Israeli Art Landscape Painting
Ron Gang
the soul, spirit and colors of the Negev
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Works according to year :   (updated July 2, 2014)   please click on a year ...... Works from the latter years are on the above pages only.


A Few of the Galleries (please click on a picture, or use the master menu further below)
  more recent works appear only under the above "works according to year"classification
Hillock Stunted Cypresss II, oil
                  landscape painting on canvas
Cypresses in the Wadi


Summer's
                  End no. 2, 2006, oil on canvas, see Acacia page 3

The Acacia Tree....
Gully Slope,
                  2006, oil on canvas
Wadi Explorations

Sabra With Yellow Flowers, oillandscape
                  painting on canvas

Sabra Cactus..


Kav Noa
                  irriogation machine - oil painting

Kav-Noa irrigation Machine

Fata Morgana
                    - mirage
The Canadian Shield
late afternoon, oil landscape paintng on
                  canvas
The Gully



Self Portraits


Valley in Winter - oil landscape
                  painting on canvas

The Land


Master Menu according to subjects :
 more recent works appear only under the above
"works according to year" classification.
Panoramic Views
The Land   I
The Land II
The Land III
The Land IV
The Land V
         Wadi explorations, new motifs
     Land and Sky
     Seasons of Wheat
     The Verdant Season
     The TEL (ancient mound)
     The Gully

     The Acacia Tree- PART ONE           The Acacia Tree  - more
         
     Trees Trees Trees- Palm, Eucalyptus, Cypress, Tamarisk.......
     Trees and Groves
     Cypresses in the Wadi

     The Sabra Cactus
                                   In Memory of Asim Abu-Shakra

      The Canadian Shield Series

      Elements in the Landscape

      Arches
      Kav-Noa (irrigation machine)
      The Arabesque Mandala Series
            More Mandalas
            More Mandalas and Related Works
      Non-Figurative Works I
            Non-Figurative Works II
            Non-Figurative Works III
      Portraits
      Other Paintings
      Self Portraits  I
      Self Portraits  II
      Ron Gang talks about his ideas and art

      Artist's Curriculum Vitae
      Press Clippings (English)
      Photo Album - Studios
                            - Exhibitions
      Availability of Works
      Links
     
עברית

Hebrew Page Menu

      Israeli Press (Images of clippings ... Hebrew)
           more Israeli Press clippings
         4X1MK
Email: gang@urim.org.il

Ron Gang, Kibbutz Urim, D. N. HaNegev, 85530 Israel
telephone: 972-8-992-0561 (from overseas)
08-992 0561 (within Israel)

  
You may wish to bookmark this page,as the amount of material here needs more than one viewing.
Easy-to-remember site address:  www.RonGang.net

all works copyright by the artist


 
some of Ron Gang's paintings also may be seen at:

The Stern Gallery
30 Gordon St., Tel-Aviv
Sunday-Thursday
10:00 - 13:00 , 17:00 - 20:00
Friday 10:00 - 14:00


a good selection of works is in Toronto-
please contact Ron for further details
Ron Gang Interviewed on Israel TV 1

http://www.saatchionline.com/rongang
 
















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For all the paintings:
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Ron Gang talks about his art and ideas
(if you've scrolled this far down, then here is a collection of my verbal musings, about my approach to art, painting, philosophy of life in general, and more "bloggy" talking ....
nonetheless, a picture is worth a thousand words, so only if you've had enough of the images of the paintings, then read on
(or go to Ron Gang talks about his Ideas and Art for the text accompanied by some photos).

"My paintings are fueled by a bond to the land of Israel's Northern Negev at the desert's edge. The art I like does not try to be sophisticated, but is innocent, speaking with a quiet voice to and from the more fundamental depths of one's consciousness."

In this period, the "art world" in my country is pre-occupied with "now art"... art that addresses current political and social issues. I would like to think of my work as art of the "eternal now", a state where one becomes engrossed in the experience of the moment which becomes an all-encompassing eternity. (This term is used by Alan Watts in The Way of Zen.)

