#Italian contemporary artist born

[whencyclopedia]

Edgar Degas

Edgar Degas (1834-1917) was a French impressionist painter who used many different media to capture dancers, bathers, horse races, and scenes from Parisian café society. A keen photographer, Degas' paintings frequently show real-life captured in a moment in time, often with an unusual viewpoint, composition or framing – all of which techniques would prove influential on later artists.

Early Career

Hilaire-Germain-Edgar De Gas (better known simply as Edgar Degas) was born on 19 July 1834 in Paris. His parents were wealthy bourgeois who specialized in banking. Edgar's father, Auguste, was half Italian and half French while his mother, Célestine Musson, was an American Creole of French descent from Louisiana. Young Edgar studied at Paris' Lycée Louis-le-Grand, earning his baccalaureate in literature. In a family already rich enough but with aspirations to climb even higher socially, Edgar was encouraged to become the accomplished and fashionable young male of the period and to formally study art and music under various tutors. He also began to study law, but it soon became clear that art was his true path.

In 1855, Degas enrolled in the École des Beaux-Arts in Paris. He studied and copied the Old Masters in the Louvre, and in July 1856, he went to see firsthand the Renaissance art of Italy on a tour which took in Florence, Rome, Naples, and Venice. He sketched the art of antiquity, Renaissance works, local colour, and he produced his first great painting, The Bellelli Family, while staying with his aunt Laura Bellelli in Florence in 1858.

Back in Paris, Edgar was tutored by Louis Lamothe (1822-1869) and then Nicolas Soutzo (1834-1907). This traditional artistic education led the young Degas to try and become a historical painter, that is an artist who depicts grand religious or historical scenes like the great Renaissance artists had produced. Examples of his work in this genre, which share a frieze-like presentation of the subject, include Young Spartans Exercising and Semiramis Building Babylon, both painted around 1861. Not untypically, Degas continued to work on the Young Spartans in subsequent years.

Portraits were another avenue he explored, and here the artist had more success in achieving his aims. Interested in giving his work a psychological element and depth, Degas often painted double portraits where the attitudes and emotions are shown markedly different between the two people in the painting. A recurring feature of Degas' portraits is the use of a painting within the painting. Like Renaissance artists who used objects as symbols that might convey more depth of meaning to a knowing viewer, Degas often included a notable painting that comments on the personality of the person being portrayed. However, it was another historical epic, Medieval War Scene that first got him noticed by the jury of the Paris Salon in 1865.

Eventually dissatisfied with the limitations of being too tied to the past or perhaps sensitive to the changes in contemporary art, Degas would turn instead to capturing everyday life as it happened in the circles he was most familiar with: bourgeoise Paris. His first work which shows this transition, and yet in which he still maintains a link to the historical painting style, is Mademoiselle Fiocre in the Ballet 'La Source'. The work was exhibited in the Paris Salon of 1868. The artist was about to fully move into modernity for his subjects, but Degas' long immersion in classical art and the more recent Neoclassicist artists like Jean-Auguste-Dominique Ingres (1780-1867) would have a lasting effect on the importance he gave to drawing, form, and composition, as well as the prominence he gave to the female nude. As Ingres had told Degas: "Draw lines, young man, many lines" (Howard, 42). This focus meant that Degas was probably the superior draughtsman of all the impressionist painters of his generation, a point noted by many critics.

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[recherchestetique]

THE MARCHESA CASATI

Marchesa Luisa Casati: An inspiringly decadent true tale of a bizarre Italian aristocrat. Pet cheetahs, séances and dresses made from lightbulbs, the heiress, socialite and artist's muse Marchesa Luisa Casati led a life every bit as unusual as her outfits.

Luisa, Marchesa Casati Stampa di Soncino (born Luisa Adele Rosa Maria Amman; 23 January 1881 – 1 June 1957), was an Italian heiress, muse, and patroness of the arts in early 20th-century Europe.

Casati was known for her eccentricities that delighted European society for nearly three decades. The beautiful and extravagant hostess to the Ballets Russes was something of a legend among her contemporaries. She astonished society by parading with a pair of leashed cheetahs and wearing live snakes as jewellery.

She captivated artists and literary figures such as Robert de Montesquiou, Romain de Tirtoff (Erté), Jean Cocteau, and Cecil Beaton.[citation needed] She had a long-term affair with the author Gabriele d'Annunzio, who is said to have based on her the character of Isabella Inghirami in Forse che si forse che no (Maybe yes, maybe no) (1910).[citation needed] The character of La Casinelle, who appeared in two novels by Michel Georges-Michel, Dans la fete de Venise (1922) and Nouvelle Riviera (1924), was also inspired by her.

In 1910, Casati took up residence at the Palazzo Venier dei Leoni, on Grand Canal in Venice, owning it until circa 1924. In 1949, Peggy Guggenheim purchased the Palazzo from the heirs of Viscountess Castlerosse and made it her home for the following thirty years. Today it is the Peggy Guggenheim Collection, a modern art museum on the Grand Canal in the Dorsoduro sestiere of Venice, Italy.

Casati's soirées there would become legendary. Casati collected a menagerie of exotic animals, and patronized fashion designers such as Fortuny and Poiret. From 1919 to 1920 she lived at Villa San Michele in Capri, the tenant of the unwilling Axel Munthe. Her time on the Italian island, tolerant home to a wide collection of artists, gay men, and lesbians in exile, was described by British author Compton Mackenzie in his diaries.

Numerous portraits were painted and sculpted by artists as various as Giovanni Boldini, Paolo Troubetzkoy, Adolph de Meyer, Romaine Brooks (with whom she had an affair), Kees van Dongen, and Man Ray; many of them she paid for, as a wish to "commission her own immortality".[citation needed][citation needed] She was muse to Italian Futurists such as F. T. Marinetti (who regarded her as a Futurist) Fortunato Depero, Giacomo Balla (who created the portrait-sculpture Marchesa Casati with Moving Eyes), and Umberto Boccioni. Augustus John's portrait of her is one of the most popular paintings at the Art Gallery of Ontario; Jack Kerouac wrote poems about it and Robert Fulford was impressed by it as a schoolboy.

[justforbooks]

Maggie Tabberer

Vogue model who became the face of Australian fashion. The glamorous model also had successful careers as editor, TV presenter and fashion designer, bringing sophistication into Australian homes

Before Instagram influencers and reality show home renovators there was Maggie Tabberer, whose poise and urbane advice on fashion and decorating made her a household name. Known fondly as Maggie T, she has died just days before her 88th birthday.

Tabberer was, quite literally, the face of Australian fashion. Photographed by Lord Snowdon in 1960, she was the first local model to appear on the cover of just-launched Australian Vogue.

But there was much more to Tabberer than beauty.

She was a media pioneer, entrepreneur, fashion designer and television presenter. Her slicked-back hair – and later, elegant headscarves – made her instantly recognisable, and together with her stylish, loose-fitting wardrobe gave her cult-like status among a generation of Australian women brought up to believe you were naked without pantyhose and a girdle.

With a face that launched a thousand products, Tabberer continued to work in the fashion industry after her active modelling days were over. In 1981 she launched a plus-size clothing label, Maggie T, the same year she became fashion editor of the Australian Women’s Weekly where she stayed for 15 years. Television did not escape her sights – Tabberer was so successful she won back-to-back Gold Logies, in 1970 and 1971.

