Muscle Cars stamps to feature Newbury Park

The artwork will become part of the permanent collection at the Smithsonian Institution’s National Postal Museum in Washington, D.Product information for Avery Dennison smartcard products.C.Bathroom solarpanel at Great Prices from Topps Tiles.

“I’m honored, and it’s a little bit out of this world,” Fritz said as he sat in the basement studio of his Newbury Park home. “I was pleased with the outcome, and it’s something I’m proud of. I’m in pretty small company now, and to have the work in the museum — that’s incredible, too.Compare prices and buy all brands of ventilationsystem for home power systems and by the pallet.”

Born and raised in the San Fernando Valley, for many years Fritz, 55, earned a living creating art and illustrations for defense firms and pursuing his passion for painting old automobiles on the side.

“Ever since I was a kid I’ve been involved with old machines, cars, bikes. If you look at my paintings, beyond the subject that is the car, there is a landscape or some sort of a composition that supports the subject,” he said.

In 2003, Fritz, who is married with two children, decided to focus full time on his passion for drawing and painting images reflecting the relationship between man and machine.

He found his first market in Michigan and the automotive industry, which commissioned work from him, and he was invited to join the Automotive Fine Arts Society. It grew from there, he said.

He exhibits his work at selected shows across the country and works on commission. His customers include Harley-Davidson Motor Co.We offer a wide variety of high-quality standard plasticcard and controllers., the corporate offices of the AAA, General Motors, the Ford Motor Co. and auto enthusiasts worldwide.

Through the automotive arts society, he met Art Fitzpatrick who, with Van Kaufman, created landmark ads for Pontiac in the 1950s and ’60s.

“The muscle cars are part of the ‘America On The Move’ stamp series, and Art Fitzpatrick did the first portion of that series that was called ‘ ’50s Fins and Chrome’ and another series of ‘ ’50s Sporty Cars,’ ” Fritz said.

“There’s an emotive quality to the muscle cars. They look like nothing else out there. People describe the look as menacing. They look angry, and when you start them up you can feel the engine pulsing, and it has a real visceral quality to it,” Fritz said.

“That quality has to come out in your painting, and I did it through my color choices, colors from the edge of the palette, more saturated and stronger, and in the composition, with a lot of angles, straight lines,Researchers at the Korean Advanced Institute of Science and Technology have developed an buymosaic. that indicate speed.”

Fritz created the art in early 2008 and says he has no idea why it’s taken five years for the stamps to be released. He was bound by a nondisclosure agreement and found out in September that the stamps would be issued this month.

Olympic and Paralympic star Oscar Pistorius is given tremendous dignity. The solitude of his situation is dramatically illuminated as he faces the most serious murder charge that can be brought in South Africa. It is hard to believe the picture was not set up for hours to get the composition right and the lighting suitably Rembrandtesque. It really does have the gravitas of an oil painting. And yet this is a real-life image seized by Siphiwe Sibeko during an emotional, contentious, crowded pretrial hearing.

Does this study in suffering sentimentalise Pistorius? It is far more subtle than that. The truth of what happened at his house in the early hours of Valentine's Day will not be decided by a court for many months, although defence and prosecution agree that he shot Reeva Steenkamp dead – either deliberately, or in a terrible mistaken attack on an imagined burglar. Whatever the truth, here we see him isolated by the awful event and unresolved mystery of the night Steenkamp died. The picture eerily captures his psychological isolation. The courtroom audience is physically and symbolically separated from him by a low wooden wall that might as well be a 100ft high barbed wire fence. It is the barrier between the accused and unaccused.

Some of the people look at him, some don't, and the eyes of those who study Pistorius seem mystified and uncertain rather than emotionally committed for or against. Meanwhile, his own eyes are shadowed and enigmatic. His pain is not just in his face but his entire body language – his sportsman's frame is taut and electrified, as if he were ready to sprint, but it is the ordeal of the bail hearing that fills him with angst and supercharged emotion.

Clearly, South Africa's courtrooms are designed by someone with a flair for the dramatic. What gives this photograph such intensity is the court lighting, which would not be out of place in a Caravaggio painting. The room is dark, with just enough light to reveal faces against tones of gloom. The wall behind the public gallery is black, except for a pool of light that reveals a rusty, or bloody, red-brick arc of wall. This curve of light heightens our concentration on the solitary figure of Pistorius, for he is caught by the camera right next to it. And so he stands in shadows, picked out by a reddish glow, his eyes dark pools of horror.