Wasily Kandinsky, recognised as the founder of abstract art, spent his last years in a small apartment in Nazi-occupied Paris suffering from a grave illness and the restrictions imposed by the objective political situation. Nonetheless, his work from this period gives not the slightest clue to these stifling surroundings. Rather, he continued to draw on his highly-developed inner spiritual world and produce some of the finest, most absorbing paintings, that bring across the feeling of a highly beautiful transcendental universe.

Ludwig Blum, a plein air painter of the Land of Israel, is a great inspiration for me.  In lae 2009 and early 2010 a great retrospective exhibition of Ludwig Blum's works was shown at the Diaspora Museum in the campus of the Tel-Aviv University.   The show, curated by Dr. Dalia Manor, at long last did justice to Ludwig Blum, so overlooked by the Israeli art establishment all these years.

Are these works masterpieces?  Well, maybe some of them - indeed a respected artist has told me when visiting the studio - "This work is a masterpiece - do not sell it, at least not for a low sum."  It is hard to say what is an Israeli masterpiece-especially in this day and age when the focus on the quality of workmanship and craftmanship in art has changed.  Are there masterpieces being produced today?  Probably so, yet probably far from the limelight.  Have I painted a masterpiece?  This is not for me to say, and only for history to judge, which I hope will be kind to me. 

Trees:
Acacia Trees, Eucalyptus Trees, Tamarisk Trees, Olive Trees (two early paintings, unfortunately not on the site at present), Date Palm Trees, Cypress Trees, have I left anything out?...  Mankind has a connection with trees since the earliest time...  this is born out in Bible with the references to the different trees in the Garden of Eden.
The tree paintings are an allusion to the human condition... roots anchored  in the ground, head in the heavens... arms (branches) reaching  to the sky.
The paintings of trees are an exploration... the search continues.... painting trees goes on.....
Is there anything "Jewish" about these paintings?  The question of Jewish art and Jewish painting is probably one of content, and not related to the ethnic group from which the artist comes.  Is this "Israeli Art?"  Definitely, as the term "Israeli Art" and "Israeli Painting" defines the geographical location from where the art comes, and since the work is of the Israeli landscape, this also relates to the content of the paintings.

As per the question of Judaica: This is art based on Jewsih themes-
One painting  of mine "Jacob's Ladder" is indeed based on a vision from a Bible passage.
So strictly speaking this can be classfied as Judaica.
Yet, I se this work also as universalist, the message being one of transcendence.  The Bible itself is full of universal messages.
We should honor ethnic and religious traditions and see that all the cultures of the peoples of this planet make up onr beautiful mosaic!

Plein Air   (pleine air):
Working directly from nature, from direct observation is the essence of plein air (pleine air) painting.
Nature is the teacher, provides the answers, lighting, color, lightness and darkness (chiaroscuro) values.
No need to invent - rather, in plein air, not to impose the artist's ego on nature, yet to be receptive, observant.
In plein air, through developing the powers of observation, a greater sensitivity to visual nuances emerges.

Portraits:
The human face is possibly of the most fascinating landscape, each line, shape and angle revealing
a lifetime of experience, thought and emotion.  It is all there - we just have to look and put it down
on the canvas,  Normally, we may not gaze at a person's face, as it is impolite, disrespectful and
elecits difficult responses.  Yet, the portrait painter receives a license to do this, and in painting the
 subject's portrait during a live sitting, the portrait sitter reveals his multi faceted soul,
as over the time of the portrait sittings, the fine nuances of the face are displayed.

Paintings as these record the
universal spirit recognised in all beings and creation. From this level
of awareness, the Palestinian - Israeli conflict is but another
phenomenal manifestation of the play of the forces existent in
creation. Beyond the awareness of "Palestinian" or "Israeli" or for
that matter "Roman" or "Nabatean" expressionist, one sees these as but
mere labels, tags, attached names, which people fight over and in a
more fundamental level of reality have no real existence, but are mere
appended labels. Is there really a "Palestinian art" or "Israeli art",
or is there just "art" per se with no labeling? Is there a "Palestinian
artist" or an "Israeli artist", or is there just an artist? When you
contemplate an artist or any human being removed from contextual mileu,
he/she is only a human... there is nothing "Palestinian" or "Israeli"
discerened in her/his biology. So one producing "Palestinian art" or
"Israeli art" is producing art whose content transecends the labels of
"Palestinian art" or "Israeli art". Universal art is the basis....
critics and political beings may attach the labels. Do we strive for
that which is pure?

