Technique Tuesday: Found Object Sculpture

What is it?

“Found object” art describes artwork that utilizes objects not conventionally designated as art supplies, and manipulates them, usually while keeping them still recognizable as their original form. In its early days, some found object sculptures did not even involve any manipulation of the object, but simply the artist designating that item, just as it was, as “art.” Throughout the history of found object art, it’s taken on a variety of manifestations, so let’s take a look!

Examples in art history:

Found object art really wasn’t something seen in the art world until the 20th century, and one of its very first incarnations was quite a controversial one. Dada, the avant-garde artistic movement that began about 1915 and flourished into the 1920’s, in many ways sought to challenge the conventional standards and definitions of art. One aspect of their movement was the promotion of the idea that anything could be art, and anyone could be an artist. Artists like Marcel Duchamp presented what he termed “readymade” sculptures, consisting of an object like a urinal or a bicycle wheel, mounted on some kind of pedestal, and labeled as “art.” It might go without saying that many art critics had conflicting responses to such a statement! Even after the age of Dada passed, found object artists continued to produce work throughout the 20th century, and their ranks included iconic names like Louise Nevelson, known for her found object “assemblages,” and Ai Weiwei, China’s most famous contemporary artist. Found objects have and continue to appear in a broad range of sculptures, from the more conceptual to some quite representational pieces.

(top row) Marcel Duchamp, “Bicycle Wheel”, 1916; Man Ray, “Object to Be Destroyed”, 1923; Pablo Picasso, “Bull’s Head”, 1942 — (bottom row) Louise Nevelson, “Royal Tide, Dawn”, 1960-64; Ai Weiwei, “Grapes”, 2011; Kyle Bean, “Which Came First”, 2011

Examples at Principle Gallery:

Sculpture is not something that we typically display much of at our Alexandria location, as our setup here is better suited in general toward displaying paintings. However, we came across a found object sculptor whose absolutely unique and charming work really caught our attention. When we were putting together an invitational figure show for February, David Lipson’s sculptures seemed as though they would be a fun and refreshingly different take on “figures” and we happily included him in the show. Check out the three sculptures that are part of this upcoming exhibition!

As you may be able to guess from their labels (originally old car dealership decals), these three delightful figures are called “Baxter,” “Mallory,” and “Ridley. Carefully and beautifully crafted from a variety of found objects, many of them vintage finds, these figures each reveal a stunning level of creativity and craftsmanship– on top of which, they just make you smile!

The “Bodies of Work” exhibition, which opens THIS COMING Friday, February 16th, contains a fantastic variety of figurative art. From highly photorealistic styles to gestural Impressionism, found object sculptures to Surrealist and Magical Realism paintings, oil on linen to mixed media on paper, there’s something in this show to fascinate every taste! If you’re in the area, please be sure to join us from 6:30 to 9 PM on Friday for the opening reception! And, as the digital preview of the show is available NOW, feel free to contact us at to receive a copy and get a sneak peek at this incredible collection of artworks!



Technique Tuesday: Magical Realism

Happy Tuesday! You may remember that not long ago we spent some time looking at the well-known movement called Surrealism. We’re going to be looking at a lesser-known “relative” of that movement today: Magical Realism.

What is it?

Magical Realism is a term that has been long-debated and is typically more frequently applied to literary rather than visual arts. Although glimpes of Magical Realism were seen in the art world prior to the invention of the term, it was first used by art critic Franz Roh in the late 1920’s to describe the changes that he was observing in art in the wake of Expressionism. The dawn of the 20th century, the upheaval of wars, the advancement of technology, and the changing world converged to produce several art movements that drifted further and further from strict Realism and into the realms of abstraction– for example, Expressionism, Dada, Cubism, Fauvism, Futurism, and more. The changes noted by Franz Roh, however, indicated that some artists were “reverting” to Realism again, though with an eerie, mysterious twist. While Surrealism focused on heavily psychological subjects (dreams, the subconscious, etc.), Magical Realism showed a mostly-recognizable reality, but in a way that added a sense of mystery, unease, or magic to that reality. Unlike Surrealism’s jarring juxtapositions and unsettling, even shocking, imaginary concepts, Magical Realism presented a mostly-believable world, with just a hint of mystery. Often, Magical Realism paintings included a sense of stillness, gravity, and heightened sharpness or detail, while also incorporating fantastical elements. Let’s take a look at some examples.

