Photography & It's Many Forms

Posted by Esther Kontny on May 28, 2020

Photography has many forms; from negatives to scans or digital to print. We can view photos on our phone, in a book, in frames hanging on a wall and giant sized canvases. However, most of the images we interact with on a daily basis live on a screen. That’s why it’s exciting when we get the chance to hold a printed image. Once it has taken on a physical form, our relationship to it changes and it becomes something new. Today, I would like to break down how we interact with photos, and artwork in general, based on this context. Lets start with the most prevalent, digital images.

  

DIGITAL IMAGES

Most of the time when we come across digital images it is in the context of social media. With 3.81 billion social media users around the world (according to Data-Reportal) we are posting and consuming more content then ever before. The result? Many teens have reported image fatigue and have experienced a decreased ability to remember or recall images they have seen on any given day. That is the ephemeral nature of the internet, and it is further emphasized by the lack of impact a single image has on the viewers. 

When you look at a photo in this overly saturated environment things begin to blend together and you feel as if you’ve seen the image a thousand times before. Take that same photo and put it in the context of a portfolio website. Same image different context. In this case your consumption of images reduces to the photos on the site and they are surrounded by other photos that support the work, rather than reduce it. It is still on the internet and therefore only lives as long as the viewer chooses to stay on the site, but the artist has a bit more control on creating negative space around the image and possibly limiting it to be viewed one at a time. In the context of a portfolio website, an artist can then start to evolve into series of images that speak to a similar subject matter or discourse, giving the artwork some weight and context.

There is one last digital context I want to discuss, and that is in the context off of the internet. Since I am photographer I interact with a lot of my photos in a digital sorting program on my computer. Whether I am shooting on a digital camera or a film camera, they always end up on my hard drive to be sorted, edited and stored. I probably have thousands of files on there most of which I don’t remember I have until I go searching for one particular image in all of my different sub-folders. For most people this looks like their camera roll on their phone. We’ve got our outtakes next to our snapshots, next to our vacations at the beach. The context here would be our lives, daily and milestones. Scrolling through only on occasion when we are in search of a photo we remember was taken and passing by all of the images we had forgotten.

PRINTED IN BOOKS

Similar to photography, books have taken a turn due to digital consumption. But with the resurgence of beautifully curated books and ornate book covers, it has proved to the publishing world that while reading on an e-book app or kindle is more convenient it is an entirely different experience. The print form has become an art object in itself and bookstores are still popping with customers looking to peruse a shelf of beautifully curated books to take home for their collection. A cookbook written by a celebrity chef is not simply a list of recipes anymore than it is a piece of art. When buying a hardback book you are choosing a statement piece for your dining room table or kitchen, filled with beautiful images and illustrations that can be enjoyed by guests as they flip through the pages.

In a similar way, photography shows up over and over in print and takes the form of a book or magazine. And depending on the context, it can be used as part of an advertising campaign, illustration or in some cases artwork. Our relationship to photographs that are printed in a book is very different to scrolling through social media. Instead the physical act of holding a book and flipping through the pages captivates our attention. We don’t have the buzz surrounding us of click through links or advertisements that so often fill a blog. It is intimate and personal.

When you get your hands on a beautifully put together photo-book you can experience storytelling at its finest. In contrast to a singular printed image, the point of a photo-book is to take you on a journey. Each spread highlights the parallels between images and pulls together underlining themes. The design of a photo-book can be compared to a gallery curator, because they are both trying to create parallels and juxtapositions from proximity. The difference then being that a gallery is a group experience and a book can only be experienced with one or two people. A book can also be transported to both the indoor and outdoor spaces, allowing the context of the images to change based on where you are opening the book. By printing photographs in book form you are impressing some value onto it because it is no longer as weightless as the digital rendition.

FRAMED ARTWORK

This doesn’t only take effect in fine art photography, rather I would argue any time you choose to print a photograph you are giving it a longer life. Now that we’ve covered book formats, lets discuss the framed photograph. This also has context, but unlike a book that can travel to new spaces, a framed piece will most likely live in one spot for months/years at a time. The context for a framed piece of art is important both to the subject of the image, but also to the environment of the room. These two speak to each other and they can either clash or live in harmony. And unless you are trying to make a point, you are usually looking to find the latter.

