Le Palais des arts

At the moment I'm obsessed with decluttering. After cleaning and painting and throwing out anything I haven't glanced at in a year I'm finally sitting in my little think tank/computer room and being able to call it a studio again. 

For a while it lost it's identity midst the mounds of things other people didn't want.  The best thing I did was to ditch the exercise machine which lay supine right in the middle of the room. "Nobody" wanted to get rid of it just in case "Somebody" wanted to use it. Nobody ever did use it. You know the story! Now that it's gone a weight has lifted and I've been inspired to create a little nest where I can carve (though I will still do the messy machine work outside).   All I need is some sort of mat on the floor that will make it easier to clean up the wood shavings and a lamp shade to replace the one that was smashed during the Orbitrek exorcism.

 I've held onto my daughter's old desk which was passed down to my youngest daughter and then to me. It will be a good place to carve. Notice that God and Tom occupy the same space on the desk. 

" There is a ritual in it ....
entering a space that is set up for creative work."  
-  Terri Moore, Art Making and Studio Spaces by Lynne Perrella

This is Cuddly.  He's not nearly as frightening as he looks but he does keep intruders out of my studio ;-)

" My current studio reminds me of the little bedroom I had growing up. In a way, it was my 'first' studio, and it always overflowed with mad experiments, midnight projects, endless tapping on the typewriter, and sliding piles of papers and cardboard. Some things never change!"  Lynne Perrella

AND THE WINNER IS ...................

The winner of the Romare Bearden book and Lynne Perrella notecard pack is ......

Rebeca Trevino !

Congratulations Rebeca ! Please email your details to me and I will get them off to Lynne, ASAP.

Thank you so much Lynne for another excellent review !

The collages you see in this post can be found at Lynne Perrella's Etsy Shop here.

ROMARE BEARDEN / SOUTHERN RECOLLECTIONS

It is always an honor to hand over my blog to well known author, artist and workshop instructor, Lynne Perrella. In today's guest blog post Lynne shares her impressions of the Romare Bearden / Southern Recollections exhibition at the Newark Museum of Art, New Jersey. Leave a comment at the end of the post and you stand a chance to win Lynne's generous gift in the lucky draw. Over to Lynne Perrella......

I have always resonated deeply to artists and writers who are able to resurrect and reconstruct the intense moments/images of childhood, and excavate those memories to create new, compelling works of art. When novelist Alice Munro described the worn dismal linoleum of her childhood home in Canada, she expressed a telling detail that allowed me to “see” the whole house, her town, the community, the era, everything. And Jack Kerouac’s eccentric riffs about his introspective-yet-raucous boyhood on the mean streets of Lowell Massachusetts left me feeling transported and jazzed. American collagist, Romare Bearden (1911 – 1988) had that same singular gift. In this marquee exhibit of over 80 works, he reaches out and embraces fleeting moments in his childhood; and preserves them, fully intact. Every detail, every nuance, every train whistle, every blue note of a harmonica, every squawk of a chicken, every buzz of a bee. Far deeper than memory, much more meaningful than mere nostalgia, the emotion behind the work is intense and gripping, yet strangely soothing.

Bearden’s work is full of push/pull. At first glance, it seems direct and full of contemporary color-blocking. Graphic, strong, modern, full-throttle. But when you approach the work, you find yourself leaning forward to “hear” the narrative; longing to know the stories, and be included. In many of his collages, he seems totally hell bent to “list” and enumerate everything in the scene – the slightly-wonky hurricane lantern on the sideboard, the wide-open doors and windows ever-hopeful for a passing breeze but just as likely to usher in chickens from the yard, piled-high laundry baskets, coverlets and old quilts tossed over stair railings and stuffed into odd corners, and the passing train (always a train) whistling by, so close to the little wooden houses. He has full ownership of these memories and details, he has internalized every nuance, and he uses paper (in all of its variety) to recover and retell his personal story.

