#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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[pwlanier]

The Picture Gallery, the Sciences and the Arts, oil on an oak panel, by A. van Stalbemt.

In a vast interior, scholars and connoisseurs contemplate and discuss paintings, engravings, and portraits on vellum, sculptures, scientific objects and curiosities. A wide variety of pictorial genres are represented in the paintings: landscapes, still lifes, historical pieces, portraits, altarpieces, religious scenes and allegories. With this work, Adriaen van Stalbemt pays tribute to the richness of both contemporary Flemish painting and that of past centuries. On the left, hanging from the large piece of carved wooden furniture through which it was possible to access this room, is a work of the interior of a church as Pieter Neefs the Elder (with whom Adriaen van Stalbemt may have worked) would have depicted it, while above it is possible to recognise, through the Italianate landscape inspired by the Roman forum, the work of a member of the famous Bentveughels community, made up of Flemish and Dutch artists active in Rome in the early 17th century such as Bartholomeus Breenbergh, Jan Asselijn, Hendrik Frans van Lint and Willem van Nieulandt. The bluish tondo landscape is possibly by the hand of Paul Bril.

On the lower right, the painting showing game on an entablature covered in red drapery is undoubtedly by Pieter Snijders (the deer strung up in the foreground is a recurring motif in the master's work, as are the lobster and the basket garnished with bunches of white and red grapes) (1).

The work placed on a red armchair with a young man leaning over it in the foreground is inspired by The Abundance and the Four Elements painted by Hendrick van Balen in collaboration with Jan Brueghel the Elder (now in Madrid, Prado Museum, P001399, fig. 1), while the landscape placed on the floor against the foot of the chair evokes the work of Jaspar van der Laanen, Alexander Keirinx and Jan Brueghel the Younger. Among the paintings on the back wall, the Saint Jerome recalls the work of sixteenth-century Flemish painters Joos van Cleve, Pieter Coecke van Alst and Marinus van Reymerswaele, whose study of the saint depicted as a cardinal is a favourite subject, while the landscape to his left is probably by Joos de Momper. The large bacchanal in the centre is reminiscent of the work of Hendrick van Balen, while the scene depicting the Queen of Sheba before King Solomon is probably by Frans Francken II.

Finally, the portrait of the hunter holding the head of a fox is known from a painting in Karlsruhe attributed to the entourage of Karel Dujardin (no. 302) (2). Two men contemplate a curved altarpiece depicting the Virgin crowned by angels on a green background by Adriaen Isenbrant (now in the Gemäldegalerie in Berlin (inv. 554), fig. 2), while the Holy Family surrounded by a wreath of flowers is probably a work by Frans Francken II or Jan Brueghel II in collaboration with Daniel Seghers.

Born in Antwerp and of Protestant faith, Adriaen Stalbemt took refuge in Middelburg between 1585 and 1609 due to the political unrest that engulfed the city of Antwerp in the 1580s. He returned to his hometown in 1609, probably after the proclamation of the Twelve Years' Truce, where he became master of the Guild of Saint Luke and then dean between 1618 and 1619. He participated in the intellectual life of the city through his membership in the chamber of rhetoric known as De Violeren. After a brief stay in England between 1632 and 1633, during which he produced a View of Greenwich with Charles I and Henrietta Maria (Royal Collection, Hampton Court, London) and collaborated with his compatriot Jan van Belkamp, ​​he returned to Antwerp, where he died in 1662. Well-established in the thriving Antwerp market at the beginning of the 17th century, he produced paintings for the merchant Chrysostomus van Immerseel between 1634 and 1641. Establishing a precise chronology of his production remains a challenge, since his paintings are rarely dated (3). A specialist in paintings that were intended for display in these picture cabinets, Stalbemt produced a variety of works over the course of his long career, ranging from landscapes to depictions of cabinet interiors. His religious, mythological and allegorical scenes are often set in elaborate landscapes, a genre in which he excelled. The Triumph of David over Goliath in the Prado Museum (Madrid) painted in concert with Jan Brueghel the Younger shows that he collaborated with other Antwerp artists as a figure painter (no. P001782).

In the 1610s and 1620s, Frans Francken the Younger and Jan Brueghel I were the first to paint this type of subject. As an example, one could look at the cabinet of curiosities painted by Frans Francken II from 1619, kept at the Royal Museum of Fine Arts in Antwerp (inv. 816, fig. 3). Ursula Härting has shown that Frans Francken II produced these subjects before 1617, a milestone previously established as the year of the introduction of this genre by means of Jan Brueghel the Elder’s The Sense of Sight from 1617 (Prado Museum, Madrid, no. P001394, fig. 4). It is therefore in the wake of the production of Frans Francken II, who, with the help of a large workshop, produced numerous variants after a first prototype, that our work should be placed. Our painting is similar to another work by Stalbemt in the Prado Museum (inv. P001405, fig. 5) of which other versions are known, one having being with the De Jonckheere gallery in 2002 and the other appearing in a sale in Zurich (4). There are other interieur scenes that depict galleries of paintings of this painter.

