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Words on my work by a professor in the USA -

This popped up in the mail just now.  One of the things I'm aware of is that your work, like that of any poet, musician, etc., is "biblical" in its scope.  There is a salvation history (heilsgeschichte) here that captures many moments while maintaining the restlessness of it all. The Light comes through the work that claims its own kind of ordering in body of each perceiver.  Like biblical writing, while it emerges in time it is timeless and never leaves its creative impulsiveness. It never rests because the divine never does. Biblical writing is a kind of portraiture of Spirit arising to form a nation. Your painting gives the beholder an opportunity to witness Spirit arising to bring a personality to wholeness.
 
I'm full of what one of my friends calls.  "bulls geschichte -

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ulrich de balbian

writer, curator, art appraiser, painter, academic at severaL

Dijon Area, France
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ulrich de balbian

writer, curator, art appraiser, painter, academic at severaL

Dijon Area, France
Nonprofit Organization Management
Current

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1 person has recommended ulrich

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ulrich de balbian's Summary

Academic: art, social sciences, philosophy, theology and world religions, scientific researcher, writer, scientific researcher

Specialties: visual art (painting), social sciences, theology and world religions, scientific researcher, philosophy, art consultant and marketing, art critic and reviewer, curator, modern and contemporary art

ulrich de balbian's Experience

art dealer

independent

December 1980Present (33 years 2 months)

found work for museums and national galleries, press conferences and interviews,

Privately Held; 1-10 employees; Internet industry

January 1980Present (34 years 1 month) Paris Area, France; London, New York

Writer

Artist

Painter

art consultant

independent

January 1980Present (34 years 1 month)

purchase art for museums and art collectors , advise on art and prices and artists, assist in selections and curation for Biennales, curated work for exhibitions

writer, curator, art appraiser, painter, academic

severaL

January 1970Present (44 years 1 month)

purchase art for museums and art collectors , advise on art and prices and artists, assist in selections and curation for Biennales, curated work for exhibitions;
wrote reviews on major artists and exhibitions for a number of publications and tv channels, wrote books on visual art and philosophy, assisted with Biennales, exhibitions, making of tv programes, art magazines, newspapers, books and and other publications;
Painter chez, art consultant, art marketing, collcetor, art dealer, art critic, curator, philosopher, social scientist and researcher and published writer

art critic

independent

January 1969Present (45 years 1 month)

wrote reviews on major artists and exhibitions for a number of publications and tv channels, wrote books on visual art and philosophy, assisted with Biennales, exhibitions, making of tv programes, art magazines, newspapers, books and and other publications

painter, gallerist, philosopher, writer,curator,art critic, researcher

independent

January 1969Present (45 years 1 month)

purchase art for museums and art collectors , advise on art and prices and artists, assist in selections and curation for Biennales, curated work for exhibitions;
wrote reviews on major artists and exhibitions for a number of publications and tv channels, wrote books on visual art and philosophy, assisted with Biennales, exhibitions, making of tv programes, art magazines, newspapers, books and and other publications;
Painter chez, art consultant, art marketing, collcetor, art dealer, art critic, curator, philosopher, social scientist and researcher and published writer

Nonprofit; 51-200 employees; Leisure, Travel & Tourism industry

January 1962Present (52 years 1 month)

Painter chez, art consultant, art marketing, collcetor, art dealer, art critic, curator, philosopher, social scientist and researcher and published writer

ulrich de balbian's Languages

  • English

    (Native or bilingual proficiency)
  • French

  • German

  • Dutch

  • Spanish

    (Limited working proficiency)
  • Italian

    (Limited working proficiency)
  • Swedish

    (Elementary proficiency)
  • Norwegian

    (Elementary proficiency)
  • Danish

    (Elementary proficiency)

ulrich de balbian's Skills & Expertise

  1. Art
  2. Writing
  3. Teaching
  4. Fine Art
  5. Painting
  6. Research
  7. Contemporary Art
  8. Books
  9. Photography
  10. Lecturing
  11. Video
  12. Psychology
  13. Editing
  14. Drawing
  15. Creative Writing
  16. Portraits
  17. English
  18. Adults
  19. Public Speaking
  20. History
View All (50) Skills