He once said “Time is a pattern…..You can come back to where you started from with added experience and you hope for more understanding.” He had complete trust and faith in his own process, and felt assured that he would be able to balance everything that needed to appear in a work, without ever giving up the overall integrity of the collage.The real stars of his collages are the people – the story tellers, the source of all the pathos. Whether they are simply cut from solid colored paper, and shown in dramatic silhouette style…..or an amalgam of mad clippings from magazines/newspapers, cobbled together and strangely cohesive --- People are front-and-center in Bearden’s work. Centerstage, they pull us into the story; and we experience them in a way that is vital and real. We eavesdrop as a group of cotton pickers gather at dawn, their empty sacks at the ready….the men are clearly taking enjoyment in one another’s company, even though a day of crushing brutal labor awaits. They share a grin, a story, a bit of news from another farm. Some look old, seasoned and bent; others are young, muscular and eager-to-be somewhere-else. We stand apart from them, and observe them. Not accepted in their company, but allowed to witness them. Thanks to Bearden.

In another collage, a solitary woman moves through her home, heading for a basket of laundry, engulfed in her routine, as a falling star shoots past a window in a nearby hallway. The unseen glittering star brings us into the story……We suddenly feel regret that the woman, so deserving of magic and beauty, has not seen the star; and it becomes a shared secret between the artist and the viewer.

In Bearden’s collages of blues musicians, we see men assuming a new role for an evening – dressed up in flashy clothes, holding their instruments aloft like badges of honor; they gather in clumps or on makeshift bandstands, and we can easily imagine the ruckus.

One of his often-repeated images was a nude young woman, somewhat odalisque-like, shown bathing; frequently with an older woman nearby provided a protective presence. Thanks to Bearden, we get to inhabit another life, another reality, another time.

Bearden’s work affirms my own feeling that collage is about the art of “Call & Response”. It is an art form that relies on curiosity, spontaneity, and the willingness to let one thing lead to the “next” thing. It urges us to take a different approach, change directions, paint over, keep going, and (best of all) tell our story. “Southern Recollections” is the most definitive exhibit of Bearden’s work I have seen; and the exuberant bounty of this stunning exhibit left me feeling stirred, inflamed, and in awe of this great American visual historian and collage master.

The prize provided by Lynne for the lucky draw is :

#A new copy of THE ART OF ROMARE BEARDEN by Ruth Fine

#A packet of 6 of Lynne Perrella's Bearden "tribute" notecards. You can see these cards on Lynne's website here and Etsy shop here. Please go and have a look at them. They are vibrant and bold and BEAUTIFUL!!! Lynne has used photographs that her husband John took in South Africa during his work as a visiting hospice nurse.

"Romare bearden has been one of my Art influences for decades. When I saw the series of commemorative postage stamps that were recently done in his honor, I wanted to create my own homage. I had no desire to "copy" Bearden, but I wanted to work with his "signature" ideas -- stabs of color, slices of photos, bold compositions, and narrative intensity." - Lynne Perrella

The winner will be announced on the 19th August.

Lynne's website, here and Etsy Shop here

The Newark Museum website here

A REVIEW BY LYNNE PERRELLA

The Lewis Chessmen by Lynne Perrella. This color print is up for the lucky draw.

“The Game of Kings”

The Cloisters / Metropolitan Museum of Art

New York, NY

Exhibit continues until April 22, 2012

The Lewis Chessmen by Tony Jones. See the rest of Tony's beautiful photos on Flickr, here.
A review by Lynne Perrella

The Cloisters, a branch of the Metropolitan Museum of Art devoted to the art and architecture of Medieval Europe, is located on an imposing hilltop overlooking the Hudson River, at the northern tip of Manhattan. Patterned on ancient monasteries, and comprised of architectural fragments as well as stained glass and structural columns, this unique museum also features open-air courtyards, gardens and serene walkways and columned arcades. I’ve always found this Museum to be an ideal antidote to “real life”, and it is magnificent in any season….including summer when the herb garden is lush, full and fragrant; and winter when somber white snow drifts outline every detail of the vaulted facade. Home to some of the most noted medieval works of art in the world, including the Unicorn Tapestries, The Cloisters recently threw open its iron-bound heavily-carved doors to the infamous Lewis Chess pieces.

The Lewis Chessmen by Tony Jones. More photos here.

If figurative artwork is your bailiwick, you have to admire these remarkable charismatic and compelling walrus-ivory carvings of Kings, Queens, Bishops, Warders and Knights. And if tall tales and mysteries are your preference, the Lewis chess pieces are hard to top. In fact, for years they were described as “curiosities”, and acknowledged as small-scale sculptures. It was kismet that these chess pieces, which rarely leave the British Museum, would eventually travel to the United States and be displayed in the vaulted and atmospheric Romanesque Hall that includes four stone portals rescued from churches dating back to the mid-12^th century. It was sobering to consider that the chessmen actually PRE-dated the ancient archways in the room, and are probably some of the most storied works of art ever.