When a photo lives in a frame it carries some weight, both metaphoric and literal. It takes up space on your wall or shelf and becomes part of the environment. The kind of presence it has in a room is dependent on how large the artwork is and the size of the room it’s hung in. For example, when you walk into a gallery most of the time the gallerist has made an effort to have the artwork standout with lots of space between each piece. With white walls and a discrete floor, our attention is on the artwork hanging not on the room.

In the context of a home, your walls aren’t always a neutral beige and there are other things like plants and furniture that fill your space. When you decide to add framed art to a room the size of the image suddenly becomes important, along with the color/design of the frame and of course the image itself. You want to pick artwork that speaks to you, not adds to the noise. Whether it is incorporated into a gallery wall or is your statement piece above your mantel there is always context surrounding and informing it. Our relationship of the photograph cannot be separated from its surrounding once it is hung-up. You will revisit a framed image more than a book or a digital version because it is living in real time and space. This over time adds value to it.

My argument then is that we should fill our life with things that bring us joy and awe. To invest in printed artwork that will give us a break from the constant refresh of the internet and can serve as a retreat. That we would invest in things that could out last our life and be passed down to our family members. Something that doesn’t just add to the clutter and the noise but truly brings harmony and balance into the spaces we live in.

 Written by Esther J Kontny

To find art to compliment your home, check out our gallery here.

Highlighting a selection of photographs by Clint Murchison

Posted by Jacob Hawthorne on May 26, 2020

This week we are highlighting a selection of photographs by award-winning photographer and Arkansas native, Clint Murchison. Since graduating from the University of Arkansas, Murchison has experimented with various mediums from graphic design to wood and metalwork. He is best known for are his photographs depicting the local Arkansas wildlife with which he enjoys spending time. That love for the outdoor shows through in his photographs in the way that he frames his shots to take advantage of nature’s symmetry and in the way that he embraces the vibrant colours of a flower’s petals or the feathers of a bird. His monochromatic photographs demonstrate a complexity in the subtle play with shadows cast by tree branches.

The first piece that we would like to feature is this macro photograph of a unique looking plant similar to a dandelion –the white pappus floating in the air in stark contrast to the khaki background. The contrast in colour makes this piece unique and exhibits the skill of the photographer. The fluffy white seeds at the centre of the photograph are perfectly balanced by the dried flowers that frame it, showing the various stages of the plant’s lifecycle. Here Murchison finds beauty in what would otherwise go unnoticed. A weed has its place in nature, and given the right lighting and focus, it has a place in a gallery as well.

Next, we have a striking photograph of two red Cardinals delicately perched on branches as snow falls around them. The emphasis of the photograph is on the bright red colour of the birds. Their presence is so majestic that the viewer sees them first and then the context of their habitat. Murchison strikes a gentle balance in this piece through his use of colour. While the background is filled with falling snow and tree branches, the colour scheme is neutral enough that it allows the eye to gravitate towards the subject of this scene. This photograph is a perfect example of Murchison’s skill as a photographer to transport the viewer into his world.

This beautiful monochromatic portrait of a squirrel further shows Murchison’s commitment to exalt nature so that we see it as he does. His use of Bokeh, a photographic technique that renders distant points of light out of focus, moves the eye from the squirrel, situated just left of centre, out towards the background. This photograph needs to be appreciated for its striking detail and the subtlety in the use of colour. Even with a limited colour palette, the texture of the squirrel’s fur and the peeling bark shows through.  

This landscape showcases the intentionality with which Murchison setts up a shot. The cornflower blue sky progressively transitions to a light saffron and a slight crescent moon can be seen between the umbra of branches belonging to two trees on either side of the photograph. A tranquil feeling washes over you as you look at this photograph. You can picture yourself standing in the photographer’s shoes on a warm summer evening taking in the sunset. 

Visit the Murchison Collection to view our complete selection by Client Murchison

Read More about Clint Murchison

3 Ways of Understanding an Image [Part 3]

Posted by Esther Kontny on May 23, 2020

There are many ways to understand an image, today I will attempt to describe certain ones so you can begin to think critically when looking at a photograph. We will evaluate the choices made or not made by the photographer and figure out why certain images evoke more emotion than others. In short, the three ways you can understand an image is to look at what its subject is, the choices made in the exposure, and the overall composition.

