mean, society and its quasi-religions is one thing, and cosmos, God is wholly another. One thing is to be enraged by the double standards of priests, their hypocrisy and so on. Another thing -- entirely different -- is to assert that this universe is but powder, particles, stardust, rather insignificant stardust at that, bits and pieces which do not communicate. All that type of worldview is highly improbable if you take a relaxed view of -- well, a lot of the science in the century which came after that visit by Brandes to Berlin. And in my intuition as well! A: You believe in an interconnected universe? SRW: Well, of course. That phrase may be as good as any other. But the key thing is that there isn't a 'natural' philosophy in beginning with cause and effect and sharp division between ego and other and all that. This also goes into the question of sexuality, the communion not only in thought but in emotion, and in ways which all who goes meditatively, deeply into sex with a partner or partners would get to know. You can't simply divide the universe up that way. Egoism may be felt as a strong emotion, intense, but it doesn't make it free from illusions. A: But surely there are many people in this world who would say that egoism, or selfishness, -- if they are honest about their opinions -- is pretty much how things are being run. SRW: Well it may look that way. I'm not too sure. A: No? SRW: The egoist will want to see the mind as a machine. I don't. A: It isn't a machine? SRW: The trouble is rather, if you believe you're a machine, you'll make yourself and your emotional reactions fit that pattern more and more, and it will seem to confirm itself. You have to be more scientific about life -- drop the illusion of self, and see what happens. A: Now I take it that if you do this, you'll come up with art such as yours -- just to connect this dialogue with art? SRW: Possibly. This universe may be just one of many, but all linked together organically and springing from one source -- not as a mechanical process, nor with any foundation in randomness, and this we may call the multiverse. At SOME level, -- and this I believe is scientifically correct to say -- there's room for a different type of beings, with highly refined structure. Now let us imagine that this Deep Space, if you like, is inhabited by the most wonderful human, or human-like, girls; they roam these spaces, defying gravity, doing things of key importance for all. I call them muses, though the ancient Greeks would have called many of them gods, and I see them all as girls though it is also correct to say that they are transgender! These I feel as real, -- they live in a sort of orgasmic space. The paintings reflect their more adult form, and in situations which could provide calmness and focus for us when we the paintings are up on the wall -- so there's a selection of situations, not every one of them, but suitable for any kind of daily life practise or business mode when we have them in our rooms and houses and working places. A: You say the muses are real? SRW: Yes. Of course, it may all be a sweet illusion, and I make no assumption that you have to believe in anything to appreciate this as art. In any case, I don't think it's all an illusion. These are my sketches of what I think I see. But one can take them as a way to stretch our perceptive organs into new forms of space and healthy, glowing good interconnectedness, of a kind which is also soothing psychologically -- you don't have to adopt a philosophy to look at them. Frans Widerberg, who really started the whole process of painting muse-like energetic beings floating in space way more than anyone else in the 20th century that I know of, agreed with me that the quest of the painting is to go beyond thought, beyond theory, beyond the imitation of reality. In that way it may reflect a movement, -- whether we assert that we "know" what it is all about, or not. Most likely, we'd be better off by not asserting that we know. During our hundreds of hours of dialogue over art -- including what came forth in the dialogic introduction I once wrote to his exhibition, his Aurum exhibition at Gallery K, Oslo around year 2000 -- he greatly emphasized the validity of not knowing; and inevitably, with a humorous twinkle in the eyes -- showing something of the paradox of 'knowing that one doesn't know'. A: Are your paintings in his tradition, then? SRW: Maybe not. I think Widerberg's paintings are beyond any tradition and will remain so. Some might try and put art history in terms of trends, and fold painters into these trends. There are, however, always those who can only be studied on their own, for their own, and similiar in literature, science, etc. For instance, Michael Ende in literature, the dutch M C Escher as for drawings and prints, Gustav Klimt, or in music Bach, and his teacher in improvisation, Boehm, -- these are grander than any tradition. Widerberg, clearly, worked from an inspiration which wasn't codified as a part of some theory of art. In any case, certainly I had no idea that I wanted to do anything that would look like his works when I begun my own self-teaching