Margaret May Trigar was born in Adelaide on 11 December 1936, the youngest of Alfred and Molly’s five children. At 17, the rebellious teenager married Charles Tabberer, a 35-year-old car dealer, and by 21, she was the restless mother of two daughters, Amanda and Brooke. Walking past a modelling school one day, she signed up for classes and was an instant success. Soon Tabberer was working in Melbourne where she met and fell in love with the renowned German photographer Helmut Newton. Tabberer’s marriage broke down and she and Newton embarked on what she described as “a perfect, lovely” affair.

With her marriage over and Newton now living in Paris, Tabberer embraced new opportunities, moving to Sydney with her daughters. Here she met her second husband and great love, the Italian restaurateur Ettore Prossimo. The couple married in 1967, but later that year their 10-day-old son Francesco died from sudden infant death syndrome.

“You know, you live and go on doing what you’re doing, but you know you’re not joyous. There’s no joy for a long time,” Tabberer said in a 2011 interview.

Since 1964, Tabberer had been a panellist on Beauty and the Beast, a talkshow pitting the views of women against those of men. It was the ideal vehicle for audiences to appreciate the grace and good humour with which Tabberer dealt with her weight – and her sorrow – and in 1967 she was offered her own daily chatshow, Maggie.

Prossimo and Tabberer separated after 17 years of marriage, but reignited their friendship before his death in 1996. Throughout the 1980s, 1990s and 2000s Tabberer continued to appear on television in a range of lifestyle programs. She and her then-partner Richard Zachariah hosted The Home Show on the ABC from 1990 to 1995, when they split up. The couple never professed to be experts, but as they had renovated six of their own homes over six years they had plenty of experience.

Tabberer was made a member of the Order of Australia in 1998 for her services to the fashion industry. The artist Paul Newton twice entered his portraits of her into the Archibald prize, most recently in 2020. Her biography, Maggie, was published in 1999. Contemporary recognition for her contribution to Australian fashion eluded her; in 2019 she was nominated as an Australian fashion laureate, but ultimately overlooked.

In 2016, the happily single Tabberer came out of retirement to appear on the cover of the Weekly and share her thoughts on eight decades of life.

“At 80 I’ve come to my senses about men,” she said. “I’m not going to be getting into bed and taking my clothes off – don’t be ridiculous. I’ve still got a healthy ego.”

Maggie Tabberer was successful both in front of the camera and behind it, as well as in print journalism, design and marketing. Throughout her career, she successfully manoeuvred her personal brand, before anyone had put a name to that art.

Tabberer is survived by her daughters Amanda and Brooke and by her grandson Marco.

🔔 Maggie Tabberer: Born 11 December 1936, died 6 December 2024, aged 87.

Daily inspiration. Discover more photos at Just for Books…?

[vmygdvlv]

Stray Kids AU (italian boy version)

Kim Seungmin as Vittorio Ferrero

Vittorio was born in Turin, Italy, into a family where the arts and intellectual pursuits were deeply valued. His father, Alessandro, a distinguished historian, and his mother, Isabella, a talented pianist and music educator, fostered an environment rich in cultural and artistic experiences. Growing up alongside his younger sister, Ginevra, a contemporary dancer, Vittorio was immersed in a world of creativity and artistic expression from a young age.

The bond between Vittorio and Ginevra was particularly strong. Ginevra’s vibrant energy and innovative dance routines complemented Vittorio’s passion for theatre and cinema. Their collaborative projects, whether artistic or academic, were a source of mutual inspiration and support. Ginevra’s performances often served as a creative outlet for Vittorio, and he took pride in attending her shows, where he offered feedback and encouragement. In turn, Ginevra was a constant source of motivation for him, providing both emotional support and a fresh perspective on his work.

Vittorio’s relationship with his parents was marked by a deep respect and admiration for their achievements, yet it also came with its own set of challenges. While Alessandro and Isabella were supportive of Vittorio’s artistic aspirations, their traditional values sometimes conflicted with his more unconventional career path. The pressure to meet their expectations occasionally led to feelings of inadequacy and internal conflict. Nevertheless, their unwavering support and belief in his talent remained a cornerstone of his motivation. Despite the challenges, Vittorio’s family bonds were a source of strength

Vittorio’s personality is a complex blend of sensitivity, introspection, and determination. His empathetic nature allows him to connect deeply with his artistic work, imbuing his performances with genuine emotion. However, his introspective tendencies can lead to self-doubt and anxiety, particularly when faced with the pressures of a competitive field like cinema and theatre. This sensitivity manifests in various habits and preferences.

One of Vittorio’s habits is his meticulous journaling. He keeps detailed records of his thoughts, ideas, and reflections on his projects, which helps him manage his emotions and track his progress. While this practice can be therapeutic, it also occasionally leads him to overanalyze and second-guess his work. Vittorio is also an avid reader, with a particular fondness for classic Italian literature and contemporary plays. His reading not only provides relaxation but also serves as a source of inspiration for his own creative projects.

Despite the enriching experiences that Milan offers, Vittorio struggles with the city’s fast-paced, impersonal atmosphere. He finds solace in his daily rituals, such as visiting a small, quiet café near his apartment. There, he enjoys a peaceful coffee while reading or writing, which helps him feel connected to his roots and provides a moment of calm amidst the hustle of city life. He also enjoys exploring Milan’s quieter, less commercial areas, such as hidden bookshops and small art galleries, which offer a more intimate and inspiring environment.

Vittorio’s aversion to crowded, commercial spaces contrasts with his preference for serene, less populated settings. He is uncomfortable in noisy, chaotic environments and finds it difficult to concentrate and relax in such places. Additionally, he has a strong dislike for rigid, formulaic approaches to art and education. He values creativity and innovation, often feeling stifled by overly structured methods that limit artistic freedom.

When opportunities arise to work on projects in Rome, Vittorio seizes them eagerly. The city's rich historical and cultural backdrop provides a refreshing change from Milan’s intensity. During his time in Rome, he immerses himself in the city’s ancient streets and visits museums, finding inspiration in its storied environment. His explorations often lead him to picturesque spots and lesser-known historical sites, which spark new ideas and rejuvenate his creative spirit.

Vittorio remains deeply connected to his family in Turin. Regular visits home and frequent communication with his parents and Ginevra offer him emotional support and grounding. Their encouragement and understanding play a crucial role in helping him navigate the challenges of his academic and artistic journey.

Today, as a student of cinema and theatre in Milan, Vittorio continues to navigate the complexities of his environment with resilience and dedication. His journey reflects a commitment to his craft, a profound love for his hometown, and an ability to find comfort and inspiration through his personal habits and surroundings. Vittorio’s story is one of artistic perseverance, personal growth, and the pursuit of excellence despite the obstacles along the way.

Family background

The family environment is characterized by deep support and understanding. His parents create a warm, encouraging space where intellectual curiosity and artistic expression are deeply valued. This supportive atmosphere nurtures Vittorio’s emotional well-being and creative growth. The family’s collective encouragement and emotional resonance offer Vittorio a strong foundation, bolstering his confidence and fostering a sense of belonging in his creative journey.

Alessandro, father (historian, 58) — historian specializing in Italian history. He has a deep knowledge of historical contexts and has influenced Vittorio’s intellectual curiosity.

