Inspired by the Colors of Arizona 

An article by Jane Sandwood, Therapist/Freelance writer

The Subtle Effect That Art Can Have On Improving Mental Health

An article by Jane Sandwood, Therapist/Freelance writer

By Diana Madaras

I was so enthralled with capturing the light on the cliffs that I did not pay attention to where I was walking. At the end of the wide dirt drive in front of the last cabin, I stopped to raise the camera to my eye when I glimpsed a large brown mound next to my foot. Some part of my being realized it was a snake. It was right next to my foot! I jumped three feet sideways as he rattled at me. The snake rose up and lashed out...

By Brian @ Madaras Gallery

In our previous Bigfoot Blog, we spoke about employing the rule of thirds to improve the composition in paintings and photography. During that discussion, the subject of focal points came up. We’re going to continue exploring that concept.

By Diana Madaras

I am not a formula painter with a step-by-step routine that I follow every time. I never want my process to become rote or boring, so when artist/teacher Derek Penix suggested I start my newest painting with wild, crazy brushstrokes, I got excited.

By Brian @ Madaras Gallery

There it is in front of you... the perfect picture moment.

It could be a vivid sunset painted lushly across the sky. Perhaps it’s your child in a moment that you want to remember forever. Or maybe you just came across Bigfoot (again), and nobody believed you last time. Either way, it’s beautiful and needs to be captured for posterity. Fortunately, you have your camera handy. You snap away with confidence and eagerly check your photo...

By Brian @ Madaras Gallery

Color selection can greatly change your emotional perception of a piece. But there are other, more subtle aspects that also influence how a work of art affects you. An equally powerful tool at the artist’s disposal is composition. That’s a fancy name for a basic concept: composition simply refers to how the artist places the elements we see in the art.

By Diana Madaras

Rancho de la Osa (Ranch of the Bear) is tucked away at the end of the earth in Sasabe, Arizona—less than two hours southwest of Tucson. As we pulled in, the giant sycamores rustled their low hanging leaves like flouncy Flamenco skirts.

By Diana Madaras

Clementine shied,  side-stepped, and spun around. The flaps of my hat blew up, and that scared her more. She bolted.

By Diana Madaras

Since I’d broken my hand, fear clouded any adventure that involved a possible fall. I’d spent 11 months in five different contraptions rehabbing my poor fingers and worrying if I’d be able to paint again. Now I was speeding down the road on a mini motorcycle.

By Brian @ Madaras Gallery

The paintings of Diana Madaras have been praised for their bold use of color. So I’d like to talk a little about some basic color theory in her work. In particular, I’ll discuss the striking use of complementary hues in two of her paintings.

By Madaras Gallery Staff

Anyone who has ever spent a significant amount of time creating an artistic work has experienced the desire to give up at some point. However, Diana Madaras finds that quitting in the middle of a painting simply isn't an option - she finishes it no matter what. And here's why...

By Madaras Gallery Staff

Color is powerful, and it's not just a matter of opinion. There have been numerous studies done on the effects of color on the human mind (a field called chromodynamics), and many of the principles discovered have been incorporated into our lives without us even knowing it. For example, simply changing the color of an "Act Now!" button from green to red on a sales website resulted in a 21% increase in conversion. Make no mistake - color matters.

By Diana Madaras

Often when I work, I like to listen to the TV. It keeps me company during the very solitary endeavor of painting and distracts my critical left brain. Last week, I "listened" to Wild - the movie starring Reese Witherspoon - about the woman who hiked 1200 miles on the Pacific Coast Trail. I was very taken with the story and often had to stop painting to gaze at the beautiful scenery.