Examples from art history:

First, let me clarify that as many artists crossed back and forth between genres, Magical Realism has become a bit ambiguous in the eyes of some art historians. Many of the artworks of the early 20th century contained elements that could include them in multiple art movements. Here are several examples of artworks that many art historians classify as Magical Realism. Do you agree?

(top row) George Tooker, “Government Bureau” ; Salvador Dali, “Portrait of Gala”; Pyke Koch, “Resting Somnambulist IV” (bottom row) Diego Rivera, “Sunflowers”; Andrew Wyeth, “Spring”

Examples at Principle Gallery:

We’ve got a fantastic figurative exhibition coming up this February entitled “Bodies of Work,” and we’re thrilled about the variety of work in the show, including the many pieces with elements of Magical Realism! Take a look at some of these sneak peeks from the exhibition, and see if you think you’d qualify them as Magical Realism, Surrealism, or something else altogether! Be sure to shoot us an email at to request a digital preview of the show as soon as it’s available, if you’d like to be among the first to see this beautiful collection of artworks!

Stephen Early, “And Into the Forest I Go”

Nadezda, “Revanche”

Mark R. Pugh, “A Secret and a Locked Door”

Mark R. Pugh, “Autoportraitism”

Mark R. Pugh, “Novaturient”

Anna Wypych, “Too Sweet to Be Serious”

Robert Liberace: The “Living Master”

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The Studio of Robert Liberace

As an artist, Robert Liberace expresses the human body in way that would make the Old Masters proud. His interest in art history, anatomy, and technique are so obviously presented in his work. However, his artistic talent isn’t the only skill that has encouraged the title “living master.” Liberace is also a fantastic and world renowned art instructor. He captivates his students with his insightful lessons and valuable pieces of advice. He refers to individual muscles by name as he captures them on the canvas. He is absolutely adored by art students and art lovers from around the world.


Robert Liberace’s Live Painting Demo, August 2017

We were able to witness, first hand, the immense following Liberace has established for himself when he presented a Live Painting Demonstration, last Friday in the gallery. We welcomed a young woman named Shelly, who had never modeled before, to be the artists subject. Liberace set up his easel, prepared his paints, then began his creative process. He had Shelly move into a few different poses until he found the perfect one. As the night progressed Shelly’s features became more and more prominent on the canvas.


Start of Demo



After the first fifteen minutes






Shelly’s defined jawline and beautiful hair became recognizable in less than fifteen minutes. Another noteworthy feature of Shelly was her well applied makeup. She wore a combination of shimmered eye shadows and completed her look with a dark purple lipstick. Such a look was definitely something new for the artist, but it was something he didn’t shy away from. Liberace grabbed a thinner brush to express her eye makeup and the deep purple color of her lipstick. He matched the color perfectly. DSC_0146


The crowd watched as the artist developed a spectacular piece and led them through his process. Liberace engaged with his audience by describing the materials he used, how to create certain details, and how to paint the human body.

Meanwhile, other guests mingled, enjoyed the refreshments, and took in the incredible new exhibition featured in the front room of the gallery. Live painting demonstrations are such fun and exciting events, and we encourage anyone in the area to come and join us when we’re able to host them! Mark your calendars, because next month, after the opening of the two person exhibition for Valerio D’Ospina and Greg Gandy, Valerio will be treating us to a live painting demonstration on Saturday afternoon, September 23rd, from 1-4 PM!

To check out a time-lapse video of the Robert Liberace demonstration, check out our latest upload on YouTube here!