View ulrich de balbian's profile on LinkedIn


When the artist completed the work of art it is 'out of his hands' (literally and figuratively speaking).
Then the viewer , the perception and mind of the viewer can do with the work whatever she wishes. The artists can do nothing about the interpretations projected on his work by viewers.
The following from a professor in the USA, Rt Rev Dr  David Tetrault -
When we try to talk about art and music, we've already deprived it of whatever resonance it had. That's been the trouble with theology over the centuries.  I've often stolen Henri Nouwen's phrase "living reminder" to describe what's been lost over the centuries.  Our attempts to isolate the sacred kills it.  Period.
 
That's why your painting is so important. Most who experience its power want someone to tell them what it is.  We don't, in many cases, even ask them what they see. "Who do you say that I am?" is one of the gospel's most important questions. And my answer to that maybe very different than Peter's.

You are always welcome to take work and use it because I know you get what I'm talking about.  This is a strange time in history. We face cataclysmic transformation that is without conventional answers. We are, however, awash in a field of resonant wisdom.  There is a huge sound and light show going on somewhere that is agitating the entire "field" of matter itself. My conventional body is afraid because its sensing capacities are limited by enculturation and objective knowledge. I know there's something else. I just have to realize that a primitive part of my brain remains interested in my physical survival.

----------------------------------------------------
Tweets by @ulrichdebalbi



Serious artists (like composers and creative scientists) do not work for themselves, but they are detecting and exploring new avenues for generations still  to come. We lay the foundations for future explorations. An example: if it were not for the Impressionists,  , Kandinsky, Twombly et al, we would not have been able to execute our present experiments. We are all part of the discourse of visual art, endlessly questioning, developing, modifying, tramsforming and extending the code of this discourse (the same as the creative thinking philosopher, architect, scientist, writer, composer etc extend and transform the codes of their own discourses).

Today's work can be seen, if you so, as exploring the doors (often blocked) and to other  (and with a few glimpses of those inner worlds) such as our inner selves. There where innocence, creativity, passion, love , imagination resides. But apart from these more positive aspects of the human being, there we also find the origins of the negative ones, such as hate, violence, dishonesty, unfaithfulness etc.it is up to the individual to make his choice, to decide what kind of person s/he wishes to be/come.

-

Yes Andrea. I always, unintentionally, work in series and in this way explore and develop certain techniques, etc. Then I reject that and commence again as if for the first time. I see my work as explorative.

Contemporary art , after World War II, the explorative and experimental artists, concentrate on the surface of the support. They, we explore  what and how painting is, how it is executed, the process of  painting as making 'marks' on paper' They, we do not attempt to depict or represent objects. If any objects are depicted , they are merely the result of such explorations and not their aim. ulrich




I think people who are serious and look at my workwill realize that I take what I do VERY VERY Serious and will see some meaning and logic in what I develop/explore/progress in different series. AND, that I don't just try to make 'nice images' - that is too easy and means nothing and I won't waste my time on that - that is for students and children who try to impress others

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I can't paint or 'make pictures', I merely explore a few aspects of different painting media artists employ,  and produce 'marks on paper' in this experimental/explorative process - ulrich


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what is painting?  abstract, non-figurative, 'realist' - are all the same to me as they are merely 'marks on paper',  marks used to create forms, using colours and arranged in/as a composition in terms of the code of the western tradition of painting

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In contemporary cultural practices (the arts, sciences,. humanities, theology, etc) we no longer merely follow existing codes of our different discourses (for example that of visual art and more specifically the genre of painting, or philosophy and more specifically the areas of ontology and epistemology). No, we explore the underlying principles ( the transcendentals  or that what underlie, go before or the pre-suppostions on which a discourse is based, for example  the assumptions it makes about a number of things) of these different discourses. These transcendentals or undrlying principles determine the world, the life world or reality of each discourse and how it constructs that reality (for example the reality of visual art). These are the phenomena or things that the visual artist are concerned with, explore, transform, analyse, deconstruct and reconstruct. That is the REASON why painting (as a genre of visual art) concerns itself with all what occur on the surface (as well as the nature of the surface itself) of the support. In other words,  painting being concerned with the surface of the support is not merely a superficial activity as in this process (of explorative or experimental painting) everything that underlie (that are pre-conceived, assumed and pre-supposed by) painting (or the tradition of the cultural practice of painting, its norms, codes, ideals, values, etc) are identified, explored, analysed, developed, transformed and reconstructed.

