new kermit oliver design

  1. ^^ DQ, forbidden access for me.
  2. same here :confused1:
  3. Link pops up as Forbidden, DQ. Is there a pic, by any chance? I'm dying to see it.
  4. the link or the pic -- or both?
  5. both
  6. [FONT=Verdana, Arial, Helvetica, sans-serif]Impressions of a Democracy-Loving Hero[/FONT]

    [FONT=Verdana, Arial, Helvetica, sans-serif]ARTIST KERMIT OLIVER[/FONT]

    [FONT=Verdana, Arial, Helvetica, sans-serif]BY BARBARA MULLIGAN[/FONT]
    For more than 40 years, Kermit Oliver has painted nature- and myth-inspired portraits and landscapes rooted in his life as a native Texan, earning public recognition while carefully guarding his privacy. For nearly a quarter century, he has also accepted [FONT=Verdana, Arial, Helvetica, sans-serif][​IMG]
    Opened Book (2003)
    Self-portrait by
    Kermit Oliver
    China marker on paper
    18.5 x 13.5 inches Courtesy Hooks-Epstein Galleries, Houston, and the artist
    commissions from Hermès to create designs for its renowned silk scarves. In his latest design (on the cover of the magazine), America and France are joined in a celebration of the life and accomplishments of the Marquis de Lafayette.
    The scarf will be released in the fall. Sales through the College will benefit the Friends of Skillman Library and the Lafayette art collection.
    A self-described “recluse” who has for years sorted mail on the night shift at the Waco, Texas, post office and painted by day, Oliver says he read a short biography of Lafayette provided by Hermès and conducted research at his local library before formulating his design.
    “I didn’t want to be too involved in the biography of Lafayette,” he says, explaining that he preferred to explore the differences between the American and French forms of democracy and revolution.
    “He was an idealist,” Oliver says of the young Lafayette who threw his support behind the American cause with little regard for the consequences to his own life. “In a sense, because of his youth, he was very naive and easily flattered.” Later, he says, Lafayette’s ideas of democracy grew along with the fledgling United States.
    Oliver’s design for the Marquis scarf is elaborate, colorful, and bursting with historical figures and symbols.
    “I tried to keep the documented colors in terms of the costumes that were worn at the time,” he says, adding that the scarf’s vibrant red border is also in keeping with shades used at the time. “For both countries that was a very important, symbolic color.”
    Prominent on the scarf is an image from Jean-Baptiste Le Paon’s painting Lafayette at Yorktown in the Lafayette art collection. Lafayette stands clutching his sword by his side in his left hand and pointing with his right hand. Holding the reins of his horse is the slave James Armistead, renowned for his service as a spy behind enemy lines who helped bring about the American victory at Yorktown.
    Rising from the bottom border of the scarf are images of the Marquis as a young man and as the aging hero during his Farewell Tour of the United States in 1824-25.
    Depicted on the border, in cameo images, are Benjamin Franklin and presidents John Adams, Thomas Jefferson, James Madison, James Monroe, and John Quincy Adams. Also depicted are Simón Bolívar, the “George Washington of South America,” who led revolutions against Spanish rule, and Toussaint l’Ouverture, a former slave who led the Haitian independence movement.
    George Washington is shown on horseback fronting a 13-starred American flag and one of the many arches erected in his honor during the Farewell Tour. A map of North America showing the original 13 colonies serves as a backdrop in the main portion of the scarf, partially obscured by two golden, winged figures, which Oliver says appear in the War Drawing Room at Versailles.
    For Oliver, designing a scarf is much like executing one of his intricate, meaning-layered paintings.
    “I paint as I always paint, [FONT=Verdana, Arial, Helvetica, sans-serif][​IMG]
    [/FONT]but on paper,” he says. “My scarf designs are really like my paintings most of the time in terms of how they are laid out.”
    Oliver says that while Hermès has encouraged him to suggest designs, “I always keep a sense of humility about the experience. I always wait until they suggest a topic to me.”
    Humble indeed he is, and never a seeker of the spotlight. “My work has always been an adjunct to my life,” he told the Houston Chronicle at the gala opening of the first major retrospective exhibit of his art, held at the Museum of Fine Arts, Houston, in 2005. “Its purpose was never to culminate in this.”
    His paintings blend contemporary and classical elements inspired by his rural Texas heritage and his study of mythology, religion, and history. “Oliver’s allegories are as rich as his surfaces,” wrote Patricia Johnson of the Chronicle in a review of the MFAH retrospective. “And varied as the subjects are—be it a cowboy or a biblical scene—the underlying theme is the presence of the divine, whether it’s found in nature, expressed in Greco-Roman mythology, or described in the Bible.”
    Oliver calls the paintings an act of observation, which he insists he can abandon when necessary: “They are visual impressions. I create a dialogue with strangers. It’s just like keeping a diary, except that the pages are no longer in my possession.”
    Oliver says he places art third on his priority list. “It’s my family, my life in general, and then art.”
    Born in 1943 in Refugio, Texas, the son and grandson of African-American working cowboys, Oliver began to study art at Texas Southern University in 1960, married Katie Washington in 1962, and graduated in 1967 with BFA and teaching degrees. He lived, painted, and occasionally taught in Houston until 1984, when the family, including three children, moved to a house that Katie had inherited in Waco. Katie is an artist, too. Since moving from Houston’s arts scene, both eschew email, voicemail, and the social and material trappings of the modern art world. “He’s brilliant, generous with his knowledge, a student of Greek and Roman mythology, of the Old Testament and the New Testament,” says Geri Hooks of Houston’s Hooks-Epstein Galleries, who has represented Oliver for about 20 years. “He is just a fine, gentle man.”
  7. ^^ can you see that?
  8. Yup, thanks DQ
  9. Affirmative! Thanks for sharing DQ :smile:
  10. Oh, thanks DQ! I reall like this scarf.
  11. Beautiful--I was looking forward to seeing this one. Thanks for the picture!
  12. Wow... now that is a work of art that should be on a wall... thanks for posting.
  13. thanks for posting. I really want this.

    when is it supposed to come out? is it going to be in all boutiques?