COMPOSITION

Now that we’ve taken a look at the unique ability for a photograph to capture it’s subject in realistic ways. And explored how a certain kind of exposure can evoke specific feelings, let's dive into why composition is one of the most important aspects of a photograph. As defined by the Oxford English Dictionary, composition is the nature of something’s ingredients or constituents; the way in which a whole or mixture is made up. In reference to photography, Study.com defines it as how things are placed in relationship to other objects in the image, and how well the subject matter is expressed.

 

© Esther J Kontny 

Let’s start by breaking down several ways you can analyze a photograph’s composition by taking a look at the image above. This is a photo of the Seine River in Paris taken at sunset. The subject of the photo is the riverboat and the surrounding landscape of the river. The first thing I look at when understanding an image is the foreground, mid-ground, and background. Just like anything, you don’t always have all three present in an image and depending on what the photographer chooses to include can effect the tone or meaning of an image entirely.

In this example, we see a small ledge with a tree hanging off the side of it in the foreground which takes up almost the entire right edge of the frame. This helps draw your attention further into the frame towards the riverboat, which sits in the middle ground of the image along with other boats docked on the side of the river. Moving farther up the image we see a clear delineation of the buildings poking out above the tree line and the expansive sky. And lastly, the trees on either side of the image lead your eye into the hazy background where we see a couple more bridges and the horizon line. This can be described as leading lines, pointed out in Image 1.2. As you can see the use of foreground, mid-ground and background creates a path for the viewer to follow as they look into the photo.

Image 1.2

A couple other ways to analyze a composition would be to look at the overall balance. There are several ways to achieve balance in an image including rule of thirds, pattern, symmetry/a-symmetry, and the use of negative space (not to mention the use of color & tone). In this example, we can see the use of negative space in the sky and the river to provide some balance to the darker areas of the landscape that could otherwise make the photo feel busy. Furthermore, the levelness of the horizon can also help achieve balance. hen a dutch angle (which skews the horizon dramatically) is used the image becomes unsettling. You can find this most often used in scary movies to help make you feel on edge. 

Image 1.3

The next way we can breakdown the composition is the rule of thirds. This rule is very important in creating interesting photos that don’t rely solely on the subject being centered. When a subject is centered there is a natural symmetry that occurs and gives the viewer a sense of ease and balance. However, when the subject is always centered the eye has less freedom to move throughout the image and thus becomes less interesting. In Image 1.3 I went ahead and divided up the landscape into 9 equal parts creating a 3x3 grid. Most noticeable, the overall subject lies in the bottom two thirds of the image with the exception of the tree on the right and the sky that drops momentarily into the middle portion. Balance is still achieved because the space each object takes up is fairly equal.

Secondly, we can see that there are four intersections that happen in this grid. By placing your subject on one or more of those four points your image becomes more visually pleasing. In this case the riverboat lies on the bottom right point and then carries across the bottom line, and the other boats in the photo tether on that same line. 

Composition is a combination of using the rules and breaking them when trying to achieve a certain mood or feeling. Like I stated above, the photographers choice in all of these areas can give direction on how the viewer can experience the image. When looking at a photograph we can now start to understand why we like certain images and why we don’t like others. What makes up a mood or tone is not limited to the subject, but instead is a combination of several choices made by the photographer.

Head over to our gallery and start to see if you can begin to appreciate the decisions made by each artist through the use of composition, exposure and the subject matter!

• Tags: Art History, Esther J Kontny, Gallery, Photography

3 Ways of Understanding an Image [Part 2]

Posted by Esther Kontny on May 22, 2020

There are many ways to understand an image, today I will attempt to describe certain ways you can begin to think critically when looking at a photograph. We will evaluate the choices made or not made by the photographer and figure out why certain images evoke more emotion than others. In short, the three ways you can understand an image is to look at what its subject is, the choices made in the exposure, and the overall composition.

EXPOSURE 

John Berger, in his book Understanding a Photograph states, “what makes photography a strange invention - with unforeseeable consequences - is that its primary raw materials are light and time.” When we shoot a photograph we are controlling how much light hits the sensor or film emulsion and for how long. These two components are what make up a photograph’s exposure. Have you ever noticed when you watch film noir, it amplifies the drama and suspense? This is because of the high contrast of bright whites up against the black, blacks and the loss of detail hidden in the shadows.