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when the artist, as the mother gave birth to the painting, it left his/her hands, his mind and his soul, it no longer is his/her property but it becomes a part of culture - the mystery is now given to the public (something like it is said God gave his sone to the world, to us, or Buddha his insights), to all -

to explore, relive, perceive, interpret, destroy (like one woman urinated on a CY Twombly), recreate, wrestle with trying to comprehend, to dream about, to be carried away by, to love , to hate (just like the children given birth to by a human mother can be loved, hated, tortured, imprisoned, maltreated, viewed as kings, queens, princesses, worshiped , adored, killed, enthroned)-

please world treat our children - paintings we give birth to - gently, like you want us to treat your own human babies, thanks, ulrich


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by experiments - like Paul Klee did with drawing - for example when does a line walking becomes a fomr or shape? - in my case with 1) colour of the same painting, 2) form and 3) the fact that painting and visual art deal only with space (unlike music dealing with time and poerty, novels, films etc dealing with both space and time) structuring, deconstructing, re-constructing space - I explore , research and investigate the basic of visual art, and in this manner remove the seeming mystery and magics = the MYTHS, that cloud over our perception in daily life and art. The result is to assist us to see clearer, perceive details, dimensions and other aspects we have not yet deveoped and acuired. It is a 'taste', or perception, pre-conceptual awareness that are being explored.  ulrich de balbian  12 October, 2013

I'm currently doing research in something called the imaginal realm - perfect for those of us studying the evolution of religion and religious thought. Henri Corbin, a sufi scholar, happened on this in Islamic writing. He used the term mundus imaginalis - space within consciousness where the soul can experience its own richness and life's value.  I would suggest that this particular painting opens that door for me. Bravo!



  • Agnieszka Kukawska Yes, it is the image....But all what viewers of Art can absorb from the paintings ( visual values, ...texture, colors, techniques...) make our Art more special. Contemplating Art or even one piece of Art take more time then... I love it! Time can stop...See More
  • Ulrich de Balbian painting (unlike films, videos, and music) does not deal wiuth a specific time (like scenes in a filsm develops and changes), opainting deals only with space - the space of the support. But in a painting there is no time, no past, no present, no future, in a painting there is past, present and future ALL AT ONCE - thus a opainting is timeless, infiinite. Music structures, deconstruct and transforms TIME (films, videos, novels poetry do that with both time and space), a painting structures, explores, deconstruct and transform SPACE (not time, a painting is both and at the samwe time all time and no time = timeless, eternal, infinite as time is concerned). Agmnieszaka I AGREE with you, with what you said. although at first sight, in a too quick reading of what Iw rite, it might not seem as if I agree with what you say. Photos do the same as paintings,,,ulrich


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could it be said that the pioneers of contemporary painting:

 is very much concerned with the exploration of the surface of the support (textures, how paint and colours are applied, etc)?
 They no longer treat the surface as merely secondary, simply as a tool or medium to represent something else

- the surface is the image
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From a professor in the USA

This is the rest of the story within the sacred space.  Each aspect of this gives rise to its own sense of completion and balance.  Ying and yang.




From a professor in the USA - how he experiences my work

http://parabola.org/index.php?option=com_content&view=article&id=268&Itemid=250



BUY PRINTS OF MY ARTWORK HERE

http://fineartamerica.com/customshop/ulrich-de-balbian.html

If you want a print from a work not included in the

customshop

Email us  with the name/details

(see FACEBOOK "Ulrich de Balbian"


for daily upload of all new work) -

at

paintingsu at gmail.com


and we will include it in the customshop



MY ART MAKES THE INVISIBLE
VISIBLE



STAND BACK AT A DISTANCE WHEN YOU VIEW THE SLIDESHOW

SO THAT YOUR BRAIN CAN MAKE THE IMAGE ONE WHOLE










 
My art makes the invisible visible.
Always near/er to the (he)art of Creation,
 
but never close enough, yet....












