interior and exterior art

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AT THE OPENING of Jane Austen's Persuasion, Anne Elliot has spent virtually her entire life in the country. Her tastes are all for country life; she dislikes the superficial pleasures and the shallow social intercourse of crowded cities and fashionable watering-places. At twenty-seven, she seems resigned to her repressed, restricted life of duty and introspection. Austen, however, uproots her, sending her first to Uppercross, then to Lyme, and eventually to Bath where she is transformed from her role as a member of the audience who watches and hears (or overhears) the courtship dances and dialogues of others, to that of a romantic heroine whose actions are watched and whose words are listened to (or overheard) by others. During the first half of the novel, Anne works hard to mask her inner feelings from scrutiny; in the second half of the novel, however, she performs those feelings, acting out what is inside, turning her interior self into an exterior display, in order to encourage Captain Wentworth to renew his suit. Thus, thrust onto the urban stage of Bath, Anne must act in both senses of the word. In our own idiom, she finally becomes a player.

In Persuasion Anne Elliot is socially and emotionally isolated; by critical consensus her role is one of observer, listener, eavesdropper, confidante. Throughout most of Volume I she is an audience to the speeches and actions of others. Anne is, of course, a shrewd listener and observer. When Mr. Shepherd, Sir Walter and Elizabeth first discuss the Crofts as proposed tenants, "Anne ... [is] a most attentive listener to the whole" (25). Indeed, she is sadly familiar with her father's public performance of the role of Baronet, for, as Mr. Shepherd says, "'Sir Walter Elliot has eyes upon him'" (17). She brings "a great deal of quiet observation" to her sister's friendship with Mrs. Clay, accurately interpreting that lady's accomplished performance (34). She alone reads the fleeting expressions of Captain Wentworth's flashing eye and curling lip. Even when she moves from the isolation of Kellynch to the larger social scene of Uppercross, Anne remains an observer, not a performer. At Uppercross, "[s]he could do little more than listen patiently" (46). Although she is the best musician in the drawing room of the Great House, no one chooses to hear her play, for "having no voice, no knowledge of the harp, and no fond parents to sit by and fancy themselves delighted, her performance was little thought of, only out of civility, or to refresh the others ..." (47). During impromptu balls at the Great House, "Anne, very much preferring the office of musician to a more active post, played country dances to them by the hour together" (47). When Wentworth joins the dancers, Anne "desired nothing in return but to be unobserved" (71). At Uppercross as at Kellynch, then, her word is unheeded, and her musical performances serve merely as accompaniments to the courtship dances of the other young people.

Captain Wentworth's arrival emphasizes Anne's role as observer rather than actor. When Wentworth first appears, Anne's faculties of observation momentarily falter and everything blurs, but later, as their meetings become more routine, she grows adept at reading his behavior: "Now, how were his sentiments to be read? Was this like wishing to avoid her?" (60). When Mrs. Musgrove wishes that "poor Richard" had remained under Wentworth's command, Anne reads Captain Wentworth like a book:

   There was a momentary expression in Captain Wentworth's lace
  at this speech, a certain glance of his bright eye, and curl of his
  handsome mouth, which convinced Anne, that instead of sharing
  in Mrs. Musgrove's kind wishes, as to her son, he had probably
  been at some pains to get rid of him; but it was too transient an
  indulgence of self-amusement to be detected by any who understood
  him less than herself.... (67)

Sometimes the drama proves too painful to watch. After Wentworth removes little Charles from her back, Anne wishes to leave the room to avoid witnessing further scenes: "She could not stay. It might have been an opportunity of watching the loves and jealousies of the four; they were now all together, but she could stay for none of it" (80).

During the walk to Winthrop, "Anne's object was, not to be in the way of any body ..." (84). She continues to serve as audience to the other young people as they act out their romantic comedies. Chance places her on the sunny bank beneath the hedgerow in which Wentworth and Louisa perform their courtship scene with Anne as unseen audience. Later, when Henrietta expresses concern for dear Dr. Shirley's need for the assistance of a curate such as Charles Hayter, Anne generously acts a minor supporting role in Henrietta's courtship drama: "Anne smiled more than once to herself ... and entered into the subject, as ready to do good by entering into the feelings of a young lady as of a young man--.... She said all that was reasonable and proper on the business .

Kanvas Interior Art offers a wide range of contemporary Art design solutions for residential and commercial settings. The range and applications are so diverse in design, theme and size there is something for every taste and space.

