These are a collection of photos taken during my travels through Spain, Italy and the Plantations of South Carolina.
Red Line Color Photograph
Red Line II Color Photograph
Blue Line Color Photograph
Blue Line II Color Photograph
White Lines Color Photograph
White Lines II Color Photograph
Arch Blue Color Photograph
Arch Blue II Color Photograph
Object in Blue Color Photograph
Waves Color Photograph
Ombrelli Color Photograph
Mirror Image Color Photograph
Untitled Color Photograph
Untitled II Color Photograph
Untitled III Color Photograph
Henry Deas III
In 1969, I met Wilson Milar, the brilliant photographer who took James Dean's first pics in Hollywood. He taught me how to shoot, for which I have been eternally grateful. I then started shooting photography in 1969 for fun. I really enjoy people shooting, and I have shot lots of people I know and people I love.
I like everyday circumstance shots, to shots of young actors and actresses for their careers to fish eye, to composed shots of people with their attitude of the minute. Wilson Milar was the first to take me under his wing and start me off. He had a
Rollie 2 1/4 which he used on me and everyone else he shot. Occasionally he shot with an 8 X 10 and a 4 X 5. He gave me these cameras. Wilson knew what he wanted. He was the Greek Theater Photographer for years. What a master... He took me in his dark room and taught me to develop film. I was not wild about the chemical smell, but when he darted and dodged those photos, he was king in the nuance of painting a photo with shadow. Lionel Belmore is his greatest feat if you ask me. I will have his site up in the near future.
The sea is what I enjoy. When I read Surf Magazine, I am stunned by the ocean shots frozen in time like oil on a canvas. I did many of those over the years. I always aimed to make my photos look like a painting, although they can never match the likes of Turner or Raquin or Tardia or Premoli.
The shots from Cannes, France during the Cannes Film Festival include a pirate ship, the one Roman Polanski used in "Pirates", the film with Walter Matthew. I gave three framed photos to the producer of the film and he in turn gave to both Polanski and Walter. My Sharon Stone picture is with her as a gift from Nadia Bronson, her friend and winner of the elite French award given each year in Cannes for contributions to France in every way.
The three versions of the fishing boats won honorable mention in several contests. The original, the reversed and the sepia toned shot was shot early morning when the nets were being put up. The catch was in by then and they were exhausted. The Body Language told it all.
As you can see I love the fish eye lens and I still use an old Pentax camera and lens with 3 color light filters built in, and the Pentax is my first purchased camera. Cecile Russell gave me my first camera which was a Konica. I used that in the beginning. As a person, I like to freeze on film my favorite visions on paper. I do not shoot anything I really do not like. Unfortunately, I did not have digital camera back then, as I could have purchased 10 houses with the money spent on film and development.
Outside accomplishments: I have won the Presidents Club Award at Variety four times when they were giving them out. I won the Italian Karate Championship Cuppa Waco in 1978 in Milan for full contact, because my friend, John Armstead was the Grand Master at the time. I became the US Publisher of Moving Pictures, Int. which Variety Magazine purchased. I photographed the President of Italy in 1984 at his dinner. I believe it was Petini...
Bus Station Signature B & W Photograph
The City from Within B & W Photograph
Atrium B & W Photograph
Zebra B & W Photograph
Old Car B & W Photograph
Working Over Sunset Blvd. Moon B & W Photograph
Working Over Sunset Blvd. Moon in Color Color Photograph
Piano Keys B & W Photograph
Piano Keys II B & W Photograph
Ball of Reflection Color Photograph
Old Port Cannes B & W Photograph
Old Port Cannes II B & W Negative Photograph
Boats On a Calm Day B & W Photograph
Arch Angel B & W Photograph
Teak Curve B & W Photograph
Pirates Ship B & W Photograph
Pirates Ship II B & W Photograph
Nets Entangled B & W Photograph
Skyline B & W Photograph
Sullivan's Southern Pier B & W Photograph
Water Scene B & W Photograph
Water Scene II B & W Photograph
The Softness B & W Photograph
Come Summer Color Photograph
Coit Tower B & W Photograph
Century City B & W Photograph
The Beginning Bow B & W Photograph
Had Milk B & W Photograph
Ivan A. Tomicic
Born in Zagreb, Croatia, Ivan A. Tomicic was raised in the shadow of Grand Masters. His education includes the University of Zagreb Master of Fine Arts and College of Applied Arts Bachelors Degree of Applied Arts. Now a resident of Maui, Hawaii, Ivan is fully devoted to further creation of fine art. A disciplined passion directs his talent resulting in artistic expressions that span art forms with nuanced skill. A master of mediums, Ivan applies finely-tuned skills to two principal techniques, oil and water color.