BUY PRINTS OF MY ARTWORK HERE

http://fineartamerica.com/customshop/ulrich-de-balbian.html



 
 
Links to videos of my paintings at  YOU TUBE

 
 
 
 
The human mind treats smaller paintings as if it is looking AT an object or a thing such as a table or chair ,
 but larger works are experienced (like installations) as if one  is part of them and participate in them.
Now that you know this please do not treat these images as if they
 are just more objects or things you look AT,
but experience and participate in them.


Here is a slideshow of the work that are  available for sale in the "WITH PRICES" file, and listed in the above inventory and on
the CHECKOUT file below:

with prices



Checkout store

The gadget spec URL could not be found
Go to this site:


Look for the File labelled:

WITH PRICES.

In this file you find the paintings of this inventory numbered in
the bottom left or right hand corners:

number 1, number 2, etc.

Thus you can see the image of each painting on this inventory.

If you wish to purchase paintings from the other albums,
write down:

 the title of the album

the line in which the image of the painting appears,

and the place.number of the image in that line.

Email us at:

appraiserart at gmail.com

with these details to inquire the price of that specific work.

Thank you.

ULRICH DE BALBIAN FOUNDATION
(Trust and Museum)



GALERIE ULRICH @

GALLERY GOODMAN link








PRESS RELEASES about auctions for Ulrich de Balbian:



 FOR IMMEDIATE RELEASE


  PRESS  RELEASE  February 3, 2012 -- ARTNET NEWS and AUCTION HOUSE, CO, ART NEWS :

Works by Ulrich de Balbian sold on AuctionOffers for works by Ulrich de Balbian at auction:
Details of the auctions - here are details of one work placed on auction.
An offer for GBP1,900,010 was made for this lot no 782361, for the work by

Ulrich de Balbian (Painter, xx-xx1), the title of the painting was

Anger and the Bull.restrained 2. The work was placed on auction on the 18th January, 2012,

and its size is 45x65x1cms.


For his work see: http://www.saatchionline.com/ulrichdebalbian

or

http://goo.gl/MBvJy


free-press-release.com abstract paintings     auctions     contemporary art     paintings     Ulrich de Balbian     Ulrich New Styles 



 IMMEDIATE RELEASE
(Press-Release.com) February 4, 2012 -- New York Times, Guardian, Independent, Los Angeles Yimes, Le Monde, Beijing, China, Taiwan Art News, Honk Kong Art News: Works by Ulrich de Balbian sold on AuctionOffers for works by Ulrich de Balbian at auction: Details of the auctions - here are details of one work placed on auction. An offer for GBP9,900,010 was made for this lot no 782361, for the work by Ulrich de Balbian (Painter, xx-xx1), the title of the painting was Anger and the Bull.restrained 1. The work was placed on auction on the 18th January, 2012, and its size is 45x65x1cms.

1 2 3

Another work auctioned successfully below - Simplicity2.

New York Times, Guardian, Independent, Los Angeles Yimes, Le Monde, Beijing, China, Taiwan Art News, Honk Kong Art News: Works by Ulrich de Balbian sold on AuctionOffers New York Times, Guardian, Independent, Los Angeles Yimes, Le Monde, Beijing, China, Taiwan Art News, Honk Kong Art News: Works by Ulrich de Balbian sold on AuctionOffers

Welcome visit Our WebSite:

http://www.saatchionline.com/ulrichdebalbian

For his work see: http://www.saatchionline.com

For auctions of his work see EBID -
We will offer a few works for sale by the Internationally acclaimed European artist ULRICH DE BALBIAN. He has been painting for almost 50 years and intentionally chose the genre of painting, instead of genres such as New media, installations, performance art, etc.

He was trained the traditions of Klee, Kandinsky and Richter and explores and researches the Western tradition of painting. His work is a serious and great investment as only a handful of them will be sold while majority will placed in a museum especially built for this purpose.
To see more of his works and prices Google his name.

