|
|
|
|
|
|
Enlarge
Image
|
|
John Alvin Someday |
| Item ID: |
CESOMEDAY |
| |
 FREE GROUND SHIPPING U.S. & CANADA
|
|
|
Availability: |
Yes as of 12/4/2008
|
| Status: |
Available
|
| Condition: |
Unframed Art |
| Edition: |
Limited Edition |
| Size / no.: |
Limited Edition of 195 |
| Dimension: |
20 X 15 |
| Price: |
$425.00
PRICE MATCH GUARANTEE
|
|
| Description: |
|
| Someday |
Notes:
|
|
Medium : Giclee
|
| |
|
Someday, by John Alvin |
| is a Limited Edition production signed by the Artist. Comes with a Certificate of Authenticity which affirms that this is an authentic Limited Edition production from John Alvin |
| |
|
If you would like us to sell your John Alvin collection , please email us with your List.
While on our site, don't forget to REGISTER so that we can keep you up-to-date on John Alvin New Releases, Updates and Exclusives from The Collection Shop.
|
|
| Artist Bio: Creating the promise of a great experience" is how John Alvin describes his role as the preeminent designer and illustrator of cinema art in the entertainment industry today. In a business where you are only as good as your last job, Alvin is prolific. He has designed and illustrated some of the world's most widely recognizable movie art.
Of the more than 120 film campaigns he has created, E.T. - the Extra-Terrestrial is the most satisfying to Alvin, and appropriately so, as the movie is one of the most successful in cinema history. In addition to receiving the Hollywood Reporter Key Art Awards' grand prize, Alvin's E.T. was the only movie art ever to be honored with the Saturn Award from The Academy of Science Fiction, Horror and Fantasy Films.
Alvin has produced many special works for Lucasfilm Ltd.'s Star Wars phenomenon. His Star Wars Concert and Star Wars Tenth Anniversary poster are among the most collectible Star Wars art in the market today. Additionally, The Smithsonian Museum, Washington D.C., exhibited Alvin's The Phantom of the Paradise as one of the best posters of the 20th Century.
The ability to infuse art with feeling was one reason Disney wanted Alvin for The Lion King and the "adult campaigns" for many Disney animated classics. The adult campaign will usually be more elegant, more symbolic, and in Alvin's masterful hands, imbued with a moody, almost magical aura. "His work inspires us," say the Disney marketing execs. "Alvin brings emotion into his artwork that can only be captured in an illustration. We call it 'Alvinizing'."
Alvin much prefers being involved in the total campaign - including designating what the image will be rather than just illustrating. Thus, at times the right solution for a film may be photographic, or a combination of photography, traditional illustration and digital manipulation, decisions Alvin is not adverse to making and personally executing. His diversely extensive portfolio is a testimony to Alvin's consistent determination to make the movie's image that memorable promise of something great and wonderful.
As a youth, Alvin was almost as fascinated with the previews of coming attractions as he was with the movies themselves. He couldn't wait for the Sunday paper to arrive to see what movies were playing. He reveals, "from the time I was 12, I think I guided myself unconsciously toward the entertainment industry." Alvin adds, "the closest I could get to the movies without being an actor, author or cinematographer, was to draw 'terrific art' about them."
Alvin acquired a full array of artist's skills and techniques as a student of the distinguished Art Center College of Design in Los Angeles. Soon thereafter, in 1974, he got his chance to put his love of entertainment art and his artist training to work by creating the campaign art for Mel Brook's Blazing Saddles. Looking back, Alvin is surprised at times to realize that he's been creating cinema art for nearly thirty years.
Alvin has developed and maintained a very loyal following among collectors of cinema art, making his original art and signed reproductions much sought after and treasured pieces of movie memorabilia.
Truly, John Alvin belongs to a very special and very short list of cinema art masters whose works have become icons in Hollywood's rich and colorful history.
|
| |
John Alvin |
| |
Click Here To View More Art Work From John Alvin |
|
|
|
|
|
Enlarge
Image
|
|
Harrison Ellenshaw Someday My Prince Will Come |
| Item ID: |
CESOMEDAY |
| |
|
FREE GROUND SHIPPING U.S. & CANADA
|
|
|
Availability: |
Yes as of 12/4/2008
|
| Status: |
Available
|
| Condition: |
Unframed Art |
| Edition: |
Limited Edition |
| Size / no.: |
Limited Edition of 195 |
| Dimension: |
24 X 30 |
| Price: |
$950.00
PRICE MATCH GUARANTEE
|
|
|
| Description: |
|
| Someday My Prince Will Come |
Notes:
|
|
Medium : Giclee
|
| |
|
Someday My Prince Will Come, by Harrison Ellenshaw |
| Is a Limited Edition production signed by the Artist. Comes with a Certificate of Authenticity which affirms that this Art Work is an authentic Limited Edition production from Harrison Ellenshaw |
| |
|
If you would like us to sell your Harrison Ellenshaw collection , please email us with your List.