Painting is not dead, nor should working with oil paint on canvas be considered anachronistic. The tradition of painting is a continuing and developing one. Progress is yet to be made, building on the work of the great painters of the not-too-distant past.

It would seem that the advent of the "ready-made" earlier in the  last century, has usurped the value of craftmanship in art. I believe that this is a detour from the path. It is only a matter of time in which innovation for the sake of innovation alone will fall by the wayside. The true values of art will survive, as art strives for eternity.

My landscapes are painted in the open air. I prefer to walk out into the desert to work in quiet undisturbed isolation. The work progresses through the direct process of observing nature. Scales seem to be removed from the eyes as greater depths of colour and spatial relationship appear. Indeed the act of painting seems to be a form of meditation causing a heightening of the awareness. While in the field, what takes place on the canvas seems as a reduced reflection of all that is experienced. Yet when viewed back in the confines of the studio, it is clear that the canvas has brought back the vitality of the greater experience.

Sometimes I feel that it is the landscape which has painted itself, not the artist. I have been but a medium through which that which has been painted has recorded its presence.


One of the joys of painting is the endless combination that the paint, colour and texture manifest on the canvas. When successfully juxtapositioned, different colours go into vibration or oscillation with each other. Layers of paint are built up with various degrees of transparency creating unpredictable new effects.

I like a good, textured, painting which gives you the sense that there is something "to sink your teeth into."

Monet is said to have put each canvas aside, and pulled it out when the particular atmospheric/lighting effect appeared. A particular canvas was earmarked for only a certain atmospheric effect, and thus he would not work on it under a set of conditions different than those he had decided to be suitable for that piece.

I have continued with the same canvas under varied conditions, all of these conditions adding up in terms of layers of paint, one over the other, contributing to an unforseen final mood which is born from all the different painting sessions coming into harmony not without conflict having taken place between these same layers/sessions, and their traces evident along with their resolution.

Time seems to be an indispensible element of the work. Time in the meaning of a span of time from the beginning of the canvas until the realisation of its completion. Time is necessary to see all the subtleties in the work and develop the feeling for what alterations or modifications are to be made for all the parts of the painting to live together in harmony. This time is also necessary for separating the painter's seeing of the painting from the intensity of feelings that accompanied the earlier act of bringing the raw unfinished painting to be on the canvas. At that earlier stage the artist identified with the stimula outside of the canvas, and during that period, when viewing the painting, he would see more the external stimula, than the work itself on the canvas. This could be for better or for worse... The canvas could cause him to recall his private experience at the time, re-creating for him, but only for him, those sensations. Yet, the same canvas may communicate absolutely nothing to another viewer. Or the artist would still be so much enamoured of that experience, that he would be blinded to the imperfections or disharmony of the canvas. Thus, only once he has put the work out of his sight and over the course of time allowed that memory of the experience to fade, then he would be able to once again look at the work and see it on its own merits and make decisions on how to proceed.

On the other hand, during the time of the initial painting act, he may have implanted in his mind a very strong idea or feeling as to what direction he wanted the work to take. The work at that time did not live up to that ideal, and the painter felt it incomplete, unfinished. Only once again by distancing himself again from these feelings by means of the passage of time, does he view the work in a more objective frame of mind. Then he may even discover a new painting (to him) and see that it is indeed a completed harmonious work.

In both cases the passage of time was necessary to the artist to see his work more objectively.

It would seem that this passage of time is in effect another layer of paint - in this case invisible, but not entirely intangible - which goes on to the canvas and becomes part of the totality of the work.
 


It may seem from the above statements that I choose to ignore the surrounding social realities, and like an ostrich, bury my head in the sand. Of course, it is hard to evade the aberrations of this present age. There are those that in the name of the Creator and/or his messengers are willing to destroy His creatures or deny them their human dignity.