as to anatomy, sketching -- with pen, and on computer, etc -- and also painting; after a great deal of variation, and pushing it aside and doing other things, eventually I came to realize the dance of the beauty of some of the color scheme and the emphasis on free space that also Widerberg always emphasised, and still does. And then all our conversations and my many hours in his atelier began coming alive to my mind, and teach me things I didn't know I had picked up. I wouldn't try to impose myself on any tradition. What I paint stands on its own, and I never look to anything anybody else does in going from one painting to the next. There may be something I'm doing that hasn't exactly been done before, either -- can you see that? A: Yes, I think I can. SRW: Something with dance, maybe. To me, dance is as much a mantra as any other normal word I know of. I wish the merest glimpse of one of my paintings will come lead to some more dance, or greater humour, the twinkle in the eye, or the fresh motion of mind. To me, dance is also the meditative, sensual, even sexual presence without an ego where there is silence in the mind, of something beyond, something which unites. A: And the role of green? Does the focus you have when you work with computers on the harmonious effects on green come forth when you work with a similar color in paint? SRW: Yes, that's a big theme, if I can explain. So, to begin with, I have a passion for the role of the brightest, most optimistic, most passionate signal spring green, the type that a computer monitor can vividly show and which interacts very peculiarly, and harmoniously, with the human retina. A: Does this connect to the afterglow effect? SRW: Yes. The aftereffect of computer green -- or as you say it, afterglow, or the shadow, we could say, of a green lamp, is rather pink. In a way, world gets pinkier when we learn to harness computer green. That's greatly complicated in terms of painting, as also Kandinsky pointed out; and perhaps, by learning from Widerberg but blending with that passion I have, I am getting the paintings to have the impressionistic esthetical power and feeling that they must have to be objects of art. The approach to an almost translucent blue-green with touches of yellow and sometimes red or dark-red against a widebergian dark or light energetic space-like landscape seems to me perhaps to be the way forward, as it has the tranquility I think paintings should have when they're up on the wall and have to blend in a little bit with all sorts of other things and activities. When chemical paint, the green gets by necessity different than on the computer monitor, and the dark-green becomes, in my paintings, rather the blueish background. This is all an exploration process at present, and as you can see, I begun this ripe phase by going strongly for red and so on and the approach towards a new understanding of the role of green came in some sense by itself, without an effort, while exploring what sense I wanted the paintings to have. The color scheme is one thing -- but the sense of the muse beings as real in a stellar type of deep space is unwavering. By the way, when I say "impressionistic" I think of the intent -- not the form, but the intent that I think I read in what Vincent van Gogh did -- the radiance of his complex raw roughness, relationship to energy -- but with more shapely lean dancing-like female beauty as a token of eternity than in what I have seen in art history. (Though of course the concept 'impressionism' is by some sought to be distinguished from, or be sub-categorised into, a number of branches including 'post-impressionism', and entirely different terms like 'expressionism', even when one may argue that they are all varieties of impressionism, in the much broader sense we intend here; however, while 'expressionism' may seem to be a neat concept, it is perhaps more selfish in that instead of sketching so as to convey an impression of a beautiful woman, it is rather the ego expressing itself, magically or not.) A: Your country-man Edward Munch was one of those who the elder Krogh sort of publically supported. Munch were rawer and cruder in his brushstrokes and to some, at the time of Munch in Oslo, it seemed that Munch's paintings were 'unfinished'. But Krogh said that when a painter feels that his or her paintings are done, then they are done, and that's that. Is there something to learn from all this? SRW: As I see it, Munch expresses much of the same sentiment as those gathering together with the young Krogh as in the text by Brandes that you translated and read up in the beginning of our dialogue. But he does so in a way which speaks more of the reality of soul and of the importance of what the art does to the mind and heart of the person, rather than to what extent it imitates photographically what is seen. So Munch was one of the pioneers in wrenching the paintings out of the grip of an imitative attitude. In this, he technically pointed out some ways which have been much elaborated on since his time, by many. But to me, it was too much self-therapy in what he did; to me, art has to shake us out of