Isabella, mother (pianist, 55) — a pianist with a successful career in classical and contemporary music. Her musical talent has shaped Vittorio’s appreciation for the arts.

Ginevra, younger sister (student, 17) — she attends a Liceo Artistico, an Italian high school specializing in art and design. Alongside her high school’s studies, she’s enjoy contemporary dance

Friends

Vittorio’s friendships are deeply rooted in shared artistic vision, emotional resonance, intellectual stimulation, trust, and cultural enrichment. He values connections that align with his creative passions, offer emotional support, provoke thoughtful discussions, and provide diverse cultural insights, fostering both personal and professional growth.

Raffaele — met at an independent film festival where Raffaele was showcasing his short films. Vittorio, impressed by his work, struck up a conversation. They got mutual admiration for independent filmmaking. Raffaele’s innovative approach to film provides inspiration for Vittorio, and they often collaborate on experimental film projects

Celeste — they became friends through a mutual interest in theatrical improvisation workshops held in Milan. Their friendship is grounded in their love for improvisational theatre. Celeste’s background in improv enhances Vittorio’s theatrical skills, leading to joint performances and creative exploration.

Nicolò — met during a cultural exchange program in Rome. Nicolò was involved in music composition, which intrigued Vittorio. Nicolò’s compositions often provide a soundtrack for Vittorio’s film projects, and their collaborative efforts are marked by a shared enthusiasm for blending their arts.

Ottavia — they met during a collaborative art exhibition in Milan, where Ottavia was showcasing her installations. Her installation work influences Vittorio’s approach to set design and theatrical staging, leading to creative collaborations.

Valerio (I.N) — Valerio and Vittorio are childhood friends, since they’re both from Turin. They met through their shared neighborhood and schools, where they bonded over common interests and experiences. Their friendship is deeply rooted in their shared past and experiences growing up together. Valerio, now a sound engineer, collaborates with Vittorio on film projects, where their combined expertise in sound and visual arts enhances their creative work.

Edoardo (Hyunjin) — he met Edoardo through Giulio. When Giulio and Vittorio decided to collaborate on a project that combined literature and cinema, Giulio introduced Edoardo to Vittorio as a potential costume designer for their project. The three of them worked together on a short film adaptation of a literary piece. They share a mutual respect for each other’s craft and often brainstorm ways to blend fashion, film, and literature into unique projects.

Leonardo (Lee Know) — they met at a theater production in Rome. Lee Know was assisting with choreography, and Seungmin was part of the musical ensemble. They connected over their love for performing arts. They discovered a shared enthusiasm for storytelling and visual arts, which led to a strong connection. Their friendship grew as they collaborated on various artistic projects and supported each other’s academic and creative pursuits

Cesare (Changbin) — they met during a university business course in Milan, where they discovered common interests in the commercial aspects of the arts and media. Their friendship is built on a shared understanding of how business and creativity intersect. Their bond is marked by a professional yet personal rapport, where they support each other’s goals and collaborate on projects

Riccardo (Bang Chan) — they met during a music production workshop in Milan, where their paths crossed due to their mutual interests in integrating music and film. Their bond is characterized by a collaborative spirit and a deep appreciation for how sound can enhance narrative and emotional impact in film. They frequently discuss and experiment with ways to fuse their artistic skills, which strengthens their creative partnership

Federico (Felix) — met during a summer arts program in Rome, where Federico had traveled from Naples to broaden his creative horizons. They bonded over their shared interest in theatre and fashion. Their friendship grew from their collaborative work on various artistic projects. Their connection is strengthened by their shared passion for the arts and their joint creative projects

Giulio (Han) — met during their first year at university in Milan. Giulio, studying literature while Vittorio enrolled in cinema and theatre. They connected through a mutual interest in the intersection of narrative and performance. Their bond is characterized by intellectual camaraderie and a mutual appreciation for each other’s insights into both written and performed arts, storytelling and literature analysis

Neighborhoods

Turin, Centro — the central district, featuring historic architecture, cultural landmarks, and vibrant street life, provide Vittorio with inspiration and a connection to Turin’s rich cultural heritage.

Milan, Brera — known for its artistic and cultural significance, with art galleries, museums, and stylish cafes, Brera resonate with Vittorio’s passion for art and cinema.

Favorite Italian artists

Franco Battiato — known for his philosophical and eclectic music, which resonates with Vittorio’s introspective nature.

Nitro — his energetic style and innovative approach to rap appeal to Vittorio’s taste for modern and dynamic music

Mina — her powerful and emotive performances reflect the depth and complexity that Vittorio appreciates. His mother used to play her songs when he was younger and he fell in love with her voice.

Annalisa — her blend of pop with introspective and powerful lyrics appeal to Vittorio’s reflective nature.

Lucio Dalla — his unique style and storytelling are in tune with Vittorio’s artistic sensibilities.

Favorite dishes

Bagna Cauda — a traditional dish from his home region of Piedmont, consisting of warm anchovy-garlic dip served with a variety of fresh vegetables. Vittorio loves the communal aspect of sharing this dish, as well as its bold, savory flavors.

Vitello Tonnato — another Piedmontese classic, this cold dish features thinly sliced veal covered in a creamy, tangy tuna sauce. Vittorio appreciates its delicate balance of flavors and its ties to his regional heritage.

Orecchiette con Cime di Rapa — a simple yet flavorful pasta dish from Puglia, featuring orecchiette pasta with broccoli rabe, garlic, and anchovies. Vittorio is drawn to its rustic simplicity and the way it highlights the earthy flavors of Southern Italy.

Polenta concia — a hearty and comforting dish made from polenta enriched with butter and melted cheese, typical of Northern Italy. Vittorio finds this dish nostalgic and enjoys it during colder months.

Caponata — a Sicilian dish made from eggplant, olives, capers, and tomatoes, with a sweet and sour flavor. Vittorio appreciates its vibrant taste and the way it captures the essence of Southern Italy’s cuisine.

Favorite movies

Il Postino (1994) — directed by Michael Radford, this poetic story about love and poetry appeal to Vittorio’s appreciation for lyrical and emotionally rich narratives

La Haine (1995) — directed by Mathieu Kassovitz (not Italian, but Vittorio loves French cinema) this raw and gritty portrayal of life in the Parisian suburbs appeal to Vittorio’s interest in socially relevant and thought-provoking stories

Suspiria (1977) — directed by Dario Argento, this horror classic is known for its striking visuals and atmospheric tension, appealing to Vittorio’s taste for unique and innovative cinema.

Nostalghia (1983) — directed by Andrei Tarkovsky (though not Italian, it has a strong Italian connection through its production), it’s a meditative film with a profound sense of longing and isolation that would appeal to Vittorio’s introspective nature.

Favorite writers

Italo Calvino — known for his imaginative and innovative narratives, which appeal to Vittorio’s appreciation for creativity and literary experimentation.

Elsa Morante — her profound and evocative novels, such as “La Storia,” resonate with Vittorio’s taste for complex human emotions and historical contexts.

Pier Paolo Pasolini — his works, including “The Decameron,” reflect social and political critiques, offering a rich blend of literary and cinematic storytelling that Vittorio admires.

Gabriele D’Annunzio — known for his evocative and decadent prose, D’Annunzio’s work aligns with Vittorio’s appreciation for rich, poetic language and dramatic themes.

Favorite seaside spots

Camogli, Liguria – a picturesque fishing village with colorful buildings and a charming harbor, offering a tranquil escape from more touristy areas.