YET - if we we all co-operate, we shall turn this world into Heaven on Earth.

It has been demonstrated the the money spent on but ONE day of warfare in the Middle East is sufficient to solve all the problems of water shortage in this region. If we will it, it is no legend.

To come back to the issue of art... no, I cannot bury my head in the sand! But, alas, let there be POSITIVE VIBRATIONS!!! We shall not let those of destructive tendencies drag us down. With eyes open, we shall rejoice in the beauty of the Creation. We shall know our potential, we shall strive for the Ultimate. Let the art offerings serve as witness of the Goodness that exists around us. See the positive, strengthen it, and in the effort of making a better world, we shall strive for beauty!





Even though I prefer this to be a non-commercial site,  most of the paintings are for sale.  An artist must survive, and as such he must sell works to buy time to create new paintings.  So, please be encouraged to buy my works and become a part of this creative process. 
(Paintings that are no longer available are indicated in the caption below the image as being in a private or corporate collerction.)
Please contact me for prices and shipping information.

About lighting::
Light is the key - lighting varies with time of day and accents different shapes and features. Light through clouds like a spot light on one area of the landscape highlighting it in contrast to the surroundings. Lighting of the paintings is of utmost importance - good lighting will make the painting work, poor lighting will hide what is there. Atmospheric factors change the light and the softness or hardness of view...

How to paint a landscape, how to paint a sky, how to paint anything for that matter? The key is using our eyes, "listen" to your eyes, and let your eyes make the  decisions as to shape, color, etc.
At the London (England) Jewish Cultural Centre : Tues. Dec 14 at 1:30 PM a lecture was given by Dr. Lila Moore: Jewish Mysticism and Myth in Modern Art - Case Studies: Mordechai Ardon, Marc Chagall, Ron Gang, Hava Gal-On.

The spring and summer of 2005 saw an exhibition of 18 of my paintings in the art gallery of the Holy Blossom Temple in Toronto, Canada.
Although I had participated in a few group shows in Toronto and had a few years previously a solo show of my work at the nearby Westdale Gallery in Hamilton, this was my first major show in Toronto.


 Monet and the Impressionists including greats like
Pissaro, Sisley, Morrisot showed us to connect with nature in a fresh
way... Kandinsky showed us the Spiritual in Art to be true to out inner
world, to manifest our spirituality in our work, every brush stroke's
direction having spiritual importance.. art of the spirit to enhance
our consciousness and awareness to expand to awareness of the universe
in a grain of sand... allowing vibration of color influencing the
psyche with a positive vibration to uplift the spirit to new heights.


My art studies over the years provided many mentors... my first art teacher was my father,
 Israel Gang, who in my early years introduced me to me to the secrets of perspective drawing. 
Edna Goodwill at King Edward Public School in Toronto deepened the knowledge of perspective
and introduced me to colour and Vincent Van Gogh.  My mother, a lover of art, took me to
see the Van Gogh exhibition in Toronto, back in 1960.
  Studying with Chaim Meyers Weiss at the evening classes at the
Western Negev Maale Habesor School from 1980 to 84 rekindled the artistic impulse
and convinced me to enroll in the Tel-Aviv School of Art ("Kalisher"), founded
by Arieh Margoshilsky.  Most influential teacher-artists for me there were Yedid (Yadid) Rubin, Eli Shamir, Ofer Lelouche,  Ami Levy
(a sculptor teaching silk screen who demonstrated some secrets of color mixing), and others of varying influence were Yossi Asher,
Maya Cohen-Levy, Larry Abramson, David Reeb and principal-teacher, a student of Margoshilsky, Zvi Ben-Dov.
Student-colleagues of note were Dani Ben Simhon, Tal Matzliach, Asim Abu-Shakra, Farid Abu-Shakra, Meira Shemesh, and Michal Spector.

My paintings were  featured in an exhibition curated by Tali Tamir in
the Kibbutz Gallery in Tel-Aviv called "Innocent Art" commemorating
Israel's 50th Indepedence Day Anniversary... was this naive art? An art
critic reporter asked me if I was a naive artist while he sensed that
there was something deeper. Tali Tami, the curator, seemed to classify
my work with that of naive artists while hinting to me that this wasn't
the exhibition that I had wanted. In an art world where strong
statements are the rule, is there a dulling of sensitivity to render
the deeper levels in my work imperceptible, and as such it is called
"naive" art?