Artcurial

[morgenlich]

It's Good Friday, so let's talk about Botticelli's later works and the influence of Dominican friar Girolamo Savonarola!

So, to begin, I did link Savonarola's Wikipedia article above, and if you're unfamiliar with him, I would recommend reading it, but allow me to summarize the relevant bits of information:

Savonarola was born in 1452 in Ferrara and in 1475 traveled to the Friary of San Domenico in Bologna and asked to be admitted. Even before deciding to do so, it is clear that he held the beginnings of many of the beliefs that would make him (in)famous later in his life; even at a fairly early age, he wrote about the corruption of the Catholic Church and the need for it to be scourged, and he shows an early obsession with the Apocalypse. At the friary (and as he is assigned to other locations) it seems that he frequently ran into conflict with leadership, and eventually he ends up under the protection of Lorenzo de'Medici (Lorenzo the Magnificent) in Florence.

Savonarola's preaching in Florence was quite popular; he was certainly charismatic, and he frequently lambasted the wealthy people who neglected the poor (though I should note that his sermons against the wealthy included a healthy dose of antisemitism). Additionally, I should add, the 1490s in Florence (and indeed, the Italian peninsula and...well, really, all of Europe) were somewhat...stressful. There was plenty of political upheaval (which I will circle back to), but the year 1500 was also looming on the horizon. What's important about the year 1500? Well, it was a year that was suggested as the beginning of the Apocalypse. Although, strictly speaking, believing so was a heresy (delving into medieval and early modern Millenarianism is a whole other post, but basically the Church maintains that the date of the Apocalypse will be unknowable until it actually happens and rejects any attempt to say that such and such a year will be the beginning of the end of the world).

Whether or not Savonarola was truly a Millenarian is a matter of some debate, and how convinced he was that 1500, specifically, was a relevant year to the Apocalypse varies even in his own writings and records of his sermons, however. His sermons were filled with a sense of urgency, and when King Charles VIII of France crossed the Alps with his army in 1494 (throwing much of Italy into political chaos as well as war), it seemed that the prophetic nature of his sermons had some truth to them.

Savonarola preached that a New Age was imminent, and that Florence would be a "new Jerusalem" if she could abandon her vices; he claimed that Florence would be spared being sacked by the French (and punishment for her sins) if the Florentines would build an "ark" of piety and penitence; indeed, when Savonarola treated with Charles VIII, an agreement was reached and Florence was not sacked. Piero de' Medici was exiled from the city, and a Florentine republic established, with Savonarola taking a prominent role in the leadership thereof (and in maintaining positive ties with the French).

He was not well liked outside of Florence though; in particular, he had many enemies in Milan and Rome, particularly because he accused the papacy of corruption, and he was eventually excommunicated in 1497. His popularity within Florence also eventually waned. If you have encountered Savonarola in an art historical context before, you have probably heard of his "bonfires of the vanities," where he encouraged people to burn their frivolous or impious worldly possessions; he has been accused of iconoclasm which is not strictly speaking true--he objected to secular art, and to the use of contemporary political figures as models in religious art, and famously decried that late quattrocento artists were depicting the Virgin Mary as a whore, but he was not opposed to "proper" religious art. Still, he was certainly responsible for the destruction of quite a lot of art, and the people of Florence were becoming increasingly fed up with his very strict rules on modesty, asceticism, and so on. In 1498, he (and his close confidants Fra Domenico and Fra Silvestro Maruffi) was arrested; under torture he confessed to inventing his prophecies. The three friars were executed by hanging on 23 May 1498 and their bodies burnt, their ashes scattered in the Arno.

So, Botticelli.

If you're not overly familiar with his oeuvre, you might be surprised to learn that Alessandro Filipepi, known as Sandro Botticelli, was actually quite a devoted follower of Savonarola. After all, his most famous works are certainly the Birth of Venus and Primavera, right? (In the 21st Century, yes. The history of the reception of Botticelli's works is....also a whole other post lol). Still, the works most people associate with him are very much the antithesis of the sort of work Savonarola approved of. Pagan and secular themes! Emphasis on displays of wealth! Female nudity! Using contemporary political figures (including--especially--the Medici family) as models for his religious art!

This is because the works most people associate with Botticelli are from the midpoint--and peak--of his career. However, even before Savonarola's rise to fame, he had begun to switch tacks. Vasari names his later style maniera devota, a term he used disparagingly to refer to a simpler, almost nostalgic style that is very heavy on the piety. As a quick comparison, let us look at two different Annunciation paintings, the first