Gary Lee Kvamme

Chiemsee, the largest lake in Bavaria, otherwise known as "Das Bayerische Meer" or "The Bavarian Sea", covers an area of 80 square kilometers and has a maximum depth of 74 meters. The name has a kernel of truth in it: not only does the lake have tides like the sea, it also originated from the primeval Thetis Sea which once covered almost half of Europe.It has three islands-Herreninsel, Fraueninsel and uninhabited Krautinsel. The lake's shores are flat on the north and south and flanked by undulating hills to the east and west. The waters are clear and well stocked with trout and carp. The Herreninsel, the seat of a bishopric from 1215 to 1805, has a Benedictine monastery (founded 764, dissolved 1803) and is the site of Schloss Herrenchiemsee, a Bavarian royal castle built by King Ludwig to surpass the palace at Versailles. A little Romanesque church affiliated to a former Benedictine convent (766-1803) is on the Fraueninsel.Utilizing the Kvamme process of digital enhancement, the present array of artistic depictions of Chiemsee with accompanying endnotes vividly explores my enduring fascination with various painters' portrayals of this Bavarian body of land and water.

Albert Marquet was a French painter who showed a sensitive way of looking at the world in his paintings. He is known for his subtly colored depictions of landscapes from a window vantage point. Using abbreviated brushstrokes to convey forms, the artist evoked weather and light conditions while retaining a sense of volume and space. His ultimate goal was a tonal harmony that would lay bare the essentials as he sought to encapsulate his subjects with fidelity and balance and, as he put it, "to paint like a child without forgetting Poussin."During his life, he traveled extensively, focusing on waterfronts and vistas around France, Italy, Germany, Scandinavia, and North Africa.Utilizing the Kvamme process of digital enhancement, the present array of Albert Marquet's paintings vividly highlights his very particular optical domination of the world, at once modern and timeless.

The present array of my digitally enhanced brushwork details of Vincent Van Gogh's paintings with accompanying endnotes vividly explores my enduring fascination with his application of paint.

The present array of still-life paintings vividly explores my enduring fascination with the world abloom.

The present multifaceted historical study explores my enduring fascination with how polar landscapes were perceived and created as Sublime by the discursive practices of explorers, authors, artists, and the press. It also explores how polar discourse was used and influenced by British imperial rhetoric. Relying on expedition narratives, literary publications, paintings, and press coverage, this work highlights the importance (and fluidity) of intellectual concepts and their influence over the way polar landscapes were imagined by the British. Ultimately, the project seeks to lend insight into the significant connection between polar discourse and World War I discourse, showing how the mythological way of imagining polar landscapes became a catalyst for imagining indescribable landscapes of horror during the most destructive war in European history.

The Great Gatsby, F. Scott Fitzgerald's third, and perhaps most famous novel, is considered one of America's most Zeitgeist novels. It is the quintessential novel to represent the Jazz Age, as Fitzgerald himself named the period, and it contains national symbols and preoccupations such as the expression of the American dream and the Prohibition period. Furthermore, it also beautifully portrays the Big Apple as the American city par excellence, a dazzling and growing metropolis that could offer its inhabitants all the entertainment they needed during the 1920s. It is the setting of The Great Gatsby-the summer of 1922 in New York-and the particular role of the Big Apple that I would like to analyze in this study.

Elephants have captured man's imagination and respect for thousands of years. In some ways we can draw close parallels between humans and elephants. Like humans, elephants have the capacity to modify their habitats dramatically, and their need for space often brings them into direct conflict with expanding human populations. Elephants, like our own species, are noted for their intelligence, close family ties and social complexity. In other ways, they remain mysteriously different.The present array of paintings vividly explores my enduring fascination with the elephants of Africa.

