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Every once in a while we like to highlight the work of an artist who left an indelible mark on art history. Sometimes their oil paintings left such a significant impact that they became household names: Monet, Picasso, Van Gogh and Da Vinci are some examples of superstar artists. Others didn’t have such a large impact, but nevertheless left changes that were worthy of examination in their own right. Take, for example, William N. Copley, born January 24, 1919 to May 7, 1996. Copley, more popularly known as CPLY, was a writer, painter, collector, publisher, art entrepreneur and patron to the art world who forever has a place in American and world history, especially in the Surrealist and Pop Art movements.

Copley was born in New York City in 1919 and experienced a touch of fate when he was adopted by millionaire publisher Ira C. Copley and his wife, who owned 16 newspaper companies in San Diego and Chicago. He thus received an elite education at Phillips Andover and Yale University, which was briefly interrupted by the war. Upon returning from WWII, he worked as a reporter, and then began experimenting in art after meeting John Ployardt, an animator at Walt Disney Studios who was his brother-in-law. From this connection Copley was introduced to painting, particularly Surrealism, and it was at this time that Ployardt and Copley opened a Los Angeles gallery to exhibit Surrealist works, which was just beginning as a movement.

Copley painted part-time as he ran his father’s business and his own network of galleries. His oeuvre can be split into decades of similar motifs and styles. In the early 1950s, his work dealt with satirical images of typical American symbols; in the late 50s and 60s it moved to more Pop Art styled images and presentation as the artist found inspiration in the likes of Andy Warhol and Roy Lichtenstein. Copley’s style would change again in the 1970s with the sexual revolution, his work becoming more seductive and erotic. This was his most controversial phrase, as many in American responded with disdain at what they considered was pornography; however, Copley was comparatively better received in Europe.

If Copley is your guy, then be sure to attend a comprehensive retrospective of more than 80 Copley oil paintings at the Frieder Burda Collection in Germany. Curated by Götz Adriani, it focuses on the lifelong friendships the artist developed out of the contacts he established with other artists, such as Marcel Duchamp and Man Ray, and how this influenced him and his canvas artwork. The exhibition will also take a close look at the way Copley’s paintings examine the erotic interplay between women and men, from all the irrationality of love and bad behaviour, to the excitement over celebrities and the self-assurance found in brand names. If you have some spare Euro in your pocket, the exhibition catalogue (English/German) is worth purchasing: it has contributions by Götz Adriani, Georg Baselitz, Billy Copley, Judith Irrgang, Man Ray, Andy Warhol, as well as numerous previously unpublished essays by the artist himself.

Olivia Preston is passionate about everything on paintings and arts. When she’s not having fun she writes on oil paintings. For more information on and oil painting reproductions you can visit http://www.cheapoilpainting.com

It was a good thing Italian artist Alighiero Boetti ignored a potential career as a cartographer instead choosing to become an artist. Hah – we’re only kidding about the cartographer part. He was well known for his maps and certainly the Italian artist is considered one of the foremost painters in the modern era, which is a big accolade considering the wealth of talent, both historical and contemporary. We’re going to take a more in-depth look at the man, his life and the artwork and impact he left behind.

Boetti was born in Turin in 1940, the son of a lawyer and violinist. His early educational years focused on law and business – he would study the latter at the University of Turin for a year, before quitting to work and study as an artist. Unlike the greats of modern art such as Picasso, Boetti was from all accounts not an immensely gifted drawer or painter. He had, rather, an inquisitive mind and an ability to meld all the social sciences together, much like Kandinsky before him. From an early age he read and studied many theoretical interests, including alchemy, philosophy, physics and esoterics. This taste for the alternative is reflected in his favourite authors: Swiss-German painter and Bauhaus teacher Paul Klee and German writer Hermann Hesse, famed author of the Steppenwolf.