It is believed that the figures were carved by unknown craftsmen in Norway, probably in the 1100s…But the real fun (and rampant folklore!) began when the chess pieces were re-discovered under remarkable circumstances in 1831, on the Isle of Lewis off the Scottish mainland. Although various legends exist, one prevalent story suggests that a man scouring the shoreline started digging in a sandbank and came across a stone chamber that contained at least seventy of the carved pieces, plus an ivory belt buckle.

Shores near Uig, Isle of Lewis, where the chessmen were reportedly found. Read article here.

Considering the largest carvings of the Kings are at least four inches tall, imagine what a cache of seventy figures would look like. No wonder the man reportedly fled, thinking that he had intruded upon “elves or gnomes conducting their rituals”. (Luckily, his wife insisted that he return to his find, and recover the chess pieces for posterity.) Eventually the chessmen passed through many hands before they became part of the permanent collections of both the British Museum and the National Museum of Scotland. And – just to make this remarkable story even more compelling – it is believed that even MORE of the chess pieces are still “out there” waiting to be rediscovered.

Photo found at the Boylston Chess Club Weblog, here

The Lewis chess pieces are distinguished by similar facial features throughout all the characters, giving them the appearance of a united family. Their prominent staring eyes provoke a sense of mystery and drama, and clothing details and thrones are replete with intricate carvings of interlocking tendrils and geometric flourishes. Each Queen rests a palm against her cheek, seemingly in wonderment or deep thought, Knights are depicted atop strange draped steeds and carry heraldic shields; while the stalwart Kings sit on elaborate thrones with swords placed across their knees in readiness. The Warders are the most bizarre in appearance, as they literally bite down on the top edge of their shields. These strange helmeted figures, fittingly called “Berserkers”, exude an intensity that is stark and provocative.

Staring into the glass display cases, it was irresistible to think of the sets of hands that originally carved the pieces….or sorted through them on that desolate Scottish beach…. or held them while contemplating some winning strategy….or perhaps carefully examined and catalogued them for a museum collection. Passing from hand to hand, they survive, endure and thrive…..and the story-telling that accompanies them everywhere they go just sweetens the pot. Chess, anyone? - Lynne Perrella

See the Berserker on the left :-) Photo found here

I'm sure you have all enjoyed Lynne Perrella's review of the Lewis Chessmen exhibition as much as I did. Thank you so much Lynne! As always your enthusiasm is contagious and I hope to see the chessmen someday.

The Cherry on the Top ...... Lynne is offering a prize for a lucky draw: A full-color 9 X 12 print of the beautiful artwork you see at the top of the post by, Lynne Perrella, as well as a book titled "The Lewis Chessmen / British Museum Objects in Focus" by James Robinson. Leave a comment at the end of this post and I will announce the winner on Friday, the 16th March.

It also happens to be Lynne's 31/31 feature day at The Altered page today so hop on over to check it out here or to see more of Lynne's art and workshop news on her website here.

And the winner is....Darlene Campbell (Freenie Belle)

......AND THE WINNER IS .............

Paper Quilts, Assemblage by Lynne Perrella. See series here.

The winner of Inside the Painter's Studio by Joe Fig is ...... Cerulean!

Congratulations Eric! Please email your postal details to me ASAP.

Eric Adama is a mixed media artist from the Netherlands whose work I have been admiring for some time. See Eric's blog, here.

Paper Quilts, Assemblage by Lynne Perrella

Thank you so much Lynne for being guest blogger on Art Propelled. Your review of the Joe Fig exhibition certainly got my heart racing as I'm sure it did for everyone reading it. Thanks too for the generous prize!

"Always and Ever" Collage from The Ancram series by Lynne Perrella

All the pieces you see in this post are from Lynne Perrella's two new series, Paper Quilts and The Ancram Collages. It was difficult choosing my favourites so please visit Lynne's website here to see them all together.