More information can be found online at http://www.saatchionline.com/ulrichdebalbian


free-press-release.com Acclaimed Ulrich de Balbian     Artnews     contemporary art     New Master     original fine art     original painting     serious investment     ULrichdBAuctions




Information about AUCTIONS about work of Ulrich de Balbian can be seen here:



Auctions ULRICH DE BALBIAN

De Balbian, Ulrich






Serious inquiries (only) about prices, availablity, etc  to:

appraiserart at gmail.com



We accept PAYPAL




2 Feb














Since I can remember I realized that people are not on the same level of IQ, sensitivity and other qualities that form a human being. It is as if people are placed on different levels of a pyramid, with most of them on the first level. Someone can only grasp others on his/her level and some of those on levels underneath him. This is the case with the IQ of an individual as well as their level of sincerity, honesty, sensitivity, gentleness, kindness and all those values and attitudes (attitudinal types for each of those values) that together contribute to constitute a human being.
I attempted for all of my life to assist in the realization of the potential of everyone I came across, but gave up when I realized that human beings are satisfied with merely being that what society, others and themselves have turned them into - restricted intellectually, emotionally, socially, culturally, spiritually, etc etc. Thus I withdrew from social interaction even more. This applies to my art as well - I have little interest in participating in the art industry (of auctions, galleries, critics, reviewers, collectors, viewers and others that live OFF art). Most viewers want a nice or pretty image, and to satisfy that they merely need to look at a flower, sunset, other people, etc.
I also realized, with a shock, that I do not paint to satisfy 'others' (critics, reviewers, gallery owners, general viewers, etc), but that my  process of painting and the works resulting from that form part of a certain niche aspect of the discourse of painting. Painting, as I intentionally chose that genre of visual art, rather than any of the gimmicky ones such as installations, performance art, etc. I paint in and for a certain tradition in the discourse of painting - a tradition represented by painters such as Klee, Kandinsky, Richter, Monet, van Gogh, Hartung et al. These individuals did not attempt to work in an experimental manner, to shock, amaze or to please - they merely worked in a manner that they had no other choice or option to. Those 'great' or more serious painters questioned the norms, the rules, the questions and answers that constitute the interpersonal or intersubjective discourse and reality of (modern) western painting (in the way that the serious philosophers, scientists, poets, novelists, composers, etc questioned the intersubjective CODES, values, and  norms of their own discourses). They did not set out to be experimental, but merely worked in a manner with total integrity to satisfy their aesthetic ideals and vision.
They therefore worked for the discourse of (western) painting itself - for other serious painters that lived before them, for the handful of serious painters of their own time, and for the sake of the handful of serious painters of the future - those still to be born.



 


IN BLUE ARE LINKS TO online galleries with some of his work




See work by ULRICH at these international galleries and online

SAATCHIS


http://www.saatchi-gallery.co.uk/dealers_galleries/Gallery/Ulrich
http://www.saatchi-gallery.co.uk/dealers_galleries/Gallery/Ulrich/20592.html/

other online galleries

http://www.artbreak.com/ulrichdebe

http://www.artbreak.com/ulrichdebe

ULRICH DE BALBIAN at VIA PRESTIGE luxury lifestyle



http://www.simplyart.co.za/artists/display/224

 His work are in collections in many countries and can be seen on many online galleries.He lives and has ateliers in several countries. Use Google or any search engine to find it. His work sell for up to $15 million and can be seen for example at  -

Galleries online, UK.


The world directory of Artists 

Directory of artists 

Simply art

some rare 'older' ( work prior to 2010 are either in  a few vast private collections or lost when the artist moved between countries) work from 2010 are shown on this site. 

Fine art America


Saatchi online



Saatchi online


Art 3000

Art Break



ARTBREAK


art wanted

art wanted

FACEBOOK

FACEBOOK


Wherever art

Wherever Art

Art Majeur

Art Majeur


artq

artq

Fine Art America

Fine Art America


art slant

art slant

 Link Korppikotka Korppikotka vie sinut vähemmän tunnettuihin paikkoihin, 240. 2, Link Dr. Ulrich de Balbian Eteläafrikkalainen taiteilia Dr. Ulrich de Balbian [[http://www.keketop.com/taide/index.php?option=com_weblinks&view=category&id=38%3Aafrikka-linkit&Itemid=48]] 

Born 1944 from parents (father Dutch-French)(mother German), in several countries where his parents lived and worked, thus diverse education and knowledge of several languages. Father veterinarian, mother medical doctor. University degrees in Art, social sciences, Philosophy, religion. Worked as researcher in sociology and sociological theory, as well as lecturer in art, religion and philosophy.
Initial art education in the line of Paul Klee, Kandinsky, and French Expressionist such as Monet, and contemporary painters influenced by them.