  

If we were to break down exposure into three subcategories, they would be tonal range, depth of field and the use of color. In his book The Print, Ansel Adams writes about this in the context of printing. “A fine print has been generally assumed to have a full range of values, clear delineation of form and texture, and a satisfactory print ‘color’...But there is no reason why they must be included in all images any more than a composition for the piano must include the full range of eighty-eight notes on a keyboard.”

 

© Esther J Kontny 

In the example above, we can tell the photographer was capturing the bright whites of the snow in an otherwise dark landscape. The trees, river and rocks are all various values of gray. Look at the highlights and the shadows, what do they draw your attention to? Is there high contrast or does it have a softer transition from one subject to the next? What is the overall mood you feel after looking at this image? When looking at a photograph we can analyze all of these things to gather a better idea of what the photographer is trying to communicate.

Even in a landscape like this one, there is an overall tone that the photographer is trying to accomplish. Let’s see if we can decipher this just by looking closely at the exposure. First, we will examine the tonal range throughout the image. In the foreground, we get the most concentration of whites with the snow, and similarly, the blackest portion of the image is found on the rock. The river right next to the snow is washed with a lighter tone of gray with several highlights spread across the frame. In the background we have a dark gray coming from the tree line and its reflection in the river. And lastly the sky is a lighter gray not quite white showing cloud cover.

There are a few focal points that I see in this image. The first one being the high contrast of the rock and snow in the bottom left corner. However, since the depth of field starts farther in the frame my eye moves up to the river. This is the largest portion of the image with lots of texture from the ice floating. The shutter speed was fast enough to avoid any motion blur from the current so we are able to see the detail in the ice. The contrast in this part of the image is still apparent but not quite as dramatic as the first. The third and final focal point I see is that of the tree line and its symmetrical reflection. Because the depth of field covers the entire width of the river we are able to see a lot of detail in the trees and river bank. This image is in black and white so when discussing the use of color, it can best be described as monochromatic. When choosing a monochromatic color palette the photographer is drawing attention to the patterns and composition of the image rather than relying on the mood attached to certain hues. This scheme is also known for its clean, elegant and calming affect.

Overall, we get a full range of tone giving us lots of detail in both the highlights and the low-lights. Our attention is mainly placed on the pattern in the river which has a soothing rhythm to it, greater emphasized by its monochromatic color scheme. I would conclude that the intention of this image is to portray a soothing landscape.

In this blog I did not get into the ability to use color to achieve all of these same things, but will talk in length of color theory in a later post. 

To find other photos like this one, check out our gallery.

• Tags: Art History, Esther J Kontny, Gallery, Photography

3 Ways of Understanding an Image [Part 1]

Posted by Esther Kontny on May 21, 2020

There are many ways to understand an image, today I will attempt to describe certain methods that will help you think more critically when looking at a photograph. We will evaluate the choices made or not made by the photographer and figure out why certain images evoke more emotion than others. In short, the three ways you can begin to understand an image is to look at what the subject is, evaluate the choices made in the exposure, and make sense of the overall composition.

SUBJECT MATTER

In his book Understanding a Photograph, John Berger captures the essence of what sets apart the photographic image. “Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.” At it’s core, a photograph is a representation of what we see in the world. Artists may divert from this point but everyone must start there. For a long time people have held the belief that a photograph was innately objective because of its closeness to reality. However, that is ignoring the fact that every photographer is making a choice when they point the camera. The inclusion/exclusion of subject matter becomes the source of subjectivity in every photograph. 

By pointing the camera the photographer is elevating it’s subject and giving it meaning. In the context of art, one must consider everything within the frame. Every subject in a photograph tells a story and gives us clues into what was happening at that moment in time. Lets take a look at the photo “Easter Dress, 1986” by Sally Mann.

 

Easter Dress, 1986 © Sally Mann 

The title of the image gives us some context on how to read it. We now know that this photo might have been taken on Easter, and that the girl in the photo is proud of the dress she is wearing. What feelings does this image invoke? Is it nostalgic, does the time feel simpler because of the calming countryside in the background? Does the motion blur on the left side feel jarring or unsettling at all?

