Aase birkhaug - first draft

Aase Birkhaug

T h e No r w e g i a n Pa i n t e r o f F l o w e r s

The Rose Garden

International Confederation of Art Critics

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Aase Birkhaug

Front cover: “Rose in Universe” Tempera and gold, 10 x 15 cm, 2015

by Aase Birkhaug

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Aase Birkhaug

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Aase Birkhaug

ICAC

International Confederation of Art Critics

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Aase Birkhaug T h e No r w e g i a n F l o w e r Pa i n t e r

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Aase Birkhaug

Spring in Universe 2016 acrylic on canvas 27x25 cm

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Contents

The Artist

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‘Floral Fantasies’

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Christopher Rosewood, International Confederation of Art Critics

‘Poetic Petals’

Timothy Warrington, International Confederation of Art Critics

Nature’s Calling

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Christopher Rosewood, International Confederation of Art Critics

Artwork Analysis

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Nurturing with Nature: An Interview with Aase Birkhaug Erin Stobie, Outlet Magazine

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Exhibitions

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Awards

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List of Works

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Karen Lappon, International Confederation of Art Critics

Edited by the International Confederation of Art Critics

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Aase Birkhaug

Aase Birkhaug makes explicit and firm on a support the varied range of feelings that flowers convey, in a symphony of color combinations that you do not it is perhaps foreign to the experience gained by the artist as therapist.

A slow travel, even in this case, conducted in the depth of the perfumed corollas, and perhaps even in his own unfathomable intimacy.

Elizabeth Papone Civic Museums of Genoa Director of the Documentation Centre

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Aase Birkhaug

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The Artist Believing that surroundings can influence one’s health and mind, the painter and physiotherapist Aase Birkhaug has combined her two passions by reproducing Roses for a soothing effect.

The Norwegian painter Aase Birkhaug fell in love with flowers, nature, and the Universe when she was a child, since the age of six. She began to study art and attended art courses when she was thirteen and from that moment she is in a continuous artistic evolution.

During her creative journey, she naturally merged the three factors that have always defined her life: the care of her patients’ mental state, the profound fascination towards the aesthetic beauty of botany and her innate artistic inclinations and skills. In fact, as a professional physiotherapist with the knowledge that the colours have an effect on the sensory system, Aase Birkhaug transformed the waiting room of her physiotherapy office into an art exhibition made of her creations, and she detected an influence on the patient’s mental state.

This beneficial effect is perceived by the artist firsthand: “I discovered several years ago that Roses have a positive effect on me, almost like healing, and the combination of the smell and the sight feels like a meditation, bringing about a certain calmness.. this is something I try to reflect in my paintings.”

Aase Birkhaug’s family roots testimony a generation of creative souls that inspired her artistic pathway: from Anna Sofie Brunchorst Ibsen, who run the painting school in Bergen (Norway) in the early ‘900, to the famous poet Henrik Ibsen, passing through her grandfather Harald Ibsen and her aunt Borghild Ibsen.

Aase Birkhaug is today an established artist who exhibits in prestigious exhibitions all over the world, such as the London Art Biennale and the Florence Biennale. Her art can be viewed in many art books and collections in Europe and she received numerous award.

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Floral Fantasies Christopher Rosewood International Confederation of Art Critics

Aase Birkhaug is an extremely talented artist who reinterprets, analyses and gives new life to the exquisite and time-honoured artistic genre of floral still-life. This expressive Norwegian artist has reconnected to the Romantic style, communicating a finesse lost to digital imaging. Birkhaug gracefully combines the magnificence of tradition and the impetus of modernity, infusing her blooming compositions with eloquent insertions of modern taste.

Returning to classical inanimate depictions, Birkhaug not only shows that a reactionist approach can enhance an established artistic canon and invigorate our understanding of human psyche, but also electrifies a fascinating subject that nowadays has been often put aside and misunderstood.

Thus, due to a profound understanding of the mind, Birkhaug has the ability to give new life to an apparently unchangeable genre, postulating that humans are eager to be surrounded by absolute and pure beauty, and thus pervading the spectator’s eye with whirlwinds of vibrant and unspoiled blossoms, preeminently roses.