Baia dei Turchi, Puglia – a hidden beach near Otranto with stunning turquoise waters and a more secluded, natural environment.

San Vito Lo Capo, Sicily – while gaining popularity, it retains quieter areas and pristine beaches, known for its beautiful setting and clear waters.

Most used slang words

Boh — used to express uncertainty or indifference, similar to saying “I don’t know” or “whatever”

Magari — often used to mean “I wish” or “maybe,” expressing hope or a strong desire for something

Figata — a term used to describe something cool or awesome. Vittorio use this to express enthusiasm about a film or project

Che sbatti! — an expression to complain about something annoying or exhausting, reflecting Vittorio’s frustrations, especially with university tasks

Fare un giro — literally meaning “to take a walk,” but Vittorio use it more loosely to mean hanging out or going out for a casual stroll

Most used slurs

Given Vittorio’s personality, the use of these slurs would be rare and likely only occur in situations of heightened stress or conflict. He’s more inclined to use nuanced language and expression, reserving these terms for when he’s pushed to his limits. If Vittorio, despite his typically reflective and respectful nature, occasionally used some harsher language in moments of frustration or strong emotion he would use:

Cazzo — a versatile and common vulgar term, equivalent to “damn” or “f*ck,” used out of frustration or anger. Vittorio might say this when something goes seriously wrong

Stronzo — literally meaning “asshole,” this insult could slip out in a moment of anger, particularly if someone has acted unfairly or rudely towards him

Coglione — meaning “idiot” or “jerk,” Vittorio might use this term to describe someone who has acted foolishly or irritates him

Representatives phrases

Non c’è fretta, facciamolo bene (There’s no rush, let’s do it right.) reason: a phrase that shows his patient and thoughtful approach to his work and projects

Un caffè, e ripartiamo (A coffee, and we go again.) reason: Vittorio’s habit of recharging with coffee before diving back into his work or studies

L’arte è una necessità, non un lusso (Art is a necessity, not a luxury.) reason: a phrase that underlines his deep belief in the importance of art and culture

Milano è lavoro, Torino è vita (Milan is work, Turin is life.) reason: Expressing his view that Milan is where he works, but Turin is where his heart truly belongs

Favorite idioms

Tra il dire e il fare c’è di mezzo il mare (There’s a sea between saying and doing.) reflecting Vittorio’s awareness of the challenges in translating ideas into actions, particularly in creative endeavors.

Meglio un uovo oggi che una gallina domani (Better an egg today than a chicken tomorrow.) this idiom speaks to Vittorio’s practical side, valuing the present and immediate opportunities over uncertain future gains

Non si vive di solo pane (Man does not live by bread alone.) reflecting Vittorio’s belief in the importance of art, culture, and emotional fulfillment beyond mere survival

[fashionbooksmilano]

Roberto Bolle  An Athlete in Tights

by Bruce Weber

teNeues, Kempen 2009, 192 pages, 127 duotone and 24 color illustrations,23,5 x 30 cm, ISBN 978-3-8327-9196-4,  Out of Print book

euro 210,00

email if you want to buy booksinprogressmilano@yahoo.it

“Roberto Bolle: An Athlete In Tights” celebrates Bruce’s three-year collaboration with the Italian ballet sensation.

Roberto Bolle was born in Casale Monferrato, Italy. At a young age, he entered the Theatre La Scala ballet school. Rudolf Nureyev was the first to notice his talent and chose Roberto to interpret Tadzio in the ballet “Death in Venice.” In 1996, at the end of a Romeo and Juliet performance and just 2 years after he joined the Theatre Company, Roberto was promoted to principal by Elisabetta Terabust who was at that time the Director of the Corp de Ballet. Since then he has starred in many contemporary and classical ballets and he has been invited as a guest artist to work with the most prestigious ballet companies in the world. In recent years, his international acclaim has only grown. Roberto is now the first male Italian ballet dancer to join the American Ballet Theatre as a principal.

In this monograph, Bruce Weber captures the spectacular convergence of artistry and physicality in this dance phenomenon, the grace and beauty that have captivated Roberto’s audiences around the world.

The book is largely pictorial in nature, with original photography and writing by Bruce Weber, original writing by Roberto Bolle, text by D.H. Lawrence, Pier Paolo Pasolini, and illustrations by Paul Cadmus and Jeremiah Goodman.

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10/02/23

[fyeahdprian]

Interview Panorama

Simply Ian

Three exclusive interviews made in Milan during the stage in Italy of The Dream Reborn tour. Three voices, that of DPR Ian, DPR Cream and DPR Artic. Three musical genres and personalities very different from each other but that merge in a unique artistic perfection - video inside

Marianna Baroli | December 28, 2024

Three exclusive interviews made in Milan during the stage in Italy of The Dream Reborn tour. Three voices, that of DPR Ian, DPR Cream and DPR Artic. Three musical genres and personalities very different from each other but that merge in a unique artistic perfection - video inside

DPR Ian, one of the most eclectic and fascinating artists of the contemporary music scene, lets himself be discovered in a small room behind the scenes of the Fabrique in Milan. After a Q&A with the fans, the energy-charged atmosphere dissolves into an almost surreal intimacy: Ian is sitting on a sofa, immersed in a quiet that seems to contrast with the intensity of his presence on stage. There is nothing artificial in his attitude, only a natural elegance that makes him immediately accessible and at the same time enigmatic.

Christian Yu, better known as DPR Ian, is an artist who challenges conventional definitions. Born in Australia, he found his place in the South Korean music scene, emerging as a unique figure in the creative collective Dream Perfect Regime (DPR). Singer, director, producer and visionary, Ian doesn't just create music: he builds worlds. His artistic universe is populated by characters that reflect his inner conflicts and emotional complexity. There is Myth, the vulnerable and melancholic side, and there is Insanity, the embodiment of chaos, anger and contradictions. Both manifest themselves through his songs, his videos and his performances, as if they were living parts of an indissoluble whole.

During the interview, Ian does not simply appear as a successful musician, but as a narrator of stories and universal feelings. Each answer seems measured, devoid of artifice, as if every word was chosen with the care of those who know that honesty is the key to truly connecting with the world. Ian speaks with a sincerity that borders on poetry, his words are measured but never artifacted, and the conversation unfolds between intimate reflections and moments of lightness. The atmosphere in the room gradually changes: what was supposed to be a simple exchange of questions and answers turns into a deep dialogue, almost a conversation between souls. The distance between artist and interlocutor dissolves, replaced by a complicity that arises from the sharing of ideas and visions.

DPR Ian manages to talk about music as if it were a natural extension of his existence, a means through which to explore and shape his emotions. Every word is full of meaning, but never heavy or pretentious. There is a perfect balance between the gravity of the topics covered and the lightness with which they are expressed, a rare ability that defines him not only as an artist, but as an extraordinary communicator.

Next to him, sitting on the same couch, DPR Cream and DPR Arctic, members of the collective, contribute to creating an atmosphere of family and mutual support. It is impossible not to perceive the authenticity of the bonds that unite them, a palpable energy that makes everything even more special.

The most extraordinary moment comes at the end, when, between a laugh and a spontaneous hug, Ian asks to learn some words in Italian. At that juncture, the interview definitively transcends its original purpose, becoming a one-of-a-kind human experience. The embrace that closes the meeting is not only a gesture of courtesy, but a tangible demonstration of an understanding that goes beyond words.