Let's try and look at what the photographer included in this image. There is one central character, three background characters, and a setting. Our attention is directed to the center with a young girl in a white dress, she grabs our attention because of the high contrast surrounding her, her placement in the image and the fact that she is staring straight at the camera. Her body language looks posed while the rest of the people look candid. We can also learn more about her by the surrounding she is in. The clothes line tells us she is at a residential site, and because they look torn which could mean they are a low-income family. The hills in the background reveal the remoteness of their property and that it is in a rural part of the country.

There are two other young kids in the image possibly her siblings who look like they are playing and not interested in the camera. Finally, in the far left we have a fast approaching older gentleman that could pass as a grandparent. His facial expression looks agitated and he is moving away from the blurry figure on the other side of the trees. From these clues we start to come up with a narrative for that particular moment in time, and on top of all that we lay our own life experiences. Because the artist of this particular image is well known, we can gather a bit more information about this photo, that this is her family and the property they are on is their family home in Virginia. 

Sally Mann is a master at capturing haunting yet beautiful photos that evoke a wide range of emotions. As photographers we should always be conscious of what emotions we are portraying with our images. Whether they are peaceful or unsettling, they all have a place.

Our gallery is filled with soothing images of wildlife and nature. Peaceful images of nature are a great way to fill your home or work spaces. Take a look at our collection to see what speaks to you! Visit our gallery

Written by Esther J Kontny

• Tags: Art History, Gallery, Photography

Introduction to Schmidt Fine Art Gallery

Posted by Esther Kontny on May 13, 2020

Schmidt Gallery was founded by Kurt Schmidt with the vision to establish a photo-centric gallery in the heart of Montgomery county in Texas. After leaving the corporate mine-field of IT, Schmidt wanted to pursue his more artistic side and started his own woodworking business. He quickly realized this would take longer to get off the ground and simultaneously decided to open up a gallery that could be shared with other photography enthusiasts. Although it is all run online at the moment, Schmidt Gallery has dreams of opening up a brick and mortar gallery in The Woodlands just north of Houston.

 

As a fellow photographer, Schmidt has combined his longtime interest in scuba diving and focuses most of his photography on capturing the complexities of sealife. Through constant trial and error he has managed to produce some wonderfully unique snapshots of underwater life. His passion for photography started at an early age where the only available medium was film. Although it came with it’s challenges, both financially and technically, Kurt decided to pick it back up when high-quality digital cameras started to be produced more widely. He reimagined what underwater photography could be and decided to fashion his own waterproof camera complete with a powerful lighting rig.

 

With some encouragement from his community, Kurt Schmidt has opened up a gallery where other photographers like him can make and sell their work. He is looking for artists that either are working in the field and have no platform yet to show and sell their work, or those who call themselves hobbyists and need a little encouragement to get their photographs out into the public. With the prevalence of photography online, it isn’t easy for emerging artists to be discovered or for art collectors and buyers to find fresh talent. Schmidt Gallery is the place where those paths can cross and buyers can find a unique variety of images to display in their businesses, homes and studios.

Whether you are a photographer who is trying to take off as an artist, or an art collector in search of inspiring works to fill your home, Schmidt Gallery is here to service you. We are a gallery for the artist by the artist. Our mission is to provide a place to sell art without the overburdening of promotion, marketing and running a start-up business. We are committed to producing high-quality, museum grade products and timeless works of art that you can be enjoyed for generations to come.

Visit our Gallery at SchmidtFineartgallery.com

have any questions? chat with us now

• Tags: Gallery, Kurt Schmidt, Underwater Photography

Cardinal Love..Birds in Winter

Posted by Jacob Hawthorne on May 14, 2020

Do you love wildlife so much that you want to bring the outdoors into your home? Schmidt Fine Art Gallery are proud to present Cardinal Love..Birds in Winter. An acrylic print shot by life long artist, photographer and native Arkansan Clint Murchison. 

The acrylic print is a photograph shot by the artist in the heart of the winter season. It depicts two Northern Cardinal birds perching on bare trees in the midst of an Arkansan winter. 

The two birds are shot directly in focus placed in the middle of the frame. Contrasting the dark midst of winter, the birds are delicately perched on sparse branches that are dead in the heart of winter. 

The brightness and vivid nature of the electric red birds juxtaposing the gloomy background, Murchison plays up to the vibrant coloring that the birds have, paired with the darker tones that occupy the winter months. 

