Jansons Block Arcade
Tide Mousehole Cornwall, by Ivars Jansons 65cm x 50cm
Bridge Melb by Ivars Jansons
Park by Ivars Jansons
Boats Mounts Bay Cornwall by Ivars Jansons
was born in Latvia in 1939. After completing his secondary education
Ivars took up architectural studies where the opportunity
arose to express him self artistically so he would often produce
small watercolor studies.
1964 Ivars turned professional and in 1967 held his first solo
exhibition in Green Glades Gallery Melbourne, one of many successful
exhibitions which were sold out within an hour of opening. Painting
trips locally and interstate were very much a part of Ivars career.
In 1969 he painted extensively in New Zealand and in 1972 traveled
overseas to expand his knowledge in art. Leonard Fuller was Ivars
teacher at the St Ives School of Painting. Ivars became interested
in portraiture and figure work as a result of his studies. However
the rugged beauty of the Cornish countryside tempted him to paint
his surroundings. After seventeen months abroad studying painting
and visiting Europe’s finest galleries Ivars and his family
returned to Australia.
In 1988 Ivars launched his first book, Ivars Jansons Oils and
Watercolors. Since that time Ivars has been published in many
books, held successful
exhibitions and received many prestigious awards as he continues
his career as an artist. Ivars exhibits at Sorrento and Flinders
Fine Art Galleries on the Mornington Peninsula.
|To me, the art of composition and design, or
the pictorial arrangement of the subject, is of primary importance.
In the initial stages of the painting I attempt to design the underlying
shapes of dark and light areas to be bold, simple and pleasing
to the eye. If this initial stage has been well conceived, then
the painting has a good chance of being successful. One can therefore
reason that the initial abstract shapes in the painting are more
important than the subject matter itself.
At first sight, a subject may appear very complex, yet there is something
within it that is compelling and paint able. The art then is to single
out that which interests me most within that complexity and give
it prominence on the canvas. Therefore it is quite true to say that
for a composition to be interesting and successful it is more important
to learn to see better, than to paint better.
Once the focal interest has been decided upon, then the rest of the
canvas should support this dominant idea by painting the surroundings
less prominently and eliminating all unnecessary detail.
A very important aspect of my art is colour. In fact, this often
influences and inspires me to tackle a subject in the first place.
Colour seems to have an instant emotional response to me as and artist.
For me, the use of colour is also a very important aspect in creating
a particular mood, feeling or atmosphere.
So the things that are uppermost in my mind after choosing a subject
are the pattern, focal point and colours, and the relationship between
the three. If there is success in combining these aspects, and the
viewer can share and get pleasure in what I have tried to show in
the work, then there is fulfillment for both viewer and artist.
warning. Copyright always remains
the property of the artist, even when a work is sold.
means that no artwork may be reproduced in whole or part or copied