If you can, do stop by the gallery in the next couple of weeks to see the Robert Liberace exhibition– his works are just breathtaking in person! To make sure you’re up to date on all the latest news about exhibitions and events at the gallery, like live painting demonstrations, be sure to follow us on Facebook, Twitter, and Instagram, and subscribe to our newsletter by filling in the “contact” form on our website here!

GC Myers “Truth and Belief” Opening Reception

Thank you so much to everyone who joined us for the opening reception of the GC Myers solo exhibition “Truth and Belief” last evening! It was a wonderful turnout and we’ve had such an exciting amount of sales so far in the show. We love giving you all the chance to meet and chat with the incredibly talented artists that we represent, and the artists love it as well. Last night, as you can see up at the top left here, we even had a young budding artist present GC Myers with some of her own artwork inspired by his paintings! If you weren’t able to make it last night and you’d like to meet GC Myers, you’re in luck– he’ll be back in September for an artist talk, so be sure to follow our social media pages or join the mailing list to be reminded of the date!

To see the images from the “Truth and Belief” show, check out our website here!

Technique Tuesday: Stylized Art

What is it?

Welcome back to Technique Tuesday! With the GC Myers “Truth and Belief” exhibition opening just a few days away, it’s the perfect time to take a look at stylization! Stylization is a technique that’s been around for a very, very long time. In 1979, The Great Soviet Dictionary provided an excellent definition of stylization, explaining it as “the decorative generalization of figures and objects by means of various conventional techniques, including the simplification of line, form, and relationships of space and color.” To look at it from a different perspective, stylization is a deliberate step away from mimesis, which is defined as the close mimicry of reality (in art, this is very generally referred to as “realism,” though that particular term has evolved and is rather nuanced). Rather than trying to represent the subject in a way that is close to reality, an artist can use stylization to create images that, while they contain recognizable subjects and forms, do so in a manner that places emphasis on the color, lines, and oftentimes the emotive qualities of the work.

Examples from art history:

Stylization is something that can be seen as far back as ancient cave paintings, as recognizable subjects were visually portrayed in a simplified manner. Part of this no doubt had to do with the fact that humanity was discovering the visual arts and experienced a learning curve over time when it came to more accurate mimicry of reality in drawing, painting, and sculpture. As time progressed, the goal for many artists became increased mimesis, and stylization began to slowly give way to more realism in art. We can see from the height of the Renaissance through the 19th century that artists took a great joy in creating highly realistic images and exploring the very accurate representation of architecture, human anatomy, natural plant life, etc. As Impressionism broke from academic tradition in the 19th century and brought a focus back to experimentation with colors and light, and stepped back from strict mimesis, it spurred a renewed interest in deliberate stylization and in using the portrayal of recognizable subjects as a platform in which to also revel in color, line, and shapes. Because of its accessibility (one need not necessarily go to school for art or train for years to create stylized art) and its celebration of line and color, stylization is frequently seen in street art and graffiti-style art, as in the case of the late 20th century artist Keith Haring.

(left to right) an example of ancient Peruvian pottery; Henri Matisse, “Chat aux Poissons Rouges”; Pablo Picasso, “Pitcher and Bowl of Fruit”; Gustav Klimt, “Tree of Life III”; Keith Haring, “Statue of Liberty”

Examples at Principle Gallery:

While we carry almost solely representational art here at Principle Gallery, it does certainly vary across the spectrum of mimesis. Some artists here are more stylized than others, but perhaps the most excellent example of stylization and its focus on line, form, and color here at the gallery is the work of GC Myers. GC’s work goes beyond representation of landscapes and adds an emotive quality to the subject and forms, as they portray imagined vistas and use symbolism to create feelings and messages in the artworks. If you keep up with the artist’s blog, over at,  you can often get a detailed insight right from the artist into the emotions and symbolism that infuse any given work of his, but the wonderful thing about his artwork is that it’s also something that can communicate on its own. Feelings of confusion, triumph, peace, frustration, joy, melancholy, and joy all make themselves known to the viewer purely through the interplay of lines, colors, and shapes in these landscapes. While these works come from a deeply personal place in the artist’s soul, one of the magical things about this art is that it also leaves so much space for interaction and interpretation from the viewer, independent of any verbal explanation from the artist.