The birds look exotic, out of place, wild and free in a climate that depicts the heart of an intense Arkansas winter; snow if falling, light is low and the conditions are uncomfortable. The framing of both the delicate Northern Cardinal birds with the backdrop of snow, freezing conditions and shorter days delicately depicts nature at its greatest. 

One of the Northern Cardinal birds that appears in the shot is looking directly into the camera whilst the other longing watches its brother. The softness of the image is characterised by the birds calm, tranquil nature. During courtship the male Northern Cardinal will feed seeds to the female, beak to beak, proving that he is able to care for a family. 

Northern Cardinal birds are a mid sized song bird that measure between 21-23 cm. Murchison’s shot manages to capture the elegance, beauty and extraordinary color of these tiny birds up close and personal. This the perfect artwork to add to your home if you’re a lover of the outdoors. 

All wildlife and nature lovers alike will appreciate the delicate shot that Clint Murchison was able to capture. The soft image evokes a sense of peace, tranquillity and love that is organic, wholesome and only available in the great outdoors. 

Clint Murchison’s shot challenges us to question, think and act. In times when our environment faces ever more uncertainty, images such as this remind of us of how beautiful our outdoor surroundings really are. The shot transgresses time and space and delicately reproduces a moment of peace between nature, the Northern Cardinals and Murchison. It reminds us that real life is outside and not accessible through a screen. 

So what are Northern Cardinal Birds? Well as you can see from the piece they are extremely distinctive and have a crest shaped head that is darker than the rest of their bodies. Males features a black crest whilst the female has a softer grey appearance. The male is however has a more vibrant body with a sharp red popping out of the image. The female is more subtlety colored, olive tones of red detail her body. 

The in focus shot makes both birds appear closeup depicting a seeming willingness to be photographed. The eyes that meet camera clearly show that Northern Cardinal on the right hand side is fully aware that Clint Murchison is taking the shot. 

But its easy to understand why the birds would feel comfortable and at home with Clint. He is a life long artists as well as being a life long resident of Arkansas. Murchison is proficient in a wide range of mediums including oil painting, drawing, etching, wood working and metal working. 

He began making art at the age of five and it just never stopped. His mother recalls he made his first piece on the side of the families piano. Upon graduating from college Murchison started making art works and selling them. 

He would carve wooden shaped ducks calls which would be delicately detailed with customers choice of imagery which was either applied with paint or sketched on. He made these ducks for locals, friends, family and anyone who wanted for several years and gradually moved into metal working. Once he had mastered metal working, he moved onto etching and the process never really stopped. 

In 1994 Murchison began to take photographs noticing the power that a camera offered. The ability to shoot, capture and develop a moment in time that would disappear instantly, he became hooked with capturing parts of nature that the untrained human eye is simply not capable of. 

Murchison photography skills are harnessed in his ability to be one with, and know the outdoors. His ability to seek out and shoot images such as the Cardinal Love..Birds in Winter clearly depict a willingness and eagerness to be at one with his environment. 

All our prints at the Schmidt Fine Art Gallery are available in a wide range of sizes. Our photographic prints are printed with the highest quality acrylic printing medium to ensure there is no cracking, peeling or fading over time. Your art work will be timeless in both style, and life span. 

We use Dibond backing on our prints to ensure that are fully wall mountable, won’t warp or dent and maintain a perfectly flat surface so they always look professional and sleek in your home. Our prints come hand polishes with crystal clear edges offering a contemporary edge. 

We use the latest photography printing technology to create a resin metallic finish and use large stainless steel posts to make sure our quality is consistent throughout. 

Cardinal Love..Birds in Winter by Clint Murchison will make the perfect addition to any home. Whether you’re buying this print for yourself or a nature lover that you know. For newly weds, lovers, or romantics this print is sure to be a hit. 

We can produce this print in a wide range of sizes starting at 16x16 and extending all the way up to 80x40. We offer this wide range of sizes to allow for the most convenient placing within your home, office, or outdoor space. 

We offer a wide range of nature photographic prints by Clint Murchison so be sure to check out his other work. Many of his images work well in the same space. You can easily curate your own nature inspired feature wall within your home with our fantastic prints. 

To buy this piece visit in Acrylic visit https://schmidtfineartgallery.com/collections/cardinal-love-birds-in-winter-in-acrylic

To learn more about this artist Please visit https://schmidtfineartgallery.com/pages/murchison

have any questions? chat with us now