"Life Lessons" Collage by Lynne Perrella

LYNNE PERRELLA'S VISIT TO THE JOE FIG EXHIBITION

Bill Jensen's Studio. Table sculpture by Joe Fig. #

Lynne Perrella visited the Joe Fig Exhibition at the Massachusetts College of Art & Design and has kindly offered to share her experience with Art Propelled readers. In addition, Lynne will be giving away a copy of "Inside The Painter's Studio" plus a little "something"extra to one lucky reader whose name is drawn from the hat on the 8th March. Just leave a comment at the end of the post and hold thumbs!

Melissa Meyer's Studio. Table Sculpture by Joe Fig. #

Now without further ado, it's over to Lynne............

For whatever reason, I have always liked the idea of “documenting” an experience, as a way of further examining it and placing it deeper in memory. For instance, it is not unusual to use a page of my art journal as a swatch board, gathering snippets of all the various materials used in a just-completed assemblage. Or I might take along a notebook to make my own scribbled notations at an exhibit, rather than rely on a museum catalog or flyer. These habits help me to prolong the enjoyment of experiences I have enjoyed, and challenge me to decode them in new ways. Somehow, the documentation practice brings me into a closer relationship with the things I do and see….and becomes its own form of reverie and observation.

Amy Sillman's Studio. Table Sculpture by Joe Fig #

Joe Fig, an artist from Connecticut, has taken Documentation to new heights by creating intricate detailed replicas of contemporary artists’ studios, and I recently saw a definitive exhibit of his work at the Massachusetts College of Art & Design. (“Inside the Painter’s Studio”, Stephen D. Paine Gallery ) Fig’s practice consists of meeting with artists, conducting in-depth interviews (using his own self-styled questionnaire) followed by an extensive photo session….and then he retreats to his own studio to create uncanny miniature dioramas of the various artists’ studios. This exhibit includes twenty studio dioramas by Fig, as well as paintings and prints by the artists he interviewed. In a space, lets say….approximately 11” X 11” X 9.5” he created a replica version of Gregory Amenoff’s wooden work table literally encrusted with paint and surrounded by studio debris including bleach bottles, rags, discarded water bottles, tape rolls, a tiny level, blank canvases, a white wooden stool, etc. When interviewed, Amenoff refers to the “corrosion” of paint on the actual work table, a studio relic that he has kept throughout various moves for the past twenty-five years. The sentiment behind this favorite studio necessity is echoed in Fig’s tiny pocket-sized version of the table, complete in every last smaller-than-small detail.

Greg Amenoff's Studio. Table Sculpture by Joe Fig #

For the first several minutes in the gallery, my mind was occupied with inevitable practical musings….”How do you suppose he DOES this? How long do these models take to build? Good Lord! – Lookit all those little paint tubes!”, etc. But soon I was seduced into a much deeper connection to these tiny environments. Although each was different and unique, every model evoked a feeling I know very well – that complex feeling that occurs when I cross the threshold and enter my studio. Whether I am there to putter, or get to work immediately, or just simply “inhabit” the place and hang out; the physical space and all of the accumulated debris is there to facilitate whatever is next.

The Studio of Barnaby Furnas. Table Sculpture by Joe Fig #

Karin Davie's Studio. Table Sculpture by Joe Fig. #

Fig’s models of overflowing tables and work carts mottled with paints, and chock-a-block with brushes and rags, remind us of the mundane objects that collect and accumulate in a studio, and the eager feeling of anticipation that happens when we enter. Yes, there is the mess, the overflow, the strata, the coagulation, the junk. For some reason, we seem to need it. By leaving my own studio, and visiting this gallery full of miniature studio environments, I was reminded of the necessity to allow a studio to “be” as an organic evolving launch pad for ideas. Not unlike looking through a microscope in a lab, the process of leaning down and peering closely into these intricate convincing mini studios, I rediscovered my own art practice. The mundane clutter, it turns out, comprises our necessary tools of the trade. The things we reach for in the midst of some artistic frenzy, and expect them to be there. The “old reliables” that we couldn’t do without, even if we only use them once a decade. In my studio, there are lots of relics left over from a previous life as a commercial illustrator. Circle compasses, French curves, ruling pens, pica rulers, and a metal T-square, among others. More than nostalgic clutter, these tools remind me of how one art experience flows into another, over a lifetime.