Boetti’s earliest canvases come from the hands of the artist at 17 years of age, mostly simple oil paintings inspired by the likes of German Wols and Argentine-Italian artist Lucio Fontana. Just three years later he would heed the call of many and move to Paris to study more art, and a couple of years later he would meet writer and art critic Annemarie Sauzeau, whom he married in 1964, subsequently having two children. Throughout this time Boetti took frequent trips abroad, with his travels focused on South America and Asia: from 1974 to 1976 he travelled to Guatemala, Ethiopia, Sudan and then to New York.

Sadly, Boetti did not live to a ripe old age to bless the world with a more fruitful oeuvre. He was active as an artist from the early 1960s and his premature death in 1994 meant there was only about 30 years or so of his art. Nevertheless, he managed to leave a significant influence, particularly in the field of compositions in visual art. Historians have divided his oeuvre into three main phases: Arte Povera, 1972-1994 and Mappa, which is pictured above. His first phase, Arte Povera, started from 1963 and lasted about 10 years. This phase can be broken down into mini sections as well: from 1962 to 1965 he mostly worked with materials such as Masonite, plaster, light fixtures, plexiglass and other construction materials. The late 60s saw the artist switch to monochrome paintings, although he remained tied to his earlier medium through the use of metal or masonite supports in his artwork.

In 1968 Boetti again switched focus, this time becoming more traditional and focusing on paper and the specific form of poster production. One noted artwork from this era was a series of 800 posters each containing a list of 16 Italian artists of his own generation. Come back tomorrow for more on Boetti’s style and why the Tate Modern is holding a retrospective on him.

Olivia Preston is passionate about everything on paintings and arts. When she’s not having fun she writes on oil paintings. For more information on and oil painting reproductions you can visit http://www.cheapoilpainting.com

If you haven’t heard or seen the paintings of Chilean artist Victor Castillo, who was born in 1973, it is time to get off your high horse and read the rest of this article, at the very least. Castillo was born in the nation’s capital, Santiago, where he grew up and attended art school. It is not clear if he graduated from art school, but what is known is that he was disappointed in the experience and then chose to join the independent art collective Caja Negra, where he started to make mixed media sculpture and video installations. He did this for several years before moving to Barcelona, Spain, in 2004, where like so many others before him he started to copy the masters, in particular Goya and shift to canvas artwork.

But simply copying doesn’t render an artist great, or improve his artwork. By definition new work has to be produced and the 20th century artwork of cartoons and comic books became an important aspect of his work. Castillo notably mixes the timeless and classic style of the Spanish old world masters with animation – a nearly Disney on Ice (the bad type of Ice) effect which renders the viewer slightly off-guard, but certainly full of attention and awe. To develop his style further Castillo then moved to Los Angeles, California, United States of America, in 2010, where he is currently based.

It is also in the U.S. where one can find the latest gallery showing of Castillo paintings at the noted Jonathan LeVine Gallery on 529 West 20th Street. The show is entitled The Jungle and draws inspiration from the artist’s view of the recent and varied images in the mass media of global violence and protests. Castillo has said he feels that we are living in a time of flux: many institutions and power organs and groups have lost credibility, the consequence of which humans are now left in the jungle, with the “law of the jungle” of brutal survival and a constant state of war against individuals and groups.

So while the images may look sweet and innocent, they are also allegorical visualizations of the current socio-economic world crisis. Some Castillo oil paintings, such as The Big Boss, features a boy burying money in a bucolic setting, symbolic of greed and what lies behind established appearances. Another noteworthy canvas artwork, Futuro Esplendor, references a John Heartfield photomontage of a hyena, but mutated to show the brutality of ambition for power when taken to the extreme. It would be wise to see the show and possibly snap up a painting as soon as possible. Castillo’s star is on the rise, and his works have been featured and bought by institutions such as the Museo D’Arte Contemporanea in Rome, Italy, the Chilean National Museum of Fine Arts in Santiago, Chile, the Museum of Modern Art in Chiloe, Chile and the Center for Contemporary Culture in Barcelona, Spain.

