Beautiful and modern Don Hazen oil canvas. It has a COA. Title: Woman on a Balcony. Amazing multi colors, exaggerated broken color impasto. Size: 44 x 43 inches. There is a crack on the frame.Part of the COA is missing, the paper is broken.

Biography: "Don Hazen was born in Johnson City, TN on November 1, 1933. Of Dutch-Irish descent, he was reared in a religious atmosphere since his father was a lay minister of the Baptist church. The future artist was the eldest of seven children and grew up in an ambiance devoid of artistic influence. He now recalls with amusement that at the age of eight he occupied himself with drawing on all the neighbors' trash cans with liquid shoe polish. Even that minimal activity was viewed with disfavor for his was a rough neighborhood in which sports were of prime importance and "sissy" was the appellation given to any child who preferred staying home to draw pictures.When he was seventeen Hazen enlisted in the army and served in Japan and Korea. After his discharge in 1955, he enrolled in East Tennessee State University to study engineering. In a short time he realized that engineering was not his field, so he left college, still undecided what career he wished to follow. In 1957 he hitchhiked from Tennessee to Denver. There he met the mural painter Dan Chapin, and it was through Chapin's encouragement that Hazen began seriously considering art as a career. To support himself & pay for his studies under Chapin, he found a job in a defense plant. A year later he was transferred to Orlando, Florida where, in addition to working, he attended classes under Ralph Bagley at the Orlando Institute of Art. Hazen completed a two-year course in fine arts, followed by one year of study with the portrait painter Robert Anderson in his Altamonte Springs studio near Orlando.Hazen felt the time had come to work independently. He had saved enough money to live on for a while and upon the advice of a European friend, he decided to go to Spain. After traveling across southern Europe with stops in Madrid, Ibiza, Nerja & the Canary Islands, he settled in 1963 in a small village near Alicante where he set up a studio in a peasant's house and began painting directly from nature. During his first year in Spain he met and married Amparo Gomis.In 1965 and 1966, Don Hazen exhibited paintings in Atlanta, Georgia; in 1966 and 1967 he had exhibitions in Cincinnati, Ohio; in the four following years his work was exhibited in Alicante, Malaga and Murcia, Spain; in 1973 he was invited to exhibit at the Museo de Cultura in Gaudalajara, Mexico.Don Hazen rather wryly comments that "some painters may be good art critics, but painters are seldon writers." Nevertheless, when questioned about his personal view on painting, he had the following to say: "Above all a painting must vibrate with expression. By that I mean not in the sense of a mirrored human face; I mean that the whole arrangement of the picture must be expressive. The negative forms, the space & the composition must be expressive. Color conveys the emotions and often expresses the love felt by the artist for life or for his work, which usually means the same thing. Composition, subject matter, ideals may all come from the head, but color is the feeling which comes from the heart or the soul."When I paint, I am not trying to create an illusion; I am trying to impress upon the viewer that he is looking at a painting, something that is pain applied to a flat surface. Working with this in mind, and using board, flat forms in contrast with forms of a more plastic nature affords more freedom, which is part of the overall expression. Moving in this direction, eliminating detail, we get at the very essence of the subject.""It is not easy to explain how a painter achieves this in a work of art, but it is something all great painters seem to have in common. Part of the explanation may be that they tend to let their subconscious take over to a greater extent, which in turn alters the conscious, giving greater energy to the flow of creativity."

All authorship of items in this catalog are described according to the following terms:

Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given.

By [Artist Name] : The work is by the artist.

Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.

In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.

After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.

Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.

Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil).

American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).

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