The Kanvas range varies from abstract and contemporary canvas prints to our modern acrylic art collection. We have art to suit all ages, including our Kids Kanvas range and our photo on canvas service. If you are looking for a more traditional look our artworks can also be framed. We also have a number of other customisable products including lamps, wallpapers and vinyls. If you can’t find what you want, we’ll create it for you.

Ordering is easy, either visit our online shop, or if you are looking for something different or some advice contact us.

One of the main criticisms of ultra-modern style decor they can appear a bit too flashy or weak at the time and lack of ‘emotion’. But this living room set from the Spanish company Mobilfresno doing a good balancing act by giving us a strong awareness of the prevailing Art Deco style in 1920 and still maintain a modern look.

(Art deco Style refers to interior design that makes efficient use, geometric surfaces including furniture pieces with curved fronts, chrome hardware, glass and clean lines.)

Spanish, Casa Madrid Dynamical House Design by A-cero Architecture

Doug Kinsey will be exhibiting large scale paintings at The Pittsburgh Center for the Arts, Pittsburgh, PA. U.S.A . The show opens on January 10, 2003 and will run until February 27, 2003. The Pittsburgh Center for the Arts maintains an important role as the city’s foremost visual arts organization focused on the presentation of art currently being produced in the region. Kinsey is an absolutearts.com Premiere Portfolio Artist.

"I refer to my images as 'Interior/Exterior Landscapes'. The central deep blue form will often call into mind the image of the human figure and/or forms found in geographical landscape. As a native of California I will often invoke an immense landscape space that is expansive and grand. My intention is to explore sub-conscious symbols that best define an 'interior' spiritual reality when contrasted by the boundaries of 'external' physical reality. The imagery is austere and minimal and leads the viewer towards personal insight into deeper spiritual truths. They are intended to facilitate an attitude of gentle contemplation. Every piece is subtitled in the ancient Greek koine to provide a theological context and definition." - Doug Kinsey

Kinsey has lived in the Pittsburgh area for 8 years after moving from Los Angeles to attend seminary. He has been a designer for Walt Disney Imagineering, cleaned a Rembrandt, restored frames for Van Gogh's and Monet's. Kinsey's carpenter work has been featured in Architectural Digest.

Last Fall an example of his medium size canvases was exhibited in the annual Associated Artists of Pittsburgh show at The Carnegie Museum of Art. Mary Thomas (art critic for The Pittsburgh Post-Gazette) described his work as "starkly beautiful".

Kinsey prefers to work large (largest being 96" x 84" diptychs) and limits his palette to only whites and blues. His work has been exhibited and collected throughout the U.S, Canada, Mexico, The United Kingdom, and The Netherlands.

Included in such corporate collections as The Bank of America, Kinsey is often referred to as "a painter's painter" as a result of his sophisticated use of close color values. Layers of paint are slowly applied upon the other over a period of time. When completed, the subtle combinations allow light to penetrate the dense blues and reflect back outwards from the gesso ground. The central deep blue forms then begin to literally "float" and change appearance throughout the day as the available light shifts.

This solo-exhibit has been curated by Ms. Katherine Talcott, curator for the Three Rivers Arts Festival. She has worked for the Walters Museum in Baltimore and as Visual Arts Director of the Central Pennsylvania Festival of the Arts in State College. Before coming to Pittsburgh, Ms.Talcott was an independent curator in Chicago.

Currently Kinsey is employed at The Holy Family Institute where he teaches art.

Online, Kinsey's work can be viewed at: www.dougkinsey.com and absolutearts.com/portfolios/k/kinsey .

In London, his work is represented by e1 gallery

this large-scale thematic exhibition will explore the interaction between painted interiors and interior design,
covering work from the romantic art era to bauhaus' modernist interiors and concepts meant for homes
of the future. the work of 70 artists and designers, from the past and present will be on show, with aims of
creating a dialogue between the converging disciplines of art, design and lifestyle based on the theme
of 'habitation'. the exhibition will look at interior space as a place of artistic and personal expression,
combining it with modern day concepts of living and dwelling in the twentieth and twenty-first centuries.
included in the show are paintings, sculptures and installations, as well as reconstructed interiors, historical
and contemporary furniture, photographs, videos and digital animations.


'phantasy landscape' visiona 2, by verner panton, 1970, kunstmuseum wolfsburg


'just what is it that makes today's homes so different, so appealing?' by richard hamilton


'case study house no. 21 people' by pierre koenig,1958 the getty research institute,


'am stickrahmen' by georg friedrich kersting, 1827, kunsthalle zu kiel