DPR Ian is not just a complete artist; he is a soul who manages to turn every meeting into an unforgettable moment, leaving behind a mark that is impossible to forget. DPR's music is not just a soundtrack: it is a visual, emotional and intellectual narrative, an experience that transcends the simple dimension of listening.

Anyone who chooses to approach this world, not only enters Ian's mind, but an entire universe. A place where reality and imagination intertwine, leaving an imprint that belongs to anyone who decides to immerse themselves in the art of DPR.

Here is our interview.

How does it feel to perform in Milan on a stop on The Dream Reborn tour?

IAN: "For me it's incredible. I came to Milan last year for a fashion show, and I didn't even know we had fans here. When I found out, I promised myself to come back and do a show. I'm very happy. The Italian fans are really passionate, and I feel all their energy.”

What does the DPR collective represent for you, both on a personal and artistic level?

IAN: "The DPR is something deeply personal: it is not just a collective, but a real reason for life. It is such an important, monumental part of me that it now defines who I am. It's related to everything: my family, my friends and my purpose. It gives me a direction and an idea of who I want to become all the time.”

Can you tell us about a moment on stage that was particularly powerful or surreal for you?

IAN: “Every city brings something unique. Fans react in different ways, depending on the culture, and this makes every performance interesting. For example, there was a huge crowd in Mexico, about 19-20,000 people, but even smaller shows were just as intense. Some cities, like Warsaw, surprised me with the passion of the fans. In Milan, the fans already seem very enthusiastic but also composed, and I can't wait to see how they will explode during the show.”

What is your creative process when you build a narrative for your songs and performances?

IAN: "For me, everything starts with honesty. It must be something personal, otherwise it doesn't work. The narrative I build always reflects what I am experiencing at that moment or what I have experienced in the last year. I believe that the best way to tell an authentic story is to draw on personal experiences, because only in this way can it be true and meaningful. My creative process includes exposure to new experiences. I love watching musicals or shows like Cirque du Soleil, because they offer visual and narrative stimuli that I wouldn't find if I didn't leave my comfort zone. I'm always looking for something new to see, something that can enrich my creative background. For me, it is essential not to recycle the same ideas. If I don't constantly add 'new books' to my creative library, I risk repeating the same things over and over again, and that can block the inspiration. In addition, I try to live every experience with full awareness. I like to be fully present, absorb every detail and get something meaningful out of it. This is where my stories are born."

Digging deeper, many of your songs explore complex emotions and introspections and also refer to one of the most important themes of modern society: mental health. Is there a song that represents a personal turning point or a revelation?

IAN: "Yes, I think one of the songs that was a turning point for me was Seraph. This passage, already from the title, recalls the Seraphim, who in the angelic hierarchy is the highest rank, the closest to God. It should represent immense power, but in the context of the song I chose to tell a different story. In Seraph, I play a character who was once a Seraphim, strong, divine, unshakeable, but who has lost that power. I used the image of burning wings as a metaphor to describe that sense of falling, of loss of capacity and strength that I once believed unshakable. For me, this song reflects a period when I felt completely distant from the strongest version of myself. However, I realized that going through that moment of darkness was essential. You know how they say: you have to face the worst to be able to truly appreciate your best. It was an important turning point in my life and my music. Writing Seraph was difficult, but necessary, because I wanted it to be sincere and authentic."

How do you stay connected to your artistic identity despite the pressures of the tour, of traveling continuously and still continuing to create new music?

IAN: "I won't lie, I'm still struggling. I don't think I've ever found a clear balance. There are days when me, Cream and Artic are in tune, and others when we are not. The pace of the tour is incredibly hectic: on average you're in a new city every other day, with a new audience and new energy to tackle. This generates a continuous stimulus, but at the same time makes the journey difficult to understand or fully live. You almost never have time to adapt or process what you are trying. And this is essential for many people: having time to feel rooted to understand their emotions. Trying to maintain a sense of stability in such an intense schedule is a huge challenge. Honestly, I don't know how anyone can really do it. If anyone has an answer to this, please let me know."

Can you tell us about your recent social media blackout? How important is it from your point of view for a person, for an artist, to disconnect?

Ian nods. Thank us for the question with a smile.

IAN: "It's a very nice and interesting question, thank you. In my life I have always tried to be very clear about the fact that I am open about what I live as a human being, not as an artist. This is important because you have to separate the ideal that artists are not human beings. As we move on, we see how many people put idols on a pedestal, but at the same time, doing so, the agenda is created for which it becomes strange to see someone who is sick or sad. But artists are people, so it's fair that, if on the one hand some people want to create fanciful ideas about who they idolize, it's also important to normalize the fact that these artists are people. By doing so, you create a healthy difference: I like their art, not how perfect they are. This is the ground I want to build on, because in the end you see the artist for what he is: someone who creates art, and this is the definition of the artist, a person who challenges his reality and gives his art to anyone, whether you are a fan or not.

Ian pauses, smiles at us. Completely at ease, he continues to tell himself without masks.

"For me, being vulnerable and open is not something I do because I want to, but because... why not? It would be strange for me to show only the strong side and not also the weak one. However, at the same time, if I were a person who only showed the dark side, I think it would be a wrong way to promote mental health. You have to show what you're struggling with and how you deal with it. Because this way, if I fight and show that I'm improving, I'm winning, and if I do, it means that anyone can do it. For this reason I open up, because it is also a new challenge for me. If I announce my ideas to the world, such as my concept of 'five minutes' - which means that you can afford to stay in your head for only five minutes, and no more, and after that time you have to move on - if I can't put these ideas into practice, I'd be a hypocrite, and I don't like to be. So I deliberately force myself to expose myself to a certain extent, then I withdraw, to be able to show it. For example, that time I deactivated my Instagram, I know that when I feel a little too stimulated or in a manic state, I could do impulsive things. It's something we see often: celebrities who live a difficult episode and then talk before they've taken it up, and that can only make things worse. Ian leans towards us and looks at us.

"They call it 'the devil's language', right?"

I nod.

"When it happens to me, what I do is disconnect all the channels until I heal, and then I come back. It's something I learned with time. I made mistakes in the past, like when I went live and showed the world a part of me that wasn't ready, but now I know you can choose what to show people. It is not necessary to always show the most damaged side of you. Some things should remain for you, for your care. So when I feel that I'm about to enter an episode, I walk away. Especially during the tour, I can't afford to compromise anything, because I'm here to do a job, and I don't want this to become a problem. Now that I'm older, I understand that social opinions don't really matter, even if they can be very harsh. But it's the reality. I'm sure you too, as a journalist, understand what I mean and you've been through it."

I smile, I nod again sighing.

Ian laughs. We tell each other for a few moments before resuming.

If you had to describe your music to someone who has never heard it, how would you define it?

IAN: "For me it's a dream state. A fever dream. Indeed 'A Midnight Summer Fever Dream.'

You told me before that the DPR is like a family. Can you share a story that captures the bond you share with the team?

IAN: "Yes, we've been through, probably, one of the most difficult experiences you can have as a team in the last two years. We lost a significant amount of things within the group, not just people. We went through a whole process that could have destroyed us. And, to be honest, if we hadn't been so united or if we didn't really care about each other, we wouldn't be here. Obviously, we would have survived, but we wouldn't be here, together, as we are now. And the fact that, after everything we've been through, a year or two ago, we're here on a world tour, going to countries where we've never been before, like we are now, reflects how much we care about each other. Because, if we weren't a family, if we didn't really care, we would never have been able to resist. Here, this is the reality."