Olivia Preston is passionate about everything on paintings and arts. When she’s not having fun she writes on oil paintings. For more information on and oil painting reproductions you can visit http://www.cheapoilpainting.com

We noted a couple of weeks ago the political situation in Burma, or Myanmar, whichever one you’d like to call it. Positive steps for the liberalisation of the country in the political realm only mean positive things for the economy and, more importantly, artists and the cultural sphere. We’re now seeing early reports that artists are starting to feel more inspired, while they’re also hoping more tourists and visitors will help increase the value of their oil paintings and other artwork. Hey, they have to eat, and when the average price of a painting is stuck at USD$350 for the past 10 years or so, you’d really want the same thing.

Not much up-to-date information exists about the Burmese contemporary art scene since the crackdown on freedom in the country in the successive military coups, but some news has leaked out to the outside world. The leading and most well known painter currently is Lun Gywe, who was born in 1930 and has achieved popularity, especially in Asia. Lun Gywe is a bit of a Burmese Gustav Klimt – he loves to use gold, paints with bright colours and often features oil paintings that feature beautiful women.

Another leading artist is Aung Kyaw Htet, who was born in 1965. Aung is somewhat the opposite of Gywe – a devout Buddhist, his images feature the famous Burmese monks and nuns as they go about their everyday lives. Aung mostly stays away from the political activities of the monks, instead focusing on their humanist and religious aspects. Again, like Gywe, he is well known and has had his work bought and collected by the Singaporean, Malaysia, Thai and Australia national art galleries.

The aforementioned artists are the rear guard, the slightly older in age that have seen the best times and arguably the worst. There exist a younger generation of artists who aim to change Burma and the world with their oil paintings and other art on canvas creations. Take for example Nyein Chan Su and The Maw Naing. Nyein is a particularly interesting artist. The founder of one of Burma’s largest artist collectives, Studio Square, said it would take some time for people to properly and freely express themselves and that artists could help. “We have been under this system for over 30 years. We don’t know whether the government has given us freedom or not. We are still psychologically in this system. There is a deep rooted mindset in the Myanmar people because of the difficult years we have had in our government. We need to erase this image. The government must change the paradigm and only then will we change.”

Revolution doesn’t always start with the government – look at the French and Russian revolution. We’d say that Nyein himself, and his creativity, is all the force needed to change the mindsets of people in the world’s newest democracy. Good luck to Nyein – may his realistic oil paintings of Burma’s poor countryside and crime-ridden streets inspire the people to think about a better way of life, one where they are free to express themselves.

Olivia Preston is passionate about everything on paintings and arts. When she’s not having fun she writes on oil paintings. For more information on and oil painting reproductions you can visit http://www.cheapoilpainting.com

Last year in 2011, China was the talk of the town. Well, in most things from economics to politics it has been the talk of the town for the past five years, but 2011 was particularly good for China and art. For one, the country emerged as the world’s number one market, at least measured in auction sales (people actually paying is another matter for another post). The figures from all the auction houses showed where the global wealth was flowing: Sotheby’s and Christie’s alone accumulated more than $1.8bn in Hong Kong alone. In a similar trend, more Western nations are showing exhibitions of Chinese art, be it contemporary or ancient Chinese artworks. The latest case in point is The National Museum of Australia’s A New Horizon: Contemporary Chinese Art described by critics as a powerful and important exhibition of contemporary Chinese art, all of which is on loan from the National Art Museum of China.

The exhibition features more than 70 sculptures, new media installations and paintings which have been created since the People’s Republic of China was founded in 1949, after the KMT part fled to Taiwan. For Chinese art aficionados, you should be able to recognise some big names, including Qian Songyan, Liu Xiaodong and Shen Jiawei. The works have been divided chronologically, with New China (1949–1977) covering most of the hectic days of propaganda art during the Cultural Revolution, moving on to New Thinking (1978–1999) and the years of opening up, reform and modernisation. Finally, New Century (2000–2009) reflects on the China that most people are familiar with – the big cities, wealth explosion and an increasingly assertive and powerful nation against the background of globalisation.