the hypnosis that only matter is real, and rather lift the depth of our spirits into some form of effervescence. Or as Spinoza would put it, hilaritas. A: Back to the question of color scheme, if that's the phrase I want. When I look at the beginning of the catalogue, I find that a translucent green is but also very light bluishness is getting dominant. But there is a sometimes very lively texture of the painting. SRW: Well, that's it. The girl or girls, and the texture, these two in a way should be one whole; I don't know if you know that Munch sometimes put his paintings on the floor so visitors to his atelier had to walk over them. Widerberg sometimes also did just that. I have much more to say for that approach than the notion of building up a 'perfect' form, step by step, by a conscious, thought- controlled process, full of habit, routine, technique, deliberation and the inevitable boredom that follows such a procedure. I am not that kind of painter at all. Rather, in a way, there has to be a war on the canvas, and the shape or shapes have to be emergent, in a way; and this is something I think you can recognise in by far most of the great works of art in art history: coherence, or wholeness, arises as something not quite thought- controlled. It is said that Manet used sometimes to scrape of the day's work when it didn't get a certain wholeness; then he would look for what suggests itself and emphasize that, and emphasize more than out there in real reality, cutting out middle-tones, and staying deliberately within a certain type of shall we say pixel resolution. So what came out of all the work with, as you say, cadium-like color tones of the green and yellow type, seemed to be that I want to more or less hide it it behind a bluish or light-bluish texture -- to me, the color of the orgasmic space within which the muses live. I seek to convey the fun, beauty and elegance of drawing such as by pen but in the powerful format of a painting: instead of fill in the shape with one type or other of color, and becoming full of the imitation attitude relative to photography, it is perhaps the sublime shape, hinted at, emerging which is important in any technologised society, for photography handles a lot of things which may be psychologically important to all human beings and paintings can then be given a more, I don't know, higher role. Does this make sense? A: I think so. Are you saying that when the texture is good enough, the painter more hints at what suggests itself? SRW: Well, surely there is something like that in mostly all creative processes, right? Not just painting. But the texture has to be right-right. The whole 'war on the canvas' between a vast number of vague yet in their own sense perhaps somewhat fascinating suggestions must fit with what is then drawn, and if it doesn't, one must do it all over again, perhaps again and again. In some cases, I've been battling over a single painting so long that it has surely got so much paint on it that its weight has increased, at least by a measurable number of grams. What I find is that the work with some kind of blend of colors where bluishness can dominate but the computer green inspiration has done its work, so to speak, on the painter, and in the background of the canvas, its underlaying layers, can then give the possibility for a more suggestive type of painting to work all the way, without it looking nor being drawings at all. It is its own thing, and it also has, perhaps, a certain meditative feeling of dance that the more strong characters one may like to paint and emphasize perhaps do not give equally. I am at ease with the whole range of explorations, but most, of course, with what has emerged this way, and so this is the way forward, as I see it. I also find that the face portraits--here the girls, the muses, are often a bit younger--, in the same vaguely impressionistic style on blue, is conveying the appropriate harmonious energy; and I'm glad to see that this is, as I perceive it, also the view that others are taking. Let me add, as a completing comment to this little introductory dialogue of ours, that I believe that Goethe got it right when he spoke of colors as something that can arise by the angles and contrasts and movements of sharp contrasts--even just of black and white. And so what I seek in terms of colors, including the computer green, can or may be or are going to be more and more realized without using any such color as substance. It is a question of an intent to stimulate, not to simulate; to stay near the sketch, not the filled-out form, --all these things and more is implied in what we've been talking about. A: It will be interesting to see what comes up! SRW: I hope so! ***** [[[All intro-texts at this site from 2014 and 2015; acknowledgements to dancer and choreographer Monica Emilie Herstad for pointing out the word 'effervescence'; the sequence of the paintings in the catalogue tell their own story of the quests mentioned herein.]]]
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.
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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.