Ross Bleckner's Studio. Table Sculpture by Joe Fig #

Quite appropriately, the final construction that I viewed, before leaving the gallery, was a model of a white two-car garage with a couple of skylights…..the studio of Joe Fig. He has thoughtfully left one of the miniature garage doors open, so we can bend low and peer inside. We observe his pin board full of postings/clippings/flyers, his easels, his work table and computer, his drafting table with materials and tools for creating his miniature studios. Best of all, a smaller-than-small model of the very model that we are viewing is displayed on a tiny work stand. You might say, a studio within-a-studio. Having a flashback to childhood, when I always insisted that every doll have a doll of her own, I considered the highly developed sense of work and play that inhabits each one of Joe Fig’s amazing constructions. Every tiny diorama provides testimony to the tenacity and work ethic necessary to spend a lifetime making art. Or, as Chuck Close observes, during his interview – “Inspiration is for amateurs – the rest of us just show up and get to work.”. Exactly!

*Joe Fig's website, here.

*To make it interesting, mention your favourite studio in your comment.

*To match the art with the artist, click on the # under each image.

*To see Lynne Perrella's new collage series go here.

INSPIRED BY RELIGIOUS ICONS

Watching Eye by Ludmila Pawlowska. Photo from Ludmila's website here.

Since preparing for Lynne Perrella's Icon post I have been looking at contemporary art inspired by religious icons and have found some wonderful examples.

Earlier this year the Hereford Cathedral in Britain hosted an exhibition, Icons in Transformation, featuring the breathtaking art of Ludmila Pawlowska. This is an exhibition I would loved to have seen face to face.

Why by Ludmila Pawlowska. Photo from Ludmila's website.

One can see that Ludmila is particularly inspired by the eyes in ancient Russian icons as they stare out from most of these pieces.

"You see the eyes and you are hypnotised. You can’t escape them – it’s like God sees you.” says Ludmila "Do not be frightened. They are here to watch you".

Photo from this Flickr photostream, here.

"How am I inspired by almost 1000 years of tradition and what the icon stands for? What fascinates me most in the art of icons is the deep sensitivity they radiate. When I am looking at an icon I am irresistibly attracted. Looking into the eyes of Maria's icon feels like an encounter with the unknown and boundless deep. Something awakens inside me - I can just be quiet, just lose myself in it's depth, just listen .... an unexpected insight can flow through me - an impulse, a god's presence is there. Quiet but present."





Photo from this Flickr photo stream here.

When Ludmilla's mother died suddenly in 1997 she worked through her grief by turning to her art.

"Icons showed me the right way, both emotionally and for my art".

Many of the works on this exhibition reveal text.... "Letters to my mother, because I can no longer speak to her,” she explains.


Photo from Ludmila's website here.

"Faith for me is the belief in something you cannot see,” says Pawlowska “When you look at icons you feel the presence of God, and it’s that feeling I’m trying to capture in my work.”


Painting by Misty Mawn. See blog here and Etsy shop here.

Misty Mawn, an artist known to so many of us in the blogworld is another artist who is inspired by religious icons. These are such beautiful pieces and painted in the typical Misty style.



Painting by Misty Mawn. See Blog here.

Altered book by Raymond Papka. Website here.

From early childhood Raymond Papka has been fascinated by books and unusual objects. In these altered books he has incorporated the things he loves, including his fascination with religious icons.

Altered Book by Raymond Papka

Last but not least an icon inspired piece from Africa....

This piece is by Zerihun Yetmgeta, a contemporary artist from Ethiopia. Zerihun borrows symbols from the rich images of the Ethiopian Orthodox Church as well as using his own iconography. Read Article here. See Zerihun's website here.

"Yesterday I saw a collection of old Russian Icons. This is truly great art. I am quite taken by iconic paintings: I have only one thought in my head, and now we run, day in and day out, to monasteries, churches and the various collections. I am inn love with their touching sympicity.... The artist's soul emerges in these icons like a mystical flower. It is through them that we should learn to understand art. The Russians have no idea what treasures they possess. I have seen artwork from the churches of many different countries, but nowhere have i met such powerful expression, such a feeling of mystery .... everywhere the same luminosity and devotion .... " - Henri Matisse after his visit to Moscow

Misty's new book Unfurling is now listed on Amazon, and Kalahari.

RUSSIAN ICONS AND LYNNE PERRELLA

All artwork in this post is created by Lynne Perrella. See website here.
Today I am honored to hand over my blog to Lynne Perrella to report on her visit to the Museum of Russian Icons in Massachusetts. To make it even more exciting Lynne is offering a generous prize for a lucky draw at the end of this post.