We are thrilled to be opening an exhibition titled “Truth and Belief” this Friday, June 2nd, which will feature 55 incredible brand new paintings from GC Myers. Here’s a sneak peek at some of the beauties from this show, and if you’d like to see all of them, head over to our website, shoot us an email at, or better yet, join us to welcome the artist and celebrate the exhibition this Friday evening from 6:30-9 PM at Principle Gallery!

“Truth and Belief”

“Race the Light”

“With Sanction of the Moon”

“Seeking Truth”

“So Well Remembered”


by Pamela Sommer

Technique Tuesday: Linear Perspective

Welcome back to a new Technique Tuesday post! This week we’re going to be discussing something called linear perspective, also known as the Unsung Hero of Realism. Truly, this is one of the most important techniques ever to be developed in art history. It changed the game completely, but we’re really so used to seeing it these days that we don’t think about it much! So let’s take a look:

What is it?

The term “perspective” in art generally refers to the manipulation of the image so that it appears to have the depth that we can perceive with our eyes. We talked once about atmospheric perspective on this blog series, and the way that blues and cool tones in the background help to give the illusion of far distances and vast spaces. Linear perspective refers to the use of what are called “vanishing points” and the way that everything in view relates to those vanishing points, which will depend on how far those things are supposed to be from the viewer’s vantage point. Don’t worry, I’m going to use pictures soon to help explain.

Examples from art history:

Before the Renaissance–which I don’t know if I’ve ever mentioned before, but it was a pretty important time for art history– (<–kidding, I bring it up in nearly every post) artists used something known as oblique perspective, which is a fancy way of saying lack of perspective, really. Think about the drawings that little kids make, especially if there are a lot of people in them or houses or trees in the far background. Instead of figuring out precisely how all these objects relate to one another geometrically (because they are children and they’re just having awesome fun drawing), the kids just kind of spread everything in the picture around on the piece of paper, usually putting something that in reality is further “back” simply closer to the “top” of the page. For a very long time, this was the way even seasoned artists rendered their works. Let’s take a look at some pre-Renaissance works of art which, while gorgeous, are definitely before the discovery of linear perspective:

from left to right, examples of ancient Egyptian, Byzantine, ancient Chinese, and medieval German artworks

Even if you don’t know about geometry or linear perspective, these images would likely still look “off” in some way to you. It wasn’t really until the Renaissance, when super genius Filippo Brunelleschi made a nifty hole-in-a-mirror device, and then some subsequent paintings and drawings to prove his point, that artists began to understand linear perspective, and the very important notion it brings with it: foreshortening.

Foreshortening involves the visual effect that objects in our line of sight will appear differently depending on the viewer’s perspective. For an example, think about preparing dinner on your perfectly circular dinner plate, and then sitting down to eat and placing that plate in front of you. As you sit there looking at the plate, you no longer see a perfect circle (even though the plate is perfectly circular!), because of your perspective. Depending on how something is angled toward you the viewer, parts of that building or person or object will appear shorter or smaller than they really are. In the example above and on the left, even a road which is the same width down its entire length will appear to get smaller as its distance from the viewer increases.

As I mentioned, this was a game changer for artists in the Renaissance. Many of the early examples from the Renaissance showing successful use of linear perspective focus on one-point perspective, viewed straight on, but artists later expanded this knowledge to work with multiple vanishing points, and higher and lower viewer angles, as we can see here:

(above, left to right) Renaissance examples of perspective, including Leonardo da Vinci’s “The Last Supper” and Pietro Perugino’s “Christ Giving the Keys to St. Peter” (below, left to right) examples of perspective use from later in history, including Andrew Wyeth’s “Wind from the Sea,” Camille Pissarro’s “Avenue de L’Opera, Paris,” and Mary Cassatt’s “The Child’s Bath”

Examples from Principle Gallery:

Again, linear perspective, while crucially important, might not be the first thing you think of when admiring a work of art. We tend to take it for granted now that centuries of art teachers have passed the concept along, but it’s still so important to creating an effectively realistic scene. Because it is critically important in any work of art that involves things with straight lines like building and architecture, Geoffrey Johnson‘s solo exhibition (open now!) gives us a perfect segue to taking a look at the beautiful effect made when an artist accurately uses linear perspective. Let’s take a look at a few examples from the current show:


“Skaters at the Museum”

“Station Interior”

“Study in Washington”

“Flatiron Evening”

To view the entirety of this absolutely spectacular and unique exhibition, stop by the gallery through the end of May, or check out Geoffrey’s page on our website by clicking here!

Technique Tuesday: A Painting Within a Painting

What is it?

Well, this week’s “technique” isn’t a difficult one to understand by any means, but it’s still plenty of fun to come across, and well worth a post! All kinds of art can be depicted in a painting– sculpture, architecture, jewelry, pottery, fashion, etc.– but today we’re going to take a look at paintings featuring paintings! (To my knowledge, there isn’t a concise term for this, but my personal vote is “paint-ception.”)

Examples from art history:

This is not a technique that’s going to go back as far as ancient times, but it does go back quite a ways and began to show up more regularly (you guessed it!) during the Italian Renaissance and in the centuries following. In fact, with the flourishing of artists and galleries in the Netherlands during the 17th century and the rise of “genre” paintings (scenes of everyday life), artists like Vermeer began to use the artwork he painted into his backgrounds to add to the message or story of the work. Let’s take a look at “The Love Letter” as an example:

Here’s a painting showing a young woman receiving a love letter, and there are two paintings visible on the wall behind her. The subjects of the paintings, it can be argued, relate to the receipt of this letter– the man walking a path in the top painting might speak of a lover who is on a journey of some kind, and the ship on a sea (often a metaphor for romantic relationships) depicting smooth sailing likely means the letter contains good news. It should be noted, however, that the artwork depicted in a painting doesn’t always have a deeper meaning; as art has become more and more a part of our lives over the years, it’s bound to show up in scenes depicting daily life! Here’s a look at a few more examples from art history (click for a better view):

(left to right) Diego Velazquez, “Las Meninas”; James Abbott McNeill Whistler, “Arrangement in Grey and Black No.1”; William Merritt Chase, “The Tenth Street Studio”; Rene Magritte, “The Human Condition”

Examples from Principle Gallery:

We’ve had many artists paint works featuring other paintings here over the years! Here’s a peek at a few:

(left to right) Lisa Noonis, “Red Couch”; Jeremy Mann, “Morning Light”; Hyseung Marriage-Song, “Studio Interior”; Philip Geiger, “Times Table”

If you happened to see Geoffrey Johnson’s fantastic solo exhibition last year, then you might remember “American Wing” and “American Wing II,” two paintings depicting figures observing paintings within a museum:

Geoffrey Johnson, “American Wing” (left) and “American Wing II” (right)

Well, we are THRILLED to be opening yet another spectacular exhibition from the unique and immensely talented Geoffrey Johnson. This exciting exhibition is set to open May 12th, but we already have a digital preview available, so feel free to email us at if you’d like to see one! This year’s exhibition from Geoffrey includes several of his signature scenes of New York City, as well as several interior scenes, a Biblical scene, another museum scene, and to our delight, several scenes of Washington DC! Given the topic of this week’s post, let’s take a look at some of the paintings depicting paintings:

“The Impressionist”

“The Sitting Room”

“Alvin’s Porch”

In case you’re curious, the painting depicted in “The Impressionist” is “Boulevard des Italiens, Morning Sunlight” by Camille Pissarro. As for “The Sitting Room,” the work shown is loosely based on Rembrandt’s “Descent from the Cross.” And for the final one, the large landscape shown in “Alvin’s Porch?” Well, that’s a lovely piece out of Geoff’s own imagination; this painting is a two-fer! Two original works by Geoffrey Johnson in one!