HAND SIGNED LIMITED EDITION LITHOGRAPH. CUSTOM FRAMED IN GOLD WITH A DOUBLE MAT. EDITION OF 950 PUBLISHED BY THE AMERICAN MasterS FOUNDATION. CERTIFICATE OF AUTHENTICITY FROM THE PUBLISHER IS PROVIDED ON THE BACK OF THE PIECE.

“When painting, I set out to match my own emotive spark rather than any nominal subject of garden or girl.” Said another way, color is Frazier’s true subject, the medium through which he conveys his own emotions, and connects to the viewer. In conversation, as on canvas, Frazier speaks with directness of his impressions; the energy of sunlight suddenly breaking through trees, the tentativeness of a breeze, the perfume of a garden, the lazy beauty of a lakeside afternoon. Inasmuch as he uses broken bands of color to convey these personalized and admittedly “romanticized” impressions of his surroundings him, Frazier is an Impressionist in the classical sense.

However, “Impressionist” is a label Frazier would prefer to avoid. Instead, he calls himself a “colorist,” claiming it to be a more honest term for his work. More recently, he has taken to describing himself also as an “individualist,” stating, “To grow, one looks beyond what one knows. A survey of unknowns is a venture of individualism.” The point, he says, “is to respond to your own work so that you are continually innovating.” The process of this continual innovation has taken Frazier far from his family roots in Shreveport, Louisiana, although the classical elegance of the art and Architecture of that city’s antebellum past remains ingrained in his psyche. To this antebellum grounding, Frazier has added years of study at the University of Southern Louisiana, Lafayette; Holyoke Community College in Massachusetts; California State University, Long Beach and at the Art Center College of Design in Los Angeles, California.The Mastery of his craft has led to seventeen one-man shows, held in locations ranging from Washington D.C. to Texas, Arizona, Florida and South Carolina. Further recognition of Frazier’s ability and talent has come in the form of feature articles in both Southwest Art and Midwest Art magazines.“I don’t know where I’m being led in this journey of discovery,” Frazier concludes, “but periodically along the route it all adds up and I say ‘Aha! The journey can be a beautiful thing…’”

HAND SIGNED LIMITED EDITION SERIGRAPH. CUSTOM FRAMED AND DOUBLE MATTED. Michael Rozenvain Biography: Michael Rozenvain was born in Kiev in the Ukraine in 1963. He attended art school in Kiev and later on continued his studies at the Lviv Academy of Applied Art. He immigrated to Israel in 1990 and has since had a number of one - man shows as well as participating in group exhibitions. At the same time, he has contributed large Plurals and decorative elements to public buildings as well as Monumental displays in hotels and libraries. On one's first encounter with the work of Michael Rozenvain, one's mind turns to the palimpsest of many generations past-that is, the parchment or tablet on which an earlier drawing or writing has been erased to make way for another. This impression quickly vanished and is replaced by an ultra-modern concept of windows (a computer - technique), in which the major element, a specific landscape or the ever-present vibrant flowers in a vase, almost entirely covers but not quite, a second, third, or even fourth scene enclosed in a framework or a window. The sensual language and texture takes precedence over the subject matter but the flowers are always present in all their rich full-blown glory. The Mediterranean Street Scene, the Café orchestra, the piano, and especially the pale-skinned reclining nude women, fill or submerge the canvas in a series of what is certainly the contents of the artist's sub-conscious as well as his conscious memory, for he is reluctant to let them disappear. Their vitality is unquestionably their foremost feature and stays in our mind's eye for long after we have left them behind.

Biography-Michael Rozenvain was born in Kiev in the Ukraine in 1963. He attended art school in Kiev and later on continued his studies at the Lviv Academy of Applied Art. He immigrated to Israel in 1990 and has since had a number of one - man shows as well as participating in group exhibitions. At the same time, he has contributed large Plurals and decorative elements to public buildings as well as Monumental displays in hotels and libraries. On one's first encounter with the work of Michael Rozenvain, one's mind turns to the palimpsest of many generations past-that is, the parchment or tablet on which an earlier drawing or writing has been erased to make way for another. This impression quickly vanished and is replaced by an ultra-modern concept of windows (a computer - technique), in which the major element, a specific landscape or the ever-present vibrant flowers in a vase, almost entirely covers but not quite, a second, third, or even fourth scene enclosed in a framework or a window. The sensual language and texture takes precedence over the subject matter but the flowers are always present in all their rich full-blown glory. The Mediterranean Street Scene, the Café orchestra, the piano, and especially the pale-skinned reclining nude women, fill or submerge the canvas in a series of what is certainly the contents of the artist's sub-conscious as well as his conscious memory, for he is reluctant to let them disappear. Their vitality is unquestionably their foremost feature and stays in our mind's eye for long after we have left them behind.