"Oils are rich instruments. Like the instruments of an orchestra, you can use one in a
solo performance or all in a symphony of color,” says Tomicic. A meticulous composer, Ivan scores his work in precise, measured strokes. Ivan’s "Million Dollar View From Balcony of My Neighbor on Maui" typifies a sharp eye for the ironic: his portraiture suggests depths of character and a certain poetic, earthy wisdom and occasional worldly weariness.
If oils are an orchestra then watercolors – says Tomicic - are the classical guitar or a blues harmonica. Lighter and more vibrant, Ivan’s brush and palette partner in joyful dance on a canvas floor. Legends of America’s western frontier are a favorite subject. “I was raised on Westerns,” says Ivan. “Its freedom and wild expanse captured my imagination as a child and continues to do so as a grown man.”
Ivan’s watercolor series, The Forgotton West, pays tribute to people and places long gone. He illustrates this era with mythic wonder. It's a powerful depiction of his grasp of nature in all of its raw beauty. Breaking from a herd lost in the dusty past two buffalo charge the viewer, unwilling to relinquish their noble presence. "Guys Riding Home portrays the cowboy as delineated in a Zane Grey novel. Astride anxious mounts, these outriders of our cultural heritage se"em invigorated by the prospect of a hot meal and a warm blanket under a canopy of stars.
One doesn’t need a degree in art to fully appreciate the work of Ivan A. Tomicic. His experience in film and animation (having produced and directed numerous, award-winning animation shorts) instills both sensitivity and vibrant power to work. The nature of his art indicates a rich and fulfilling personal life. A private pilot, Ivan’s palette is continually refreshed by aerial vistas of Maui’s incredible topography.
Mama e Figlia Oil on Linen
Una Casa Che Piange Oil on Linen
Amica Oil on Linen
Masseria Oil on Linen
Una Casa Che Sogna Oil on Linen
Early Morning at Rovinj Oil on Linen
The Door to the World Oil on Linen
Million Dollar View in Maui Oil on Panel
Molokini Island Oil on Canvas
Interni Oil on Linen
Summer Morning Hand Embellished Proof on Canvas
In the Small Brain Hand Embellished Proof on Canvas
Ocean View Hand Embellished Proof on Canvas
Mistaken Identity Hand Embellished Proof on Canvas
Broken Pearls Hand Embellished Proof on Canvas
The Meeting Giclee on Paper
Lonely Rider Giclee on Paper
Anna Giclee on Paper
Cuspate Giclee on Paper
Springtime Giclee on Paper
Alan Wolton was born in England in 1934. He launched art as a professional artist at the early age of 20. Following international recognition, his paintings now show a revised simplicity of statement. Concerns of what should or should not be, now lie in the shadows of Mr Wolton ´s history. Free spirited expression is difficult to judge, for not being a science but an art, there is no yardstick. New concepts of design and sometimes minimalism, often of an old theme, may take a moment to appreciate. Yet always the freshness of a new approach serves to keep Mr Wolton's devotees on pins and needles waiting to see the latest work.
I had the privilege of representing Alan
Wolton’s artwork in several shows several years ago in Hawaii. The well mannered behavior of this English gentleman and charismatic personality of his wife were always a delight and honor to be around. Not to mention the depth, richness of contrasts in color and vibrance of each new collection had this resounding effect on people, as if struck by an epiphany. Observing various reactions was quite entertaining, to say the least."
Most of the early years were spent working in plein air. Oil paints, easel, and often large canvasses were carried into the wilds to render a conviction of truth. An expression of moving water was frequently the motivation for paintings. Rivers, rapids and the ocean have all been Mr Wolton ´s companions. 1975 brought a new direction to his work as he launched into painting cathedrals in London plein air. His canvasses were of necessity limited to five feet as the larger dimension, as nothing bigger would fit into a London taxi. These works were published with articles by the artist in the Pitman publication, "The Artist.” Mr Wolton likes to feel he can paint any subject, although today working largely in his American studio, he definitely has his favourite models. Water lily themes and studies of the canals of Venice have been his main vocation with great focus and rendering for a number of years now, having traveled to Venice on a number of occasions for the study of light and inspiration.
Technically Mr Wolton´s work is unquestionable. His list of credentials and exhibitions over the years is very impressive. A clean canvas begins with a very simple line drawing in paint. This is followed with vast areas of very thin transparent oil colour. The works grow toward completion with powerful statements of loaded impastos and highlights. An artist friend of stature, once commented, "Alan paints both very thin and very thick on the one canvas." Of himself he says, "I have never specifically attempted to follow a trend, the style of my work has come naturally. I choose to be a free spirit and paint with emotion. I like my paintings to stop passers-by who had only by accident caught a glimpse of the picture. What they see should be breath-takingly different, delightfully fresh, something emotionally appetising and a joy. A little stimulation in a mundane world. A subconscious visual high spiked by a happy relationship of colours, tones, forms and cleanliness. Or more basically, just a happy memory. Artists are extraordinarily blessed and fortunate souls, because if their creations are effective, they give the whole world happiness. What more can one ask of life?"