While on our site, don't forget to REGISTER so that we can keep you up-to-date on Harrison Ellenshaw New Releases, Updates and Exclusives from The Collection Shop.
|
|
| Artist Bio: Many sons growing up in the shadow of a famous father feel that they want to carve their own paths in life. “That was me,” says Harrison Ellenshaw, son of Disney Legend and master painter Peter Ellenshaw, who won an Oscar for his visual effects work on "Mary Poppins” and was nominated a total of five times for the Academy Award. “I had grown up fascinated by my father's painting." Harrison says. “He would sometimes give me canvas and paints.” I have photographs of me painting when I was a small boy. My father's life was painting, even during meals he would bring the canvases he was working on into the kitchen and sit and eat and look, criticizing his own work. My mother was not always pleased that this was how the family spent mealtime, but she understood his passion. But I found both this passion and his incredible talent intimidating. I was convinced I could never live up to any of it.”
Harrison graduated from Whittier College with a BA in psychology. By then, in the early 70s, the country was in the throes of a recession and Harrison found it difficult to find a job. “I remember driving with my father one day,” he recalls, “and he said, “Well, you know, just for the time being, if you're interested, the matte department at Disney is looking for apprentices.’” The department head at that time was Alan Maley, who had worked as a matte artist with Harrison’s father in years past. “So I went and talked to Alan, and we agreed that we'd give it six months.”
“Alan became my mentor,” Harrison says, “and it was due to his enthusiasm and encouragement that I really got bitten by the film bug. It had been very unique growing up having a father who knew and worked for Walt Disney -- he was a living legend, an icon. But in a sense I took being in a 'show business family’ for granted. It was Alan who showed me what was so special about film -- about matte paintings; how your work on shots could be an integral part of telling a story." After about four years, Alan Maley retired. "He told me I could take over as department head," Harrison remembers. “It usually takes twelve years as a journeyman to become a department head. The studio was a little hesitant and I was scared to death.” Maley offered to return to give Harrison a hand if necessary, so he took the job.
Then, Harrison got a phenomenal break. “Fate smiled on me, as it had for my father,” he says humbly. “I got a chance to do some work on ‘Star Wars’”. At this point, a tale of two Ellenshaws becomes the tale of two separate Ellenshaws, as this is where Harrison begins to really strike out on his own, away from his father’s legacy. His work on “Star Wars” was so well received that he was asked to return to work on “The Empire Strikes Back”. By this time, having clearly carved a niche for himself, Harrison had no problem working with his father on Disney’s “The Black Hole” in 1979. Harrison then went solo again to add his unforgettable touch to “Tron”, one of the most unique and visually stunning films ever, now a cult classic.
After work on "Captain Eo," "Superman IV," "Ghost" and other films, a memorable year for Harrison was 1989, when he worked on “Dick Tracy”. “The matte paintings were visually the star of that film,” he recalls. “And by then I was doing some fine art painting on my own. But it was around that time when I was working on this incredibly colorful film that an exhibition of Fauve artists came to the Los Angeles County Museum of Art.” Fauve, which in French means “wild beasts”, was a name given to a group of up and coming rebel French artists in the 1900s, who included among their ranks Henri Matisse and Andre Derain. The Fauve painters took a traditional art form and began using forms and colors which were not found in nature, painting familiar objects with startlingly “wrong” colors, in an attempt to “liberate color”.
“Up until this point I had been painting trees with black, gray and brown trunks and green leaves,” he points out. “And then I came across the Fauves, who were only in existence a few years, and their intense use of color. They had done something I really enjoyed and appreciated. So I began to paint far more colorfully than I had in the past. Today, I enjoy painting as much as ever and I enjoy doing things that are really colorful. The great thing is that now with the giclee process of making prints, you can match the colors perfectly.”
|
| |
Harrison Ellenshaw |
| |
Click Here To View More Art Work From Harrison Ellenshaw |
|
|
|