National Art Museum of China Director Fan Di’an said the past two years of cultural exchange between Australia and China have helped to promote and strengthen the relationship between the two countries, referring to the Australian exhibition of Aboriginal art that toured China in 2011. Mr Fan said he hoped the latest exhibition would help bridge cultural gaps between the two nations. “We decided to create an exhibition featuring Chinese art since 1949, one that located Chinese art in the context of social and cultural change. The representative artists and works have been selected to reflect the history of the time and its cultural landscape, and form a snapshot of Chinese art from the latter half of the 20th century to today,” he said.

One important observation one gleans from the exhibition is that China was not as isolated as one may think. Chinese art in the 20th century had many Western influences, which arguably led to social changes in and of itself. The influence of art and culture continues to be reflected in the changes of norms and values, reflected in the production of art in the two countries. As National Museum of Australia Director Andrew Sayers said, the art of China in the decades from the 1950s to the 1980s was not as well known and further knowledge only increased understanding. “I am pleased to see that, as a result of their efforts, this exhibition has become a valuable contribution to Australia’s understanding of Chinese visual culture,” he said. People planning to visit Canberra, Australia, have until the end of January to see it.

Olivia Preston is passionate about everything on paintings and arts. When she’s not having fun she writes on oil paintings. For more information on and oil painting reproductions you can visit http://www.cheapoilpainting.com

The chronological timeline of the history of art is literally dotted with thousands, if not millions, of movements, styles and fads. Some, like Impressionism and Kandinsky’s abstract art, change the history and course of expression forever. Others are lost, only to be rediscovered, re-referenced and revered as a short, but brilliant, part of history. Browsing those tumblr, flickr and photobucket blogs, one might be impressed by the odd-angled, blurring, action photography that some hipster with the latest SLR has uploaded, sharpened with the best in photo imaging program technology. Yawn! Far and above this form of art, one exhibition looks to remember – and thereby honour – a group of Japanese photographers who changed photography and journalism in a fundamental sense more than 30 years ago, at the same time doing what the hipsters did but just much earlier.

The exhibition is entitled Rough, Blurred, and Out of Focus: Provoke Magazine and Postwar Japanese Photography and will be held until February 27, 2012, at the Art Institute of Chicago. In a one-sentence nutshell, the work of Yutaka Takanashi, Daido Moriyama and Takuma Nakahira is examined, showing how their photographs published in just 3 years from 1968 to 1969 in Provoke Magazine started a visual and artistic revolution throughout the world. In many ways, the movement was the Impressionism of photojournalism: discontent with the strict rules of photography, where everything was neatly staged and in focused, the Japanese photographers felt they needed a visual voice to document the aftermath of the atomic bombings, American occupation, Westernization, urbanisation and rapid economic development.

Yutaka Takanashi, from ‘SOMETHIN’ ELSE’ (c.1960)What was the philosophy behind such a radical new approach? For Nakahira, at least, it was the idea of photography as an equivalent of life; as much as he needed air, he needed to photograph. One famous quote features him propounding: “my photography is an absolute necessity for me, having forgotten everything.” This led him to famously create his visual diaries, which were hundreds upon hundreds of images – in a time of film, where time and development of photographs were costly, this style of documentary photojournalism was groundbreaking. As Nakahira noted: “I believe that photography is neither creation nor memory, but documents. The act of shooting a photograph is not something abstract. It is always concrete. No manipulation to make simple things complicated through conceptualization. Only the real I encountered through the medium of the camera is here in my photographs.”