Without further ado it's over to Lynne.....

Our visit to the Museum of Russian Icons Massachusetts had been planned and anticipated for quite some time. Our group of ten mixed-media artists arrived for a docent tour, with plenty of time left over to wander the extensive galleries and explore the singular Collections. An earlier visit to the Museum had convinced me that this was truly an art Destination, and I looked forward to sharing the experience with some of my favorite artists, as well as an entire weekend of art-making at a nearby Inn. We had the great fortune to be guided by Laura, a young woman who is not only passionate about the artwork, but deeply knowledgeable about its history, significance and provenance. Through the words, and her patient responses to our questions, we learned about this amazing artform, the visible expression of the Russian Orthodox faith.



Whether large compelling tempera-painted depictions of the Mother of God, or the smallest jewel-encrusted pocket icon with tiny shuttered doors, to the oldest icon in the collection, an image of John the Baptist made in 1450 .... The direct, powerful soulfulness of the work prevailed, only made richer by hearing about the traditions, rituals, significance and the methods used to create each icon. Icon painters are referred to as "writers" and their secrets have been passed down from Medieval times and contemporary artists still pursue this venerated artform. So-called liturgical "calendar icons", called Minyeias, depict row-upon-row of exquisitely-detailed miniature Saints wearing their signature robes and vestments .... reportedly painted with a single-horsehair brush, as the artist diligently applied his paints "between heart beats". Under closer examination, each tiny portrait was fully developed lavishly embellished and descriptive. And although all Orthodox homes have an aptly-named "beautiful corner" with flowers, colorful cloth or shawls, and their venerated household icon; the icon tradition was also expanded to murals, panels and lavishly-painted columns, literally filling and adorning the interiors of vaulted grand cathedrals. As we walked the galleries, we encountered a procession of ancient portraits conveying fortitude, sorrow, yearning, joy, and great tenderness. One significant portrait of the Mother of God had gone through a high-tech restoration process, and it was discovered that at least three other paintings lurked beneath the surface. other icons remain in their wonderfully-imperfect state, oftentimes bowed out and irregular in shape and contour, bearing the traditional metal-crafted "cases", or faux metal cases that were imaginatively crafted with metal and glass beads. Each work provoked feelings of mystery, veneration, and awe in each of us.



Difficult to find words to acknowledge such stunning and beautifully-presented work, we were content to just walk silently through the galleries, standing side-by-side peering up into the faces of Saint George, Elijah The Prophet, Saint Paraskeva and Saint Nicholas. Considering how each image had brought incalculable solace and comfort to so many long-ago people, the intimacy of the artwork was, at times, almost overwhelming. Like the best examples of folk art and even obsessive Outsider works, each portrait possessed complexity beyond words, and yet a direct compelling gaze that seemed to say ... "I will always be here for you." The kindred experience of the exhibit provided strong connections for all of us as we spent the rest of the long weekend in a shared studio, exploring paper, copper, stitching, sketching, gluing, and painting, to name only a few of the ideas we explored. Most of all, we thought what a rare treat it was to pull away from our usual routine, and make time for art. You just might say ... The Icons made us do it!



If the idea of an art respite appeals to you, perhaps you will join me for my upcoming mixed media workshop in Taos New Mexico on February 6 - 11. The event, titled "Icons & Excess" will be an opportunity to explore this bottomless, nurturing and kindred theme. Discover lots of low-tech ideas that will enrich your usual work in painting, collage, journals and more; and learn all my favorite techniques for getting a lavish surface full of depth and patterning. Held at the San Geronimo Lodge in Taos, New mexico; the ultimate historic adobe-style southwestern Inn. Please contact me for more details.

LKPerrella@AOL.com

http://www.lkperrella.com/


Leave a comment here if you would like a chance to win the following prize in a lucky draw to be announced a week from today:

*A History of Icon Painting (a complete compendium of information about icons, replete with lots of amazing visuals).
.
*A Very limited-edition grouping of icon-themed rubber stamps designed by Lynne. (fewer than 50 of these have ever been circulated)
.
*A handmade Icon-themed embellishment tag.

All artwork in this post created by Lynne Perrella, before the visit to The Russian Icon Museum. Most pieces are included in the book Masters: Collage.

And the winner is..... Steviewren