He intentionally choose to work as a painter, rather than any of the more gimmicky and fashionable genres of the day such as performance art or installations.He has ateliers in several countries, including France, Spain and South Africa and has British nationality, among others.

Research western painterly techniques and the structures of the western painterly code or discourse through the ages; especially interested in Bauhaus, Klee, Kandinsky, Picasso, Expressionists, some Impressionists such as Monet, and the contemporary artists influenced by them. In every work of mine I share with you one aspect of my aesthetic ideals and vision. Principles and factors that hopefully will introduce eternally lasting qualities into and transform the discourse of painting, like the works of the handful of serious artists have done over the ages. Lectured and published books and articles in philosophy (eg ontology and epistemology), theology, world religions, art, social sciences and other subjects. Spiritually ( or theologically) especially interested in the mystical traditions (of prayer, contemplation and thesis or the unity experience)in Christianity (Western, Eastern and Oriental Orthodoxy), Vedanta's self-realization, Buddhism's satori, Sufism.


Current Exhibitions -

in studio by appointment only,


or contact  art agents, appraisers, curators, advisers and collectors Goodman & Thomas


at  appraiserart at gmail.com



He has work in collections in many different countries for example,
France, Wales, Ireland. England, South Africa, United States, Spain, etc, etc.


------------------

paintings should focus on the image rather than the reference, the visual rather than the statement. He wanted to find a new way of painting that would not be constricting.


..... exploration of painterly structures in the post-modern era so as to identify that what is meaningful, possible, relevant and essential in this period. The work of a serious artist is an immense and long term investment .....


I share aspects of my aesthetic(al) vision and ideals in my work; these are things that are universal, eternal, lasting and permanent - that is , like all statements by great artists, philosophers, scientists and those with spiritual insight - expressed in the codes of  cultural practices or intersubjective /interpersonal discourses.


Some of Ulrich de Balbian's work and ideas have similarities with that of the German artist Gerhard Richter.

“One has to believe in what one is doing, one has to commit oneself inwardly, in order to do painting. Once obsessed, one ultimately carries it to the point of believing that one might change human beings through painting. But if one lacks this passionate commitment, there is nothing left to do. Then it is best to leave it alone. For basically painting is idiocy.” (From Richter, 'Notes 1973', in The Daily Practice of Painting, p. 78.)

The daily practice of painting : writings and interviews, 1962-1993

Author: Gerhard Richter; Hans-Ulrich Obrist
Publisher: Cambridge, Mass. : MIT Press ; London : Anthony d'Offay Gallery, 1995.
Edition/Format:   Book : EnglishView all editions and formats
Summary:
Gerhard Richter, born in Dresden in 1932, is one of the foremost painters of his generation. A great deal has been written about the bewildering heterogeneity of his work over the past 30 years, his seemingly willful and defiant movement between abstract and figurative modes of representation and his use of a variety of methods of applying paint to canvas. And Richter himself is the master of the paradoxical
From www.worldcat.org



How to look at my , or any, work of art -

 

from ART STUFF November, 2011

1. The Formal Framework - Visual analysis - Technique - Style - Symbolism and metaphor.

2. The Personal Framework - Reflects the artists life - Links to other aspects which may relate to the artists life.

3. The Cultural Framework - The influences of time and place - Connections to contexts and cultural purposes.

4. The Contemporary Framework - Exploring contemporary issues.



Site with images of the paintings.


 So that you know which one you order they are numbered


on the bottom right or left side: number 1, number 2, number 3 etc.


If you wish to purchase a painting from the other albums, give us:


the name of the album


and the line in which the painting appears and the number in the line.




Go to this site:


http://goo.gl/C2DSd

On this site site look for the file:


WITH PRICES.


The images of the  paintings are numbered in the bottom right or left corner:


number 1, number2, number 3 etc.








































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