While Nakahira may not have set out to change art and photograph directly for the sake of art itself, Takanashi certainly did. A fine arts graduate, his May 1960 one-man exhibition, Somethin’ Else in the trendy and fashionable district of Ginza Garo set off a firestorm. The work featured photos of frontal images of buildings, shot parallel to the building being photographed. The work, which was hailed for its visual beatnik style, turned into a series that would mark the start of Takanashi’s fame, which eventually saw him become a professor of arts and photography at the renowned Tokyo Zokei University, along with winning the Annual Award for best photos from Photographic Society of Japan in 1984 and 1993. We’d recommend an image search of the names to appreciate the style they pioneered.

Olivia Preston is passionate about everything on paintings and arts. When she’s not having fun she writes on oil paintings. For more information on and oil painting reproductions you can visit http://www.cheapoilpainting.com

The melding of American and Mexican culture goes way beyond simple cuisine, epitomised by the texmex style of food. Texas, after all, was a part of Mexico, as were large portions of the western part of the United States, including present-day California, Nevada, Utah, most of New Mexico and Arizona and parts of Colorado and Wyoming (how quickly we forget conquests!). Besides the irony of Arizona’s laws to stop illegal immigration (easier to declare war, and annex a chunk of land for yourself), the Mexican march into the southern parts of the United States continues. One potent symbol of the gradual demographic shift is the movement of Mexican Modernism, a broad and encompassing field that included in its ranks the likes of painters Diego Rivera and Frida Kahlo, as well as photographers (Graciela Iturbide), sculptors and performance artists.

What were the historical roots of Mexican Modernism? Modernity in art circles is usually used in reference to an ideal that represents progress, the new and the achievement of a better world. In this sense then, Mexican Modernism has been viewed as the displaced people of Mexico, immigrants in the United States and in their native Mexico, trying to reason with the world and transform it for the better, drawing on native and indigenous methods of expression. In the U.S. these struggles for expression became known as the Chicano and Chicana artists, descendents of original Mexicans who had been displaced by conquest of Mexico in 1847. These original settlers lost their land and rights, but stayed on to eke out a living under a new state and government. Fast forward a hundred years to the 1960s civil rights movement, and the modernity movement found a leader in César Chávez, who organized people of Mexican descent in the U.S., called Chicanos and Chicanas, to fight for their right of self-determination. It was during this period that art was used to broaden their cause, most notably photography, murals and graphic art work.

The Mexican American artists who led the modernist charge included the likes of Adolfo Patiño, Louis Carlos Bernal, Roberto Gil de Montes, Felipe Ehrenberg, Ricardo Valverde, Graciela Iturbide, Guillermo Gómez-Peña and Mónica Mayer. They were themselves part of more tightly-knit art groups such as Grupo No, Proceso Pentágono and Suma, which were mainly collective art groups that shared ideas and resources, much like The Blue Rider and the Impressionists in the early days. Their topic of examination, however, was what and how indigenous inhabitants of the Americas could be a part of the growing modern internationalism of the country, in particular Los Angeles, while still enjoying the rights to full self determination.

The topic is complex, with multiple approaches and ever-changing definition of identity, nationalism, archetypes and stereotypes. Hence a recent exhibition from the Museum of Latin American Art, in collaboration with dozens of museums around the United States, to bring Americans (and international visitors) the MEX/LA: Mexican Modernism(s) exhibition until February 5. Providing such a thought-provoking series of artworks into an increasingly important topic of conversation is not only a service to the community, but a service to the soul.

Olivia Preston is passionate about everything on paintings and arts. When she’s not having fun she writes on oil paintings. For more information on and oil painting reproductions you can visit http://www.cheapoilpainting.com

If there’s one cultural or ethnic group that can stake a claim to identity issues, it would be the Jews. Throughout history they’ve encountered numerous episodes where their identity has intersected with their very survival, be it ancient history encounters with Persians, surviving the German Nazi regime in World War II, or the constant threats to their existence they face today, in the form of their nation-state, Israel. To be clear, there are many varied issues and viewpoints to each and every conflict, but one undeniable effect has been an intensive examination of what exactly it means to be Jewish. Intensive introspection is of course the most fertile of grounds for good art, and it is in that spirit that a new exhibition seeks to uncover just what a modern Jewish identity is based on.

