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 Micheal Zarowsky  (1957 - )

About: Micheal Zarowsky


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Lived/Active: Ontario / Canada/Germany      Known for: light and water theme painting, landscape

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Ad Code: 4
Micheal  Zarowsky
An example of work by Micheal Zarowsky
Artwork images are copyright of the artist or assignee
This biography from the Archives of AskART:
Artist Statement

Growing up has been but a series of preoccupations. I never had any lack of confidence in my ability to draw. As just another way to express myself, it started out as a way to occupy idle time. My first exhibition was of drawings at age eleven. I studied philosophy and psychology and found I was able to re-organize and develop my thinking which in turn opened up the parameters of my world even further.

My return, after university, if it is a return to painting, is a return to mystery in the sense that losing myself in the work takes me places as much as I take it. Not knowing any limits, while searching for a way to express myself through painting, I experimented and through trial and error, pushed back the boundaries of what could be done with the medium. Finding traditional watercolour methods which reduce everything to a series of washes confining of my need for continuous progression and growth, it dawned on me to reverse the process so that I invent new techniques to express what I see and feel is there, painting it the way we found it and it found us.

This is not to say there is anything wrong with traditional watercolours methods, rather more of a statement about my expectation of what a finished work looks and feels like and working my way – which is the only way I know how – I can express what I have to get out. It is an open ended process in so far that each new work presents new problems needing their own resolutions. Much like reinventing the wheel each time, we come to each idea not knowing exactly what and how we will work it through, which joyfully, is much like walking a tightrope. This gives me the edge I so desperately need; all focus is on losing myself in the process; by

Albany Club, Toronto,
Ontario American International Group, Hamilton, Bermuda
Brian Ashby Studio Glass, Bracebridge, On
Bannerman Motors, Scarborough, On
Lyette Beaulac Fibre Co., Bracebridge, ON
Bermuda Home Ltd., Hamilton, Bermuda
Boulevard Advertising, Toronto, Ontario Branksome Hall, Toronto, ON
Bridgewater Insurance & Wealth Management, Toronto
Brother Development Corp., Toronto, ON
Canandaigua National Bank, New York
Channell, Mississauga, ON
Citibank Canada, Toronto, ON
Hilary Cole, Sculptor, Gravenhurst, ON
Commonwealth Group Inc., Tortola, British Virgin Islands
Cosburn, Patterson & Associates, Markham, ON
Davis & Henderson, Toronto,ON
Digital Computers, Ottawa, ON
Dofasco, Hamilton, ON
Dun & Bradstreet, Toronto, ON
Durham Fine Art Gallery, Whitby, Ontario
Elbow Beach Hotel, Bermuda
The Eaton Family, Toronto, ON
Toronto Eveready (Division of Union Carbide), Toronto, ON
Excalibur International Consultants, Mississauga, ON
Faculty Club, University of Guelph, Guelph, ON
Fitness Institute, Toronto, ON
G-3 Corporation, Newmarket, ON
Gladstone Development Corp., Greenwich, Connecticut
Goldman Group, Toronto, ON
Hallmark Cards, Toronto, ON
Nancy Haston & Associates, Toronto, ON
Havergal College, Toronto, ON
Howie, Sacks & Henry, LLP – Toronto ON
Integra Capital Management Corp., Toronto, ON
Jonah Jones, artist, Bermuda
Kristapson’s, Toronto, ON
Lederle, Praxis Biologicals, Rochester, N.Y.
Lee, Fireman & Regan, Toronto, ON
Livingston International, Toronto, ON
Donald Liardi, Sculptor, Gananoque, ON
Marguerite Gallery, Queensville, ON
Masterworks Foundation, The National Gallery of Bermuda Hamilton, Bermuda
Max RE, Front St., Hamilton, Bermuda
Merit Investment Corp., Toronto, ON
Murdoch Design, Hamilton, Bermuda
Newcourt Credit Corp., Toronto, ON
Oculus, Toronto, ON
Oxygen Design Agency , Toronto, ON Canada, Markham, ON
Pretium Resources Inc., Vancouver, B.C.
Jon Partridge Pottery, Bracebridge, ON
Pitney Bowes, Toronto, ON
Princess Hotel, Southhampton, Bermuda
Ravenswell Holsteins, Guelph, ON
Ricketts, Harris, Keachie, Toronto, ON
Royal Bank of Canada, Toronto, ON
St. Andrews College, Aurora, ON
Saratoga Hospital, Saratoga, N.Y.
Sedgewick, Noble, Lowndes, Toronto, ON
Carolyn Shugar, Artist, Calgary, Alberta
Thornhill Public Library, Thornhill, ON
Toyota Canada, Scarborough, ON
Tridel, Walden Pond, Markham, ON
University of Rochester, Rochester, N.Y.
Vitalase 2000 Inc., Mississauga, ON
Wagman, Ross & Teachman, Toronto, ON
Watchcraft, Toronto Witticat Holdings, Toronto, ON

Website of the artist

This biography from the Archives of AskART:
The following text is by Ian Andrew Malcolm and is published on the website of the artist.

Micheal Zarowsky seems to have a line of vision that is altogether novel and intriguing. He sees some fragment of a far larger landscape and he takes this element, turns it a little, plays with the colors, and creates a painting that is highly appealing blend of Impressionism and realism.

Thus there is a grand landscape of cedar trees along a meandering sunlit river. This artist pierces this scene like a hungry accipiter, and in a moment the view becomes a great cedar root rising above a small pool of water. On the one side there is a clump of marsh marigolds, and on the other side sticks and reeds form a complex tangle Micheal sees all this but he elects to show us a small part of the water’s surface with a few leaves floating there, the broken reflection of the root, the yellow flowers and the reeds, and a veiled glimpse of the stones and ridges on the bottom of the pool.

The effect is startling because it is extraordinarily evocative of an Ontario landscape. We have seen all this intricate microcosm a thousand times, but it may never have occurred to us how much it is an essential part of the more familiar whole. We might wish that Micheal would stay at home in Grey County, or in Georgian Bay, or Muskoka, because we have an abundance of subject matter to offer him here. Even so, he has recently traveled to Nova Scotia where, to the surprise of no one at all, he has discovered dories and dinghies, great barnacle-encrusted posts, rocks, fish houses and salt ponds. And, of course, the result has been a whole new series of paintings in which we see the surfaces, lines, volumes and masses of colour that make us think of the sea and of the people who live there. Once again the work tends to be suggestive, allusive, and yet unmistakably of Nova Scotia, and by Micheal Zarowsky. It is a remarkable achievement.

This artist has an uncanny ability to isolate the essence of a landscape, and then illuminate the small part of the whole, which becomes the very symbol of that which it represents. That, of course, is what abstraction is all about; but the genius of Micheal Zarowsky is that he presents the effect of abstraction while he is actually painting in a realistic way some isolated element that signifies, with utmost economy, the wider scene.

Anyway, we may rejoice that Micheal has returned from Nova Scotia and is once again finding river banks crowded with irises, and transparent pools, and fallen ironwood branches. And, as you will see, he has come upon our old Ontario bridges with their massive cement piers and their peculiar tendency to do altogether Mayan things with sunlight and shadow.
In fact this probably presages some future trip in which Micheal will actually see Chichen Itza and Tulum with his own eyes. One thing, however, is certain; he will not render the whole temple. He will take the iguana’s eye view of one small face of wall, and he make us understand that the ruins of the Yucatan are every bit as appealing as are the bridges of the Saugeen River.

Ian Andrew Malcolm

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