An image of Ian Davenport’s
contemporary art work entitled “Poured Lines” in [2006] which took over 2 years to complete .It was created by syringing vitreous enamel paints down on to aluminium sheets, then baked in a furnace to 825° to make the lines sealed, waterproof and graffiti proof, in order for his work to be displayed outside. Davenport’s work was more about control, yet with an element of chance. He used a combination of around 300 different colour hues and this when viewed, produced within some an internal emotional response. I am not so sure that this painting ‘moves’ me in any way emotionally ,as I find the lines are to close together and puts me off looking at the remainder of the dripped which is interesting,  but the colours and technique are brilliant.

Ian Davenport in conversation about the making of his arch line painting.
‘The paintings are the result of a specific approach to the activity; they are placed on the floor, and already have a sprayed ground coat. Then, from the middle, I pour liquid gloss paint until this nearly reaches the edges, at which point the painting is stood up, and the paint is allowed to flow down, forming an arch shape. After drying, this process of pouring is then repeated for a second layer, almost erasing the layer underneath it, leaving a very thin line, almost like an archway shape’.

Inspirational women in art.

As a woman its important to me to understand the difficulties that some women endure in the the making of their art. Most artists t go though some sort of challenge in their life which shapes their practice.

I am always looking at different ways and subjects in art and the people who create it. Today I am looking at Women Artist. Women who Changed Art, I find these people inspirational, to keep true to your art whatever your age.

It was once said that well-behaved women rarely make history. It comes as no surprise then that the art world is full of women who behaved differently and left their mark. In honor of International Women’s Day, Mutual


Art is examining the life and work of six influential women who broke with convention artistically and culturally.
Georgia O’Keeffe is among the great American artists of the 20th-century and stands out as one of the most compelling. Remarkably, she remained independent from shifting art trends and stayed true to her own vision, based on finding the abstract forms in nature using keen powers of observation.
O’Keeffe’s work broke many artistic boundaries. She took serious chances with color, sometimes upsetting conventions of visual harmony in order to startle the eye into new kinds of seeing. She liked to experience with visual edges that have metaphysical implications: between night and day, earth and sky, life and death.
O’Keeffe’s flower paintings have often been called erotic, which is not exactly wrong, but the emphasis is misplaced. It would be surprising if an artist with her passion for the transcendent did not make use erotically charged imagery.

Ella McBride, a somewhat less recognized under appreciated artist has nonetheless been an extremely influential photographer.
In addition to being an internationally noted fine-art photographer she was an avid mountain climber, environmentalist, and civic leader at a time when women were expected to be home keepers. She was a working woman who was dealing with feminist issues more than a century ago and was a working artist who broke with convention artistically and culturally.


Her artistic career started late in life. She was in her 60s when she started taking pictures of flowers and quickly gained international acclaim.

Mary Cassatt was a pioneering impressionist who left a cushy life in Philadelphia to struggle with artistic life in France. Cassatt’s paintings have been most admired for her sensitive and realistically observations of women, often with their children.
Mary Cassatt didn’t go after prettiness. An early feminist, she liked women as individuals learning to deal with life as they found it on a daily basis. “I am independent! I can live alone and I love to work,” she said. As a painter, she herself had to overcome established gender barriers in the arts, most intimately the unyielding opposition of her father.
Her artistic ambitions carried her into the circle of French avant-garde artists but she was becoming dissatisfied with the conventional French painting of the salon and with the treatment of women artists in the contemporary art world.
In spite of the greater sense of professional respect accorded women artists abroad, their professional opportunities were quite restricted in comparison to those of their male counterparts, even for women who occupied Cassatt’s social level. Although Impressionism stressed the observation and capture of contemporary life, women of Mary’s class did not appear at the cafés and outdoor venues where male Impressionist artists found many of their subjects, nor would it have been proper for her to paint a portrait of any man outside of her immediate family circle.
Cassatt’s world was dominated by the feminine – the domestic sphere or anywhere woman played a major role beyond the unwanted gaze of strangers. In this context, Cassatt’s choice of her subjects was somewhat limited, and she focused on mothers and their children as her artistic subjects.



A revolutionary, a poet and above all an artist, Frida Kahlo has become one of the leading icons in women’s art today. She is one of the first twentieth century fine artists to paint in detail about childbirth, miscarriages and other women’s issues.
Her life was filled with physical as well as emotional pain. She endured more in her short life than most people will ever have to face. But she endured. She put her emotions into her painting and her work is a rare blend of true emotion, heartbreak, love, and life, as well as death. Kahlo’s husband, the famous Mexican muralist Diego Rivera, said that “Frida is the only woman who has expressed in her work an art of the feelings, functions, and creative power of woman.”
Kahlo also explored common struggles associated with being a Mexican woman. She confronted the subordinate role of women in society and the lower role of women in Mexican society and how they are continually abused by men.
Most of Kahlo’s paintings were self-portraits because as she once said: “I paint self-portraits because I am the person I know best. I paint my own reality. “


Louise Bourgeois was a French-born American artist who gained fame only late in her career, when her expressive and emotional abstract sculptures, drawings and prints had a strong effect on the work of younger artists, particularly women.
It was her images of the body itself, sensual but grotesque that proved especially memorable. Her work derived from the body, or rather, from her perception of the body. She created one distorted torso and named it a self-portrait because that, she said, was how she felt about her physical self, and how women generally felt about themselves. In her works, she focused on the human body’s need for nurture and protection.
In an art world where women had been treated as second-class citizens and were discouraged from dealing with overtly sexual subject matter, Bourgeous quickly assumed a strong presence. Her work was seen by many as an assertive feminist statement and her career as an example for a successful woman artist.





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