The exhibition Composed: Identity, Politics, Sex, is a selection of photo-based works by seven contemporary artists (Rona Yefman, Gloria Bornstein, Collier Schorr, Debbie Grossman, AA Bronson, Adi Nes and Marc Adelman) on view at The Jewish Museum until June 30, 2012. In line with the exhibition’s emphasis on modernity, the artists explore how national, ethnic, and sexual identities are expressed through photojournalism, online profile pictures and traditional portraiture, the result drawing attention on contradictions of identity and desire. A highlight of the exhibition is Adi Nes’s Untitled, from Soldiers (1996), where he critiques the Israeli culture of festishization of war with a male Israeli soldier posed David-esque and eroticized by clever spotlighting.

On the other end of the spectrum is Marc Adelman’s installation Stelen (Columns) from 2007-2011. The 32-year-old artist, who calls both San Francisco and the fashionable Berlin home, uses a collection of 50 profile pictures from a homosexual Berlin internet-dating site. The twist is that all the profile pictures are taken at the city’s Memorial to the Murdered Jews of Europe, immediately raising questions of propriety at one level, and where the spheres of private and sexual desires overlaps into collective remembrance. The photos are not provocative in any sense – but the figures, all casually posed, provide a nearly comical critique more traditional members of the Jewish community might find offensive.

The religious orthodoxy are also targets of the artists, especially in Gloria Bornstein’s photo-documentary feminist performance piece, Public Document (1977). In a series of photos compiled into a video, the artist is shown dressed in several layers of women and men’s Orthodox Jewish clothes; she then ritually undresses in each photo, with the images suggesting not just an erotic undertone, but questions of the role of religion in informing political decisions of the Jewish people, and the idea whether full disclosure is possible in such a tightly guarded part of the community. A final highlight of the exhibition is Yefman’s In Martha Bouke and Andy’s Flowers, Visit at the Museum (2011) which incorporates Warhol elements into a performance piece, where the artist dresses up as an 80-year-old great-grandfather and Holocaust survivor, wearing a pokerfaced mask and making his way through the museum. The piece questions the commoditisation of the holocaust – certainly not a topic for a faint-hearted artist to explore.

The exhibition is itself part of a larger exhibition known as Culture and Continuity: The Jewish Journey, which features nearly 800 artworks, including canvas artwork, that looks at the evolution of modern Jewish identity. We’d highly recommend heading to the museum if you can, for not just insights into art, but a culture and identity that has impacted the world.

Olivia Preston is passionate about everything on paintings and arts. When she’s not having fun she writes on oil paintings. For more information on and oil painting reproductions you can visit http://www.cheapoilpainting.com

At cheapoilpainting.com we try our best to provide you with fresh new approaches at oil painting analysis. We criticize and scrutinize with the best of them and we love to philosophize and muse over Frida Kahlo’s painfully profound still life oil paintings, Jackson Pollock’s twisted geometrical impastos and Claude Monet’s fairytale gardens. We pride ourselves on being thoroughly anal about the meaning of Mondrian’s varying line thicknesses. But current scientific research has taken oil painting analysis to a whole new level and we’re intrigued. Our ears perked up when we saw that NASA has developed Magnetic imaging that can discern a real Pollock from a fake one by testing the magnetic minerals intrinsically existing in oil paints. Not only is this technology important for authentication purposes but it provides historical as well as critical data for art historians. A very immediate example of what Magnetic imaging technology brings to the world of oil painting is a recent analysis of Monet’s Port-Goulphar, Belle-Ile under the microscope.