My first major venue outside of Kibbutz Urim (excluding the Kalisher Gallery where the graduates of my art school exhibited their crowning art-student
achievenments) was the Beer Sheva Museum of Israeli Art, where a number of exhibitions of Negev artists were held.
Then, being elected to the Jerusalem Artists' Organization, I participated in a group show and a year later had a solo exhibition in the Jerusalem Artists' House.  I was told that this was the first site of the Israel Museum before its present campus was built.  I am still waiting for an invitation to exhibit there as well as the Tel-Aviv Museum of Art :-)  .
Modern Impressionist painting and
impressionism in landscape painting and landscape paintings also has
elements of expressionism and/or expressionist tendencies contemporary
art. Figurative art and figurative painting is a non-abstract where the
paintings are a window to the world. Representational art and
representational paintings more specifically. Mystical Art and mystical
painting shows greater truth, the aim of mysticism and mystical art
being pointing to a greater reality. While painting art works of
landscape, landscape paintings provide an art world of plein air (plein
aire) vision. Indeed landscape painting in oil on canvas in the plein
air is an impressionist art. We must carry artisitic tradition forward
using together the lessons of Cezanne to create a new perspective of
volume and color on the painting surface. Time for reflection,
contemplation and observation of nature, form and space creates
heightened awareness of reality.

Spiritual Art is
painting which conjurs up the spiritual feelings from deep within, to
identify the spiritual manifested in all creation... allowing vibration
of colour influencing the psyche with a positive vibration to uplift
the spirit to new heights.  The psychological affect of
colour is used to exalt the spirit.
The sky in paintings of sky and clouds:
the clouds are painted from living moving clouds whose life leaves
traces with the oil paint on the canvas.
The Sabra Cactus, known as prickly
pear, refers not only to the Sabra native born Israeli, yet to the
Sabra as a spiritual entity whose form suggest manifold visions.

Abstract and Figurative Art
On one level all art is abstract,  for a painting to work, it must have certain compositional
qualities of color, form, texture, light and shade (chiaoscuro), flow, etc. whch are essentially abstract.
Yet, we often in our imagination see figures in abstract art.
The figurative has great hold on the mind, and I admit to my personal near-enslavement to the form and figurative of the tangible.
Having said that, I have a great love and respect for good abstract art, and indeed envy those artists who can produce from within themselves
 work which is freed from the form and figure, yet whose harmonies trigger off such a wonderful reaction in the viewer.

Political Art....
Political art sees art  as a means to improving the world.  This is generally by pointing out the wrongs and ills in society,
and as such is a protest.   Yet it really doesn't do anything about the situation.
Would nott those who make political art, if they are truly concerned with improving the world, do better by engaging
 in efficient social and political action to make the world a better place?
Does this political art think that we don't already know  the defects of the world?
 Outside of the political statement, does this art have an inherent value of its own?
  Is it's "political statement" just a gimmick to bring attention to itself, to give itself an aura of importance?
   Does it furthermore set up an atmosphere that says that art must relate to to the "contemporary social reality"
and then denigrate art for art's sake as of being of no value or relevance?.
Has this "political art' captured the art extablishment and installed its own proponents as the curators,
critics and other art-world power possessing individuals?


Will the power-holding-individuals in the art world recognize a painting which is art for art's sake?
If there is no social-political conotation, will they deny the work's raison d'etre?
Is art for art's sake doomed?
You can make the difference!

Lao Tze is quoted as having said, "He who knows does not speak; he who speaks does not know."
From all that I have said above, it should be clear that I know nothing.



The transcendental in art.
The sublime in art..
Yes ....
I like art to express and even communicate the transcendent and trascendental.  I have been told that the practice of Transcendental Meditation shows its influence in the work. The act of painting itself is a mediation, and the viewing of art I think should  be  a meditation as well.





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Israeli Art Landscape Painting