I have a very difficult question.

IAN: "I already love her."

It's an easy question actually but at the end of the day it's always the most complex because we're not used to labeling ourselves. If you had to describe yourself in a single word, without thinking too much, what would it be?

IAN: "Honesty."

Last question: can you give your fans an idea of what they can expect from you in the future?

IAN: "For me personally, the next chapter of the series will be represented by a new character. So far I've introduced Mito, Insanity and others, but the character who, ironically, hasn't come to light yet, even though he should have, is Ian. It's curious, since my name is really Ian, but it took Mito, Insanity and everything else to get to a point where Ian could finally emerge. That's the next step for me: Ian."

[mybodyisaflowerbed]

wip intro ; as said the whore of babylon

this wip is an absolute beloved of mine and is based on an rp between me and my bestie Ceejay. i will be introducing all of the OCs but will specify which ones are theirs bc they make some damn good characters that i cannot take credit for lol

about!

genre(s) •/ contemporary, romance, lgbt+, drama

setting •/ modern day, primarily in the united states

overall goal •/ at least one main story + various side stories

target age range •/ 18+, not at all intended for minors

content warnings •/ strong language, sexual and otherwise suggestive content, substance use, drug/alcohol abuse and addiction, past abuse, past sa, past miscarriage + infant death, potentially more.

summary!

As Said the Whore of Babylon (frequently abbreviated as AStWoB) is an American metalcore band from Los Angeles, California. Formed in 2019 by Rhiannon Wolfe and Jezebel Eiden-Desmond, its current lineup comprises Wolfe, Reed Meadows, Joel Talley, Poetry Dorian, and Corbin Kreery.

Omen Brokebone is one year out of a hellish marriage when she's contacted by Selene Mabins - talent manager for a band called As Said the Whore of Babylon - with an invitation to join their crew as a makeup artist. Working to make a new life and a name for herself, Omen accepts. She doesn't expect to meet Reed Meadows again. And she certainly doesn't expect to fall in love with him and his bandmates.

the babylons!

• Omen Brokebone (she/he/they) •/ Not a Babylon (yet), but as cherished as any of their crew members - and then some, as you'll learn. A self-taught makeup artist and a childhood friend of Reed's. Belongs to Ceejay.

• Rhiannon Wolfe (she/her) but you really should just call her Wolfe •/ The lead vocalist. First rose to fame with her last band at only 18 years old due to her remarkable skill.

• Reed Meadows (he/him) •/ The lead guitarist. Has never been in a band before AStWoB but still took to it like a fish to water. A childhood friend of Omen's, though he hasn't spoken to her in 8 years.

• Joel Talley (he/him) •/ The drummer, though he's skilled with guitar, bass, piano, keyboard, and vocals. Also a songwriter and self-taught producer. He is much more humble about his skills than one would assume.

• Poetry Dorian (he/she), or Poe •/ The bassist. Youngest child of a beautiful and famous Italian actress, but much less conventional than his family. Autistic and goth.

others you should know!

• Jessamine Meadows (she/her) •/ Reed's 11-year-old daughter, born when he was just 16. Feisty and a little mean, but adores her father and has easily accepted the rest of the band as her parents.

• Daxton "Dax" Coffin (he/him) •/ Wolfe's 9-year-old son, born when she was 17. Raised by his father. Has not met the band and only sees Wolfe a few times a month.

• Villanelle Dorian (she/her) •/ The 5-year-old daughter of Poe and her ex-wife, Aamirah Akmal Dorian. Currently living in Washington with her mother, but is due to live with Poe soon.

• Jezebel Eiden-Desmond (she/her) •/ Former guitarist for AStWoB (now the vocalist of The Womb That Devours) and best friend of Corbin. Considers the band to be her unbiological family. Randal's soulmate, though she doesn't know that yet.

• Randal Denvers (he/him) •/ Omen's cousin. A mechanic and for-fun bassist. Jezebel's soulmate, though he doesn't know that yet. Belongs to Ceejay.

+ everyone's families... let's just say; it's a lot of family.

[modorama]

ART | "Larry Bell - works from the 1970s" at Hauser & Wirth Monaco

Larry Bell first came to attention as part of the light and space movement in Los Angeles in the 1960s. This exhibition will focus on his architecturally scaled works from the 1970s, known as standing walls. The large scale works in this show are among his most ambitious early works, and follow a rigorous, radical and austere economy of means. They reflect a change in Bell’s work that occurred in the late 1960s when he abandoned the use of metal frames in his sculptures, towards free-standing glass panels joined with silicone, allowing him to work on a much grander scale, determined by the body. This also saw him move away from the pure form of the cube, towards an exploration of architectural and mural geometries, not just squares but corners and zig-zags.

The exhibition will consist of the four large-scale glass sculptures from the early 1970s, along with ‘Moving Ways,’ a monumental late 1970s wall work. These works highlight Bell’s historic contribution to a severely pared down aesthetic and how his work at this stage addresses not just the viewer’s gaze but the perceiving body (Bell’s recourse to corporeal phenomenology), both characteristics that can be allied to minimalism. To signal and compliment the exhibition, a more recent, highly colored glass work will be installed outdoors in the Jardins des Boulingrins adjacent to the gallery, during the course of the exhibition. The rare, museum-quality works that will be shown come primarily from important Italian collections, such as the Panza Collection. This includes the work ‘Untitled’ (1970) which was featured in a key solo exhibition of Bell’s work in Rome in 1974.

Larry Bell, born in Chicago in 1939, is one of the most renowned and influential artists to emerge from the Los Angeles art scene of the 1960s, alongside contemporaries Ed Ruscha and Robert Irwin. Known foremost for his refined surface treatment of glass and explorations of light, reflection and shadow through the material, Bell’s understanding of the potential of glass and light allows him to expand visual and physical fields of perception, and his sculptures to surpass traditional bounds of the medium.

Since 1969, Larry Bell has used his own high-vacuum coating system that allows him to deposit thin metal films onto his glass surfaces, harnessing a little-known technique developed for aeronautics to create a highly original body of work.

Bell’s use of commercial industrial pro-cesses in his studio since the 1960s, demonstrates his unparalleled skill and dedication in each step of his sculptures’ fabrication. He has said: ‘Although we tend to think of glass as a window, it is a solid liquid that has at once three distinctive qualities: it reflects light, it absorbs light, and it transmits light all at the same time.’

In 1978, Larry Bell began experimenting with a modified version of the vacuum coating process, to make his ‘vapor drawings’ on paper. The unique large-scale wall work ‘Moving Ways’ (1978), made from applying aluminum on black paper, comprises five individual drawings hung together to make up a multi-paneled composition. In the ‘vapor drawings,’ Bell controls the density of the metallic coating, much like his glass works, in order to vary degrees of transparency and opacity across their surface. Thus, the drawings emulate and complement the elusive, reflective and spatial qualities that are present in his sculptural works.