Throughout the History of Art, the rose has always had an allegorical tradition of an almost unparalleled power. Symbol of charm, passion, eternal promise, but also of time passing, vulnerability and even death. The rose represents all the divergent and mysterious shades of human mortality and is one of the most sensual creations of Mother Nature, a flower with a thousand facets and nuances. An absolute oxymoron lives underneath its blossoms: delicacy and mystery, softness

Opposite: My Roses Charcoal paper, 32 x 44 cm, 2009

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Aase Birkhaug

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Critique

Floral Fantasies

and provocative references are disguised among its gentle petals. Velvety buds and dangerous spines intertwine in a maze of double entendres, stimulating our perception in an endless interpretative journey. Birkhaug’s petals create a vortex that captures the observer who is bewitched and fascinated by the proportionate recurrence of the concentric fragrant layers which compose each rose.

She can be hailed as the modern Bosschaert, master of the Dutch Golden Age, due to her immense talent in expressively painting gentle flowers and simultaneously conveying transcendent emotion. While Bosschaert predominantly arranged his blossoms symmetrically, developing a hyperrealistic and nearly scientific approach to painting petals, Birkhaug focuses on the symbolic power of nature by conveying its sentimental perspective and creating an eruption of compelling pigments. Thus, old fashioned bouquet compositions are transformed into vivid and nearly abstract atmospheres saturated with dancing forms and musical vibrations. Birkhaug’s works are deeply exuberant in their rhapsodic naturalness - a general sense of transcendence prevails in some smooth reproductions of flowers, while in some others a passionate corporeality and a unequivocal link between the artist’s inner self and the all-embracing primordial nature, can be sensed.

Christopher Rosewood International Confederation of Art Critics

Opposite: Rose II - Rosaret Arboretet Watercolor, 10 x 15 cm, 2015

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Aase Birkhaug

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Blusch Damask (with detail) Oil on canvas,12 x 18 cm, 2010

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Aase Birkhaug

Rose in Autumn I Tempera on Canvas, 24 x 30 cm, 2010

Rose in Autumn II Tempera on canvas, 24 x 30 cm, 2010

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“I hope the viewer to experience feeling good looking to the painting both the motives and the colors are important. Several people have when commenting on my paintings that they get a feeling of being in a Rosegarden or my paintings reminds them of the garden they had at home even the smell of the flowers or roses are evoked in them when looking at my paintings.

I also have a sort of universal or spiritual connection to the universe and I hope that all the good energies up in the universe will catch my paintings and give an energy sending to boost the viewers. My future paintings will be combinations of Roses in universe and Roses at the Planet Earth.�

Aase Birkhaug Interview by Art Arena New York Magazine

Rose Reine Marie Henriette Oil on canvas, 18 x 24 cm, 2012

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Aase Birkhaug

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Poetic Petals Timothy Warrington International Confederation of Art Critics

From a philosophical perspective, the divine balance of Birkhaug’s flowers combined with the irregularities of unique shades of colour, create overcoming compositions that evoke the German philosopher Georg Hegel’s concept of Thesis and Antithesis. In fact, Birkhaug’s innate predilection and inclination for the wonders concealed in a flower garden inflame unexpected juxtapositions, while the observer’s emotional reaction becomes the metaphorical Synthesis that harmonizes and goes beyond the previous phases, leading to the truth. Thus, when the viewer shapes a unique and personal interpretation of Birkhaug’s intricate depictions, a new shared reality is born, solving and reconciling their peculiar discernments of the natural universe, forming a new shared awareness.

Birkhaug deliberately abandons the mannerism of the scientific reproduction of flowers born in Flemish Baroque paintings and demonstrates references from Impressionist artists. In fact, each artwork is determined by a unique perspective of the light that delicately touches the rosebush, and even the smaller bud acquires the mystical aura of a celestial creature. Birkhaug conveys an effect of spontaneity and effortlessness that masks her carefully constructed compositions, using exquisite, condensed brushstrokes of pure unblended colors that barely reveal form. Rejecting the classical research of an ideal of beauty and an eternal essence of reality, Birkhaug follows Claude Monet’s footsteps, assuming that the authentic vision and perception of the subjects portrayed is preponderant compared to any learned conventional theory.

Opposite: Rose Ispahan Oil on canvas, 24 x 30 cm, 2012

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Aase Birkhaug

Roses II Watercolour on canvas, 26 x 26 cm, 2015

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Poetic Petals Thus, each wonderful flower garden appears contingent on the conditions under which the same rose can be investigated and, above all, influenced by the emotional temperament of the painter herself.