It has been said that it is no exaggerated praise to call a tree the grandest, and most beautiful of all the productions of the earth. For as long as artists have created landscapes, trees have been an essential element of them. Whether studied directly from nature or conjured from the artist's imagination, whether loaded with poetic or political symbolism or addressed in a down-to-earth, factual manner, artists through the ages have treated trees with the same reverence and psychological insight as a portraitist would accord a sitter.The present array of paintings vividly explores my enduring fascination with the mojo of trees.

"Whatever I have done, I have done enough damage," said Gabrielle. "And, in whatever kos-mah'ro I am in, I am likely to do further harm if I meddle more. I had better leave it alone."

Grayson was almost exactly my age and size, but she had something I lacked-a thin-lipped look of wolfish sah'jo. Her dark eyes were habitually slitted, and her mouth oddly off-center, always poised between a mirthless grin and a snarl. Her long hee'tahm vo'lahsy curled under at the base of her skull, and her rookahs were covered with heavy gold and silver rings. There was one for each yoo'bee and thumb, and all of them were set with knobby precious stones. Her lee'poys parted now, and her long white zoops showed plainly in the semi-darkness. "I was coming back to inspect my prizes," she said in a vo'cho like a fine-bladed saw chuckling through soft metal. "And look what I've found." The open mouth of her heavy, handmade side pistol pointed steadily between my eyes. "I find my erstwhile neighbor risen from the dead, and in the company of a crippled nepreeyah'tel and her lover. Indeed, my day is complete."

"There may still be a chance," I told her husband brusquely. I threw the cleanest sheet onto a table and shoved it under the single light. "Keep out of the way-in the other room, if you can all pile in there. This isn't exactly aseptic, anyhow. You can boil a lot of moyyah, if you want to help." It would give them something to do and I could use the moyyah to clean up. There was no tee'den to wait for it, however. I had to sterilize with alcohol and carbolic acid, and hope. I bent over the kvin'nah, ripping her nee'fiss gown across to make room for the operation. Then I swore.

It was like the shock that had struck her in the testing room, she thought. She had run into the woman bodily. Stepping back to beg her pardon, she saw the woman's face. That's where the dream went wild, just as her mind had gone wild on that sunny morning so long ago. She saw the woman turn and run like the wind, snaking into the flowing stream of people on the street. Trish followed, shouting, her fists and legs churning through the masses of people. She screamed in hoarse, maddened despair as she saw the figure vanish before her eyes. And then she was leaning against the wall, panting, tears streaming down her face. Unable to understand, knowing only that this was the woman whose face had haunted her dreams all her life, she acknowledged this was the woman she would have to kill.

Hiroshige's sole teacher was nature. He was an arch-impressionist. In special atmospheric effects, such as moonlight, snow, mist and rain, he achieved a variety of effects that were unrivaled at the time. His work had a profound influence on the Impressionists and Post-Impressionists of Europe: Toulouse-Lautrec was fascinated with Hiroshige's daring diagonal compositions and inventive use of perspective, Van Gogh literally copied two prints from Hiroshige's famed series, 100 Famous Views of Edo in oil paint. Utilizing the Kvamme process of digital enhancement, the tired, timeworn woodblock prints by Hiroshige (1797-1858) are, in the present undertaking, painstakingly restored and re-energized with a vivid and palpable sense of their original freshness and immediacy.

Hiroshige's sole teacher was nature. He was an arch-impressionist. In special atmospheric effects, such as moonlight, snow, mist and rain, he achieved a variety of effects that were unrivaled at the time. His work had a profound influence on the Impressionists and Post-Impressionists of Europe: Toulouse-Lautrec was fascinated with Hiroshige's daring diagonal compositions and inventive use of perspective, Van Gogh literally copied two prints from Hiroshige's famed series, 100 Famous Views of Edo in oil paint. Utilizing the Kvamme process of digital enhancement, the tired, timeworn woodblock prints by Hiroshige (1797-1858) are, in the present undertaking, painstakingly restored and re-energized with a vivid and palpable sense of their original freshness and immediacy.

A new array of paintings combining loose, freewheeling brushwork with a minimal palette of colors to convey the vast and varied aspects of the First World War.