Outside in the Jardins des Boulingrins, the major sculpture ‘The Blue Gate’ (2021) will be shown. This much more recent work shows the development of Bell’s practice. This is most apparent though his masterful adoption of color achieved by employing the very different medium of monochrome color-laminated glass. While related to the earlier standing walls in its scale and relation to the body, here the form has also become more complex through the use of contained or intersecting forms and triangular glass panes to create diagonals. This work is comprised of panes of vibrant amethyst purple and peacock blue. These colors overlap revealing a variety of mixed hues through their layers. It shows how Bell delights in colour contrasts and complementarity, as well as their mixing through the special transparency afforded by glass. Displayed in the Mediterranean light that has attracted artists through the centuries, this work will be especially impactful.

Image: Two Glass Walls, 1971-1972, 2 coated glass panels, Larry Bell. Photo: Gian Sinigaglia, Felicity Samuel Gallery, London 4 june - 31 august 2024

[abwwia]

Vanessa Beecroft (b.1969)

Vanessa Beecroft (born April 25, 1969) is an Italian-born American contemporary. via Wikipedia #PalianSHOW

Vanessa Beecroft (born April 25, 1969) is an Italian-born American contemporary performance artist; she also works with photography, video art, sculpture, and painting. via Wikipedia / photo Landscape, 2017, Ceramic Artist made wood pedestals, Los Angeles, 2017 x Beecroft in White Madonna with Twins (2006) Vanessa Beecroft, vbdw03, 2009, Watercolor, 19 7/10 × 25 2/5 in | 50 × 64.6 cm via…

[whencyclopedia]

Titian

Titian (c. 1487-1576 CE), real name Tiziano Vecelli (or Vecellio), was an Italian Renaissance painter who during his lifetime was considered the finest of the Venice school of artists. In a long career working for dukes, kings, and popes, Titian produced a large number of paintings, mostly with a religious theme, a mythological theme or portraits. The artist's work is renowned for the emotion of his figures, rich colouring, and overall mood of the compositions. Titian's masterpieces include Venus and Adonis, now in the Prado Museum of Madrid, several altarpieces for churches, and portraits of such noted figures as Philip II of Spain (r. 1556-1598 CE).

Early Life

Tiziano Vecelli, better known internationally by his anglicized name Titian, was born in Pieve di Cadora, Veneto c. 1487 CE. When he was just nine, he was sent to a mosaic workshop in Venice to begin an apprenticeship there. The young artist then progressed to become a student of Giovanni Bellini (c. 1430-1516 CE) in his Venetian workshop. A contemporary apprentice was another future star, Giorgione da Castelfranco (1475-1510 CE). Titian and Giorgione influenced each other greatly and even worked directly together, notably on the facade of the Fondaco dei Tedeschi palace c. 1504 CE. When Giorgione died in his mid-thirties, Titian finished off some of his remaining paintings. One example is the Sleeping Venus now in the Gemaldegalerie of Dresden. There are also some works which art historians continue to disagree over just who created them, Titian or Giorgione, notably the Pastoral Concert now in the Louvre, Paris. Works identified as purely Titian's in this early stage of his career include the Saint Mark Enthroned altarpiece, now in the Academia Gallery of Venice, and The Gypsy Madonna now in the Kunsthistorisches Museum, Vienna.

Continue reading...

[bloomous]

15 questions for 15 mutuals:

thanks for tagging me, babes! @simstwink @marilynjeansims

1. Are you named after anyone? nope! I have a different last name than my both my parents tho, as my dad insisted I should carry my granda's italian surname

2. When was the last time you cried? I honestly have no clue? I'm not a big cryer!

3. Do you have kids? nope and thank fuck for that!

4. Do you use sarcasm a lot? 'sarcasm is my native language' is literally one of my dating app's tagline

5. What sports do you play/have you played? I've played a bunch as a kid! I did ballet, artistic roller skating, hip-hop, and contemporary dance. at the moment, I shudder at the thought of joining a gym

6. What’s the first thing you notice about other people? their eyes and their attitude towards servers/retail workers

7. Eye colour? very dark brown

8. Scary movies or happy endings? I'm terrified of scary movies

9. Any special talents? I don't even have any regular talents

10. Where were you born? portugal

11. What are your hobbies? historically, my favourite hobby is moving countries! realistically, I love to read and write and play the sims

12. Do you have any pets? YES! the literal love of my life, my cat silver. my mum's cat zeus is also living with me at the moment <3

13. How tall are you? 171cm (5'7?)

14. Favourite subject in school? history

15. Dream job? to be a freelance fashion editor and writer

your turn! feel free to ignore, don't feel pressured <3 @simlishaccent @pixelglam @biancml @blarffy @cxseysims @maplewhims @simlish-fears @miilkymoonsims @gothoffspring

[4me4you]

4me4you Features - ‘the three graces’.

Artists: FRANCESCO ZANATTA

Francesco Zanatta (b.1989) is an Italian artist born in Treviso but currently based in Venice. Much like the Greek myths that the artist often references, where chaos and order intertwine, his work explores the delicate dance between the known and unknown, embracing the unpredictable nature of the creative process.

4me4you recently enjoyed a visit to Unit London Gallery, where a group exhibition titled "The Three Graces" was on display.

In Greek mythology, the Charites, also known as the Graces, embodied ideals of femininity, fertility, virtue, generosity, joy, and creativity. Traditionally, three of these goddesses are mentioned: Euphrosyne (joy), Aglaia (beauty), and Thalia (festivity). Believed to be the daughters of Zeus, they frequently accompanied Aphrodite, the goddess of love. Throughout art history, these three iconic figures have inspired numerous depictions, spanning from ancient times to the contemporary era. There symbolism resonates with universal aspects of human experience, such as the pursuit of happiness, admiration for beauty, our connection to nature, and the significance of creative expression. To honour Women’s History Month and the onset of spring, Unit London Gallery curated a modern reinterpretation of this timeless mythological theme in a new group exhibition titled "The Three Graces."

[fromdustitemerges]

March 21,2024

Arts assignment.

.•°. ARTE POVERA.

~Meaning from Italian "Poor art", Arte Povera is a contemporary art category that emerged in Italy, in 1967.

•Arte Povera is art made with offscourings.

It utilizes items deemed simple or useless, such as cardboard, rags, wood, plastic and paper.

It's mainly simple materials or objects people use in their daily life, which could have a part in the meaning of the art. But this will, of course, really depend on the intentions of the artist (and perception of the viewer).

Manollo Millares (Spanish, 1926-1972) Cuadro (10)-1964

•A famous conceptual artist that took part in the Arte Povera trend is Michelangelo Pistoletto. Born in 1933 in Italy, he was a self-made painter that restored paintings with his father. After 1958, he started his own artistic productions.

~In November 2023, a exhibition in tribute to Michelangelo Pistoletto turning 90 was made in São Paulo. Many of his art pieces and ideas were honored.

~The Form of The Mirror, by Michelangelo Pistoletto.

~Division/Multiplication, by Michelangelo Pistoletto.

~Metamorfosi, by Michelangelo Pistoletto.

~Venus of Rags, by Michelangelo Pistoletto is probably his most famous piece. It shows a pile of multiple different rags behind a classical style sculpture of the Roman Goddesses of love Venus facing it. The art displays an ambiguity between the Divine figure of the Godesses and the simplicity of a pile of worn-out clothes, which could symbolize the inherent value of love or human beings connecting to or contrasting with the quotidian clothes.