Season after season the blossoms give a different rainbow, in a limitless colour spectrum that ranges from the most sensual red to the delicate innocence of pale pink. Birkhaug becomes the indisputable “Mother of Roses”, a creative soul that is entirely captured by the alluring beauty of these flowers and, at the same time, that is able to make the viewers experience an equal astonishment, enchanting them with her beautiful bouquets. Deeply analysing and understanding the mysterious meanings secluded in these apparently simple botanic organisms, Birkhaug saturates each composition with her passion and dedication towards nature, becoming “emissary” of empathy.

Birkhaug welcomes the secret language of flowers, an alphabet that she can entirely interpret and unfold, in the attempt to make the viewers partakers of the delicate words whispered by flowers. She then goes beyond the boundaries of an easy imitation of reality, admitting her limits in front of the fierce power of Nature and leaving an air of mystery in her compositions. Birkhaug’s work truly emits genius and an intensity that can be felt even without a deep examination of Art History. She is perfectly aware of the past glories and at the same time she has a profound sympathy towards contemporary artistic developments. Hence, she becomes an inspiration for our generation, both for her artistic talent, and gentle educational impulse.

Timothy Warrington International Confederation of Art Critics

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Aase Birkhaug

My Roses II Charcoal on paper, 33 x 40 cm

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Rose de L Arborete I Watercolor and tempera, 10 x 15 cm, 2015

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Aase Birkhaug

Red as a Rose (with detail) Watercolour, 10 x 15 cm, 2013

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I think art is imperative and important because we, I and everybody else need positive stimulation to the sensory system - just like a healing effect I think. In Art Monaco Magazine there is an article about me and my art and they wrote: Parce-que la vie, est aussi un art!

Aase Birkhaug Interview by Art Arena New York Magazine 31

Aase Birkhaug

“My artistic process and my approach to creation starts when I am out in the nature and in the Botanical Gardens where I get my impressions for new paintings to create. [...] I try to reflect in my paintings the beauty ,the colours,the vibrations, the energy and the sensations in the perceptual meeting with the everyday nature flowers and roses. Roses are my favourites but there are several other flowers or blooming I love f ex pink and white peonies and pink and white magnolias.�

Aase Birkhaug Interview by Art Arena New York Magazine

Opposite: Abstract Roses Watercolour tempera, 10 x 15 cm, 2015

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Aase Birkhaug

Tryllerose - Magic Rose book 2004 watercolor - 30x21 cm, 2004

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Nature’s Call Nature can be said to be the most perfect and the most pure form of art. As people, we are conditioned by nature, we thrive experiencing its beauty and we are given life through its love and its mysterious energy. Birkhaug is an artist who not only captures the essence of nature - she your captures its soul through delicate use of shape, form and colour.

This artist finds freedom through the depiction of petals and the subject-matter itself reflects on the spiritual and substantive depth of vision possessed by this artist who is able to transform a natural element into a force for good and change. Only a delicate heart and reflective human being with experience of the mind’s inner balance and elevated empathy could be capable of such a deep understanding of beauty.

In the late 1800s the pre-raphaelites utilised floral scenes to accentuate the aesthetic appeal of female portraits and figures whereas Birkhaug dedicates her art to the investigation and analyses of every aspect related to God’s most beautiful creation, the flower. She seems to be on a philosophical journey of discovery into what exactly makes a petal beautiful.

The link between art and psychology has taken many identities throughout history and is always intrinsically interlinked and dependent on one another.

Aase Birkhaug presents an innovative approach to art as a tool to influence the mind on the most subconscious of levels, rather than art as a product of the mind. There is no provocation, no strong choice of subject matter, no easy route to create a dramatic effect. Rather, this artist chooses the most subtle route to engage our inner thoughts and the deep areas of our instinctive subconscious.

Aase Birkhaug has the rare ability to stimulates our thoughts and inclines us to question the beauty that surrounds us. Why are the fallen leaves under a tree in Autumn so perfect? Why is it virtually impossible to improve the aesthetic balance of a random tree? In fact, there is no pursuable finite path to understanding or reaching concrete conclusions but Aase Birkhaug dedicates her explosive albeit refined creative energy to exploring and investigating Christopher Rosewood International Confederation of Art Critics

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Aase Birkhaug

I have been painting Roses since the early ’90s.