Created in 1887 this Monet oil painting depicts a beautiful seascape with majestic rocky cliffs, marking the artist’s stay on Belle Island off the coast of Brittany during which time he created his famous collection of 36 seascape oil paintings. Microanalyzed by researchers Paula Dredge, Richard Wuhrer and Matthew Phillips the painting was examined to determine the type of pigments Monet used, as well as his technique of mixing colors and layering paint on the canvas. What they discovered changes how we view Monet’s painting approach, and perhaps the approach of an entire artistic movement.

Previously art scholars have considered Monet to have painted rapidly and impulsively—a style that underlines the Impressionist “plein air” technique. This so-called “scanning electron microscopy,” however, reveals the hidden folds in Monet’s oil paintings. Nine different pigments were found on the canvas, all of which are present in modern paints composed of synthetic metallic oxide materials. This finding supports the acknowledged phenomenon that oil paints in tubes, first released in the 19th century, were the foundation of the Impressionist technique because of their easy of use and brilliant colorings. Perhaps the most groundbreaking discovery in this study is that the researchers were able to separate several successive paint layers that indicate Monet applied oil-based paint over a long period of time. It suggests that the artist did not finish this seascape in its momentary existence, but instead most probably used the scene and its lighting as inspiration, sketched it and then finished it back at his estate in Giverny. This is somewhat of a revolutionary discovery for an oil painting movement created on the principle of instantaneous impressions. But perhaps it makes these Impressionist oil paintings all the more magical and mysterious because in a way it makes them all the less real. Monet wasn’t just painting nature’s different lighting schemes with his Haystacks series—he was trying to tell us something behind all those straws and colors.

Olivia Preston is passionate about everything on paintings and arts. When she’s not having fun she writes on oil paintings. For more information on and oil painting reproductions you can visit http://www.cheapoilpainting.com

The Museum of Metropolitan Art in New York City released a trend back in 2007 that has taken off in the art world: DNA canvas art. Sounds a little Gattaca-Big Brother-1984esque, doesn’t it? The canvas artwork trend stands in line with an inherent human inclination to seek immortality in material things, to transfer the ethereality of the self into a perceived indestructibility found in the basic elements. And what better way to create a canvas art self-portrait than to extract not only the metaphysical existence of the self, but the material building blocks of it as well.

Now how does this matter travel from person to art studio you may ask? The procedure is surprisingly (well not so surprising if you know that your DNA exists in the tiniest of nail clippings) simple and non invasive. For about $600 DNA canvas artwork seeking customers are mailed a special prep kit fully equipped with cotton swabs and petri dishes resting in wait to collect a saliva sample. Not only do customers have a genetic voice in what goes on the canvas art, but they can also choose colors and styles to suit their tastes and to further personalize the artwork.

This DNA canvas artwork hit has paralleled a similar trend in blown-up fingerprints. In fact, it seems that we have somewhat of a canvas art revolution on our hands forging an entirely new genre and medium one could deem genetic abstract art. Like most abstract art in the vein of “pop” or “modern art,” these scientific canvas artworks have diffused into mainstream style and culture and become highly fashionable on a scale that’s something akin to haute couture for less. This phantasmagoric canvas artwork of swirls and bright colors and ACTG DNA sequencing can be found in the homes of celebrities, art collectors, the world’s trendiest restaurants and clubs, as well as on the sets of HGTV and MSNBC; even the New York Times Magazine has drank the kool-aid of this new canvas art craze with glossy prints of the designs on their pages.

At cheapoilpainting.com we love exploring the art world vortex and learning about new trends. Browse our website to see how we’ve carried on the immortalization of the likes of Claude Monet, Salvador Dalí, Picasso and many other genius creators of oil on canvas artwork by offering you affordable, museum-quality oil painting reproductions of famous paintings from the Louvre to the Musée d’Orsay to the MOMA to the….well, see for yourself!

Olivia Preston is passionate about everything on paintings and arts. When she’s not having fun she writes on oil paintings. For more information on and oil painting reproductions you can visit http://www.cheapoilpainting.com