Michelangelo Pistoletto works with a lot of art mediums and may combine them. His feelings and making process of his art are as important as the placement of each part of the piece.

He seems to connect shapes and materials to one another. He oftens uses the shape of a sharp hourglass and mirrors in his pieces, as you can see more here.

Arte Povera, despite the name, is rich in feelings. There is beauty in simplicity.

[scotianostra]

On 10th April 1840, Alexander Nasmyth, the Scottish painter, died.

Alexander was born in Edinburgh’s Grassmarket, the son of a wealthy builder. He was educated at the Royal High School in Edinburgh and the Trustees’ Academy before becoming an apprentice heraldic painter to a coachbuilder. In 1774, while still only sixteen, his talent was spotted by the artist Allen Ramsay, who offered Alexander work in his London studio. While there Alexander became accomplished enough to be trusted with finishing work on Ramsay’s own paintings.

Nasmyth returned to Edinburgh in 1778 and rapidly found himself in demand as a portrait painter. He also helped Patrick Miller of Dalswinton by producing technical drawings for Miller’s paddle-driven steam boat, and did a family portrait for Miller. In return Miller loaned Alexander enough money to go to Italy, where he travelled around the country studying Italian art from 1782 to 1784.

On his return to Edinburgh, Nasmyth switched his output to landscapes of Scotland, produced in a very Italian style. His work was encouraged by the poet Robert Burns (who’s portrait he also painted), and the two would often walk together through scenic areas of central and southern Scotland. Burns and Naysmith were also the first  passengers ever to travel in a steamboat.

Over time Nasmyth’s style of landscape painting evolved from its Italian beginnings under the influence of Dutch landscapes, and as a result of the work of contemporaries. He also established a landscape school at his home at 47 York Place in Edinburgh. As a teacher he was highly innovative in insisting his pupils draw from real scenes in the open air, rather than simply reproduce existing drawings or paintings. Nasmyth also developed a sideline in architecture, being responsible for the Dean Bridge in Edinburgh and the temple-like structure atop St Bernard’s Well in Stockbridge.

When Alexander Nasmyth died in Edinburgh in 1840, he left a significant legacy in the form of his portraits and landscapes, and in the careers of those he had taught. These included his eldest son, Patrick Nasmyth, who went on to establish himself as a successful landscape painter; his daughters, Anne, Barbara, Charlotte, and Jane, all of whom also became painters; and his youngest son James Nasmyth, who became famous as the engineer and inventor responsible for the successful development of the steam hammer before, in retirement, also turning to art.

While the Burns portrait might be one of his most famous paintings I thought I would dig up some of his less well known works. First up is Tantallon Castle, East Lothian, then  Falls of Clyde, St Machar’s Cathedral, Aberdeen at Sunset is next and finally View of the City of Edinburgh.

[uwmspeccoll]

Milestone Monday, Part 2

On this day, February 27 in 1901, Italian sculptor, painter, and printmaker Marino Marini was born in Tuscany, Italy. Besides his long professional career as an artist, Marini was a professor of art at the Scuola d’Arte di Villa Reale in Monza, near Milan, from 1929 to1940 and then a sculpture professor at the Accademia di Belle Arti di Brera (now Brera Academy) in Milan from 1940 to 1970. Marini developed several themes in his work, including equestrian, nudes, portraits, and circus figures. He was deeply influenced by ancient Etruscan sculpture and according to museum curator Lucy Flint, “by interpreting classical themes in light of modern concerns and with modern techniques, he sought to contribute a mythic image that would be applicable in a contemporary context.”

The first five images shown here are from Homage to Marino Marini, edited by G. di San Lazzaro and translated by Wade Stevenson, with the first image being an original lithograph. It was published in New York by Tudor Publishing Company in 1975. 

The last five images are from Marino Marini: A Suite of Sixty-three Re-creations of Drawings and Sketches in Many Mediums, with an introductory text by Werner Haftmann, and published in New York by Harry N. Abrams in 1968 in a limited edition of 2000 copies, of which ours is one of 500 specially numbered copies. The images were produced by the Günter Dietz Workshop in Lengmoos, Germany using a unique reproduction system that combines the silkscreen printing process with photochemical color separation.

View more Milestone Monday posts.

[siglafurnitures]

The Timeless Elegance of 17th Century Tuscan Armchairs: A Glimpse into Renaissance Opulence

The 17th century Tuscan armchair stands as a testament to the rich history of Italian furniture craftsmanship and design. Born in the heart of Tuscany during a period marked by cultural and artistic flourishing, these chairs embody the elegance and sophistication of the Renaissance era.

Crafted with meticulous attention to detail, the Tuscan armchair of the 17th century reflects the prevailing artistic and architectural styles of the time. Influenced by the Renaissance, which had its origins in Italy during the 14th century, the 17th century saw a continuation and refinement of these artistic principles. Tuscan furniture makers drew inspiration from classical Roman and Greek designs, incorporating elements such as ornate carvings, graceful curves, and a harmonious balance of form and function.

One of the distinctive features of the 17th century Tuscan armchair is its solid and sturdy construction. Crafted from robust hardwoods such as oak or walnut, these chairs were built to endure the test of time. The frame often featured intricately carved details, showcasing the skill of the artisans who meticulously shaped the wood into elaborate patterns and motifs. The legs were typically thick and robust, providing stability and support.

The backrest of the Tuscan armchair was a canvas for artistic expression, adorned with intricate carvings that ranged from floral motifs to mythological scenes. These carvings not only added aesthetic appeal but also conveyed the cultural and intellectual currents of the time. The arms of the chair, as the name suggests, were designed to provide comfort and support, often featuring scrolls or gentle curves that added to the overall grace of the piece.

The upholstery of the 17th century Tuscan armchair was another element that showcased the luxurious tastes of the period. Rich fabrics such as velvet and damask were commonly used, and the upholstery was often embellished with elaborate embroidery or tufting. The choice of fabric and embellishments reflected the social status of the owner, with more opulent materials reserved for the nobility and aristocracy.

Functionality was not sacrificed for the sake of aesthetics in the design of the Tuscan armchair. While the chair exuded an air of grandeur and sophistication, it was also created with comfort in mind. The seat was often generously padded, providing a luxurious and inviting place to rest. The ergonomic design of the chair allowed for prolonged use without sacrificing comfort, making it a functional piece of furniture for both formal and informal settings.

The 17th century Tuscan armchair was not merely a piece of furniture; it was a symbol of status and cultural refinement. In a society where appearances and symbols of wealth held great significance, owning a well-crafted Tuscan armchair was a statement of one's taste and social standing. These chairs were often found in the homes of the elite, gracing the halls of palaces and the drawing rooms of the upper class.

Today, the legacy of the 17th century Tuscan armchair lives on in the world of interior design and antique collecting. While original pieces from this period are rare and highly sought after by collectors, modern reproductions pay homage to the timeless elegance and craftsmanship of the original design. The enduring appeal of the Tuscan armchair lies in its ability to seamlessly blend the opulence of the past with the demands of contemporary living spaces.

The 17th century Tuscan armchair stands as a masterpiece of Italian furniture design, capturing the essence of the Renaissance era. Its solid construction, intricate carvings, and luxurious upholstery reflect the craftsmanship and artistic sensibilities of the time. As a symbol of status and cultural refinement, the Tuscan armchair has left an indelible mark on the history of furniture design and continues to inspire and captivate admirers to this day.