I’ve always been very interested in botanicals and botany, and have always admired flowers. Later on, in the 1990s, I started to window shop florists looking for roses and often found myself inside florists looking at the roses; smelling them.

During the summertime, I started taking photos of roses. Every day I would travel to the Arboretum at Milde in Bergen to take pictures of the roses.

They have about 500 – 600 different types of roses there.

I started painting a series of Roses in 1990 and 1991, through 1992.

I received the rose lists from the botanical staff in the Arboretum, and have also bought many rose books. To take inspiration from the literature and the photos in the books is of huge importance to me.

“Nurturing with Nature: An Interview with Aase Birkhaug”

By Erin Stobie - Outlet Magazine

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Blue Heaven Oil on canvas,18 x 24 cm, 2012

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Aase Birkhaug

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Aase Birkhaug

Autumn Roses Tempera on canvas, 12 x 18 cm, 2015

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“I think I was born into art. I have always been interested in art, and I have always painted and drawn. I think of painting all the time, and I think about colours all of the time. I was born in the astrological sign Libra, and one of the Libra traits is of aesthetic sense, such as the appreciation of the beauty.

My grandfather Harald Ibsen, my grandfather’s cousin Anna Sofie Brunchenhorts Ibsen, my aunt Borghild Ibsen, and my father’s uncle, the famous Doctor Prof. Conrad Birkhaug, were all painters. The famous poet Henrik Ibsen is Anna Ibsen’s cousin (Anna Ibsen had a painting school in Bergen in early 1900), so it’s possible I inherited some genes from my relatives and ancestors. Also, from an early age, I attended art exhibitions and was very interested in colours, shapes, textures, and the impressions that paintings give.”

“Nurturing with Nature: An Interview with Aase Birkhaug”

By Erin Stobie - Outlet Magazine

Roses by Anna Ibsen Oil on canvas

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Aase Birkhaug

It is a three component situation back to when I was 15 years old and had to choose occupation in life and education in life. I had three options – studying at university & studying physiotherapy, attending an art school and or studying botanics at university. [...] Today and in the past years I have been thinking of how to combine these three factors so that I can integrate or implement all of them in my daily life.[...] Today I feel I have managed to merge them so that it gives me the meaning and completement and fulfillment in life that I have been searching or looking after.

Aase Birkhaug Interview by Art Arena New York Magazine

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Aase Birkhaug

Abstract Autumn Roses Watercolour, 23 x 30 cm, 2015

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Colour Me Chocolate Roses & Wildberry Oil on canvas

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Aase Birkhaug

Rose Amadeus III (with detail) Watercolour, 10 x 10 cm, 2004

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Rose & Muffin (with detail) Oil on canvas, 27 x 27 cm, 2012

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Shades of Roses Tempera on canvas, 20 x 40 cm, 2015

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“I want to communicate the beauty of nature, the softness, the tenderness, the colourful botanic with their everyday changes, during the day the month the year and during the four seasons in the year. My own impressions of these factors becomes a painting and far more new paintings.

We also knows that different colours has different effect upon humans and in the books written about colour therapy the different colours has different impacts.�

Aase Birkhaug Interview by Art Arena New York Magazine

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Aase Birkhaug

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Artwork Analysis I chose this watercolour in particular because I feel it withholds, in it’s small but expressive being, the whole concept of Birkhaug’s essence and creativity.

It is a marvellous composition. The subject stands out in the centre of the paper surrounded by a varied foliage. Aase manages to use the grain of the paper to enhance the different nuances of the watercolour making it an extremely articulated piece of art.

The brushwork is careful to detail whilst maintaining the typical characteristics of a watercolour. The different tones of red create a dynamic and fresh effect, giving the rose a multi-sensory quality that amazingly evokes its intense fragrance while the remainder of the composition is filled with a polychromatic array of leaves. The green tones are so well balanced and heterogeneous, creating depth, movement, and a soupçon of mystery and allure. Leaves rustled by the wind, that capture the light of the sun and reflect the different shades of brilliance and umbrage, giving us the extraordinary tactile and vivid sensation of actually being immersed in nature.

Aase Birkhaug’s taste for painting is expressed in all its glory. She is undoubtedly a marvellous painter that manages to create her compositions in a unique manner.

The more one looks at this art work, the more it draws you into its unfathomable depths. The details of the leaves and the blossoms capture our attention after having metabolised the first overwhelming impact of the composition, in its entirety, through our eyes and our senses. Innuendos of faded reds that infer a wider dimension around the main flower, a bush of roses that even our fantasy willingly expands, discovering a magical dimension full of airy freshness and light hearted freedom.

An ancient pleasure for familiar images pervades our spirit when enjoying this beautiful painting. Our senses are rejuvenated and renewed with an energy that only the capable hands of this artist manages to bestow upon us. A true nature lover with a rare and exquisite talent for painting.

Karen Lappon International Confederation of Art Critics

Opposite: Rose Louis - Xavier Auguste Meillez Watercolour, 10 x 15 cm, 2015

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Aase Birkhaug

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Autumn Rose II (with detail) Tempera on canvas, 12 x 18 cm, 2015

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Rose Felicite Parmentier (with detail above and opposite)

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“Our Curatorial Review Committee was particularly impressed by your brilliantly colourful floral oeuvre with its transluminescent style. ‘Autumn Roses’ resonates with a profound love of the Floral realm and lyrical visual intensity and is a triumph of individual expression. In addition, we enjoyed how your capture the ethereal beauty, romance and timelessness of our floral world in ‘Rose Felicite’.

We commend you on how you honour the flora kingdom in ‘Rose de Paradise’ which luminously reflects your ethereal and joyful colour palette and passionately reveals the eternal quality of nature. We also delighted in your luminescent hues and compelling tonal combinations of your glorious ‘Princess Roses’ with its syncopated interplay of light and delicacy of lyrical line, as your glorify the joy of the Natural realm.

Our Curatorial Review Committee salutes you on your oeuvre which emblematises the divine splendour of the floral realm as you capture the enchanting essence of the invisible spirit of nature and externalize its joie de vivre [...]”

Amsterdam Whitney Gallery Curatorial Review Committee

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Charles de Mills Oil on Canvas, 18 x 24 cm, 2010

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Rose Louis Zavier & Auguste Miellez Watercolour and tempera, 10 x 15 cm, 2015

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Above: Rose de Paradise II Watercolour and tempera on canvas, 2016

Opposite: In the garden of Eden III (with detail) Watercolour, 10 x 15 cm, 2004

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Wings of Freedom Oil on canvas - 48 x 30 inches

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“The first thing I do when I am about to start a new work is thinking about the process.

I select a motif or motive that gives me the inspiration to prepare to a make a new painting; that can be a trip in nature, in the rose garden, in a rose book, or looking at the fourteen thousand photos I have taken of different roses over the years.

I then select paper or canvas, choose colours, and select the size. Sometimes I use the motive or motif I have selected all the time during the painting process, and other times I do not use it more than just to get started. Then I paint until I intuitively know I have finished.

The painting process may take some time–from days to weeks to months–and differs from painting to painting. Often, I have to take a break and the look at it again to see what is missing. That can be the colours, the shapes, the softness, or the whole composition of the painting.

I know it’s ready when I feel the painting has a sort of balance–harmony in colours–and the spread of the painting on the paper or the canvas is in harmony.”

“Nurturing with Nature: An Interview with Aase Birkhaug”

By Erin Stobie Outlet Magazine

Opposite: Yellow Roses Tempera on canvas, 24 x 30 cm, 2012

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The Astronomers, 1997 Oil on canvas - 130x100 cm

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Aase Birkhaug

Above: Autumn Roses II Tempera on canvas, 30 x 40 cm, 2015

Opposite: In my Rosegarden Watercolour and tempera, 24 x 30 cm, 1992

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“Nature Flowers Roses... ...And the beauty and impact these factors does give when watching the sight, the smell and the colours they reflect.�

Aase Birkhaug Interview by Art Arena New York Magazine

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Exhibitions Selected Solo Exhibitions • • • • • • • • • • • • • •

My own Atelier og Gallery Bergen 2004-2017 - Galleri 39 / Grønnestølsvei 23c-39 Hole Speil og Ramme Bergen 2004 - 2016 - Gallery Prydkunst Hjertholm Bergen Sentrum + Lagunen 2004 - 2006 - Art cards Roses Primstaven - Nesttun - Bergen - Norway - commission sale 2004 - 2006 Galleri 151 Alvøen 2004 - 2005 - Summer Exhibition - Out in our Garden Cafe Moldegaard Os i Hordaland - Summer Exhibition - Roses, 2005 Cafe Moldegaard Os i Hordaland Easter Exhibition - Roses The Lady and Womens Dinner - Fjøsanger Samlingene Rekstensamlingene Art Collections at Reksten Anemone Flower & Gift Shop, 2004 Sea and Marine Research Faculty in Bergen, 2004 Det Hvite Hus / The White House - Interior Shop - Paradis Bergen, 2004 NM i Dressage Riding Moldegaard i Os, 2002 Flexibox Berstadhusets Aula, 2002 Moldegaard Dressur grand Prix stevne, 2001

Autumn Rose D’or III Watercolour and gold tempera, 10 x 15 cm, 2015

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Exhibitions Selected Group Exhibitions • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Exhibition at Galleria Il Collezionista, Rome, 2018 Valentine Collectors Choice Exhibition, Amsterdam Whitney Gallery, New York, 2017 Cannes Biennial, 2017 “Creativity & Sustainability” Florence Biennale 2017 Architechural Digest Design Show. Presented by Artifact Art up Close NY 2017 Spectrum Miami, represented by Art up Close Artifact NY 2017 Art Expo New York. Presented by Artifact Art up Close NY 2017 Print Exhibit at Ben Navaee Gallery Toronto Canada 2017 Art Museum, Torino, Italy 2017 1st International Fine Art Biennal Basel, Switzerland 2017 Amsterdam Whitney Gallery, Chelsea, New York, 2017 Tokyo International Art Fair, 2017 Taza International Friouato Biennial, 2017 Sale de Bramante, Piazza del Popolo, Romam 2017 Exhibition I Segnalati Berlin, 2017 European Art Museum, 2017 Gallery Immagini Spazio Arte, 2017 Monaco Yacht Show, high patronage of HSH Prince Albert II of Monaco 2017 MILAN INTERNATIONAL ART AWARD with Vittorio Sgarbi, 2017 Art Festival in Pontifical Palace La Pigna Gallery, Marescotti Palace, Rome, 2017 World Art Dubai, 2017 Art Fair Malaga, 2017 Dubai Alliance Francaise with Museums of America – Small is Beautiful, 2017 VIP ART ZONE MeART International Biennale in Palermo Italy 2017 Kiwani Clubs Sotra Autumn Exhibition 2017 Modern Art Austria Biennale, Vienna 2017 Taza International Print Fair Taza Marokko, 2017 Show in Monte Carlo, Monacop. Presented by gallery Artifact Art up Close NY 2017 Carrousel Du Louvre Art, represented by PAKS Gallery International. 2016 Art Fair Montreaux represented by PAKS GALLERY International 2016 “Una Rosa e Una Rosa - It’s all about Roses in Art”, Musei di Strada Nuova Palazzo Rosso - Genoa, Italy, 2016 Spring International Salon Taza Marocco, 2016 Taza Marocco International Biennal, 2016 Barcelona - Gallery Sala Barna, 2003 Grebenhain - Germany, 2002 Exhibition Freiaparken Norwegian Rose Association Oslo, 2001 Garden for Everybody - Sjølystsenteret Norsk roseforening, 2001 Biennale de Arte Barcelona invitation 2017 Oslo – Humanitarian Show for children in Brazil Solstrand Fjord Hotel Os i Hordaland, 1991 Gamle Bergen, 1992 Kløverhuset Bergen, 1990 Hardanger Antikk Grova, 2001 Birthe Bo Interiør shop Bergen, 1990-1993 67

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Rose Madame Plantier Watercolour, tempera and gouache

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Awards

Collections • • • • • •

Hole speil og Ramme Bergen, 1990-2016 Dammplass-stua Oslo, 1990-1992 Galleri Primstaven Bergen, 2004-2005 Vildanden Gave og Interiør Grimstad, 2004-2010 MK Interiør forretning Nesttun Bergen, 2004-2005 Annekset Interiør og Gave Geilo, 1991-1994

Represented by the following galleries: • • • • • • • •

Art People Gallery since 2016 Saatchi Art since 2016 Fine Art America since 2016 Artslant since 2016 Etsy since 2016 Artavita since 2016 ArtUPClose since 2016 Gill Gallery, London

Awards • 2016, Honourable Award - Spring International Art Exhibition in Taza, Morocco

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Honourable Award Diploma of Excellence, Art Addiction Medial Museum, London Awards of Distinction, Art Addiction Gallery Honourable Award, Female Artists Art Annual Diploma of Excellence for Artists of Today Contemporary - Annual Art Exhibition & Competition

Publications • • • • • • •

Art Book in Norway, Bodoni Forlag publisher, 2017 “World Art Masters”, Taza Spring Exhibition and Taza Biennial (2016), 2017 About Art Magazine, 2016 Carousel de Louvre Art and Art market. Masters of 21 century, 2016 International Contemporary Masters, Volume 11, 2016 Art in World - Edition 2016

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Wild Rose Watercolour and tempera, 15 x 10 cm, 2017

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List of Works Rose Cornelia - Oil on canvas, 18 x 24 cm, 2012

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Spring in Universe - 2016 acrylic on canvas 27x25 cm

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Roses in Symphony - Tempera on canvas, 22 x 27 cm, 2009

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Princesse of Roses - Tempera on canvas, 37 x 46 cm

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Abstract Autumn Roses - Tempera on canvas, 18 x 24 cm, 2015

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My Roses - Charcoal on paper, 32 x 44 cm, 2009

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Rose II Rosaret Arboretet - Watercolor, 10 x 15 cm, 2015

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Blusch Damask - Oil on canvas, 12 x 18 cm, 2010

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Rose in Autumn I - Tempera on canvas, 24 x 30 cm, 2010

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Rose in Autumn II - Tempera on canvas, 24 x 30 cm, 2010

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Rose Reine Marie Henriette - Oil on canvas, 18 x 24 cm, 2012

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Rose Ispahan - Oil on canvas, 24 x 30 cm, 2012

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Roses II - Watercolour on canvas, 26 x 26 cm, 2015

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My Roses II - Charcoal on paper, 33 x 40 cm

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Rose de L Arborete I - Watercolor and tempera, 10 x 15 cm, 2015

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Red as a Rose - Watercolour, 10 x 15 cm, 2013

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Abstract Roses - Watercolour tempera, 10 x 15 cm, 2015

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Tryllerose - Magic Rose -Watercolor - 30x21 cm, 2004

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Blue Heaven - Oil on canvas, 18 x 24 cm, 2012

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Abstract Roses I - Tempera on canvas, 22 x 27 cm, 2012

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Autumn Roses - Tempera on canvas, 12 x 18 cm, 2015

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Roses (by Anna Ibsen) - Oil on canvas

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Rose de Paradise Abstract Autumn Roses - Watercolour, 23 x 30 cm, 2015

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List of Works

Colour Me Chocolate Roses & Wildberry - Oil on canvas

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Rose Amadeus III - Watercolour, 10 x 10 cm, 2004

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Rose & Muffin - Oil on canvas, 27 x 27 cm, 2012

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Shades of Roses - Tempera on canvas, 20 x 40 cm, 2015 Rose Louis - Xavier Auguste Meillez - Watercolour, 10 x 15 cm, 2015

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Autumn Rose II - Tempera on canvas, 12 x 18 cm, 2015

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Rose Felicite Parmentier

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Charles de Mills - Oil on canvas, 18 x 24 cm, 2010

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Rose Louis Zavier & Auguste Miellez - Watercolour and tempera, 10 x 15 cm, 2015

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In the garden of Eden III - Watercolour, 10 x 15 cm, 2004

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Rose de Paradise II - Watercolour and tempera on canvas, 2016

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Rose de L’Arborete - Watercolor and tempera, 10 x 15 cm, 2015

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Yellow Roses - Tempera on canvas, 24 x 30 cm, 2012

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Autumn Roses II - Tempera on canvas, 30 x 40 cm, 2015

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In my Rosegarden - Watercolour and tempera, 24 x 30 cm, 1992

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Autumn Rose D’or III - Watercolour and gold tempera, 10 x 15 cm, 2015

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Rose Madame Plantier – Watercolor tempera and gouache

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Queen of Paradise Roses Wild Rose - Watercolour and tempera, 15 x 10 cm, 2017

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Edited and published by International Confederation of Art Critics London, 2017 Copyright Š 2017 International Confederation of Art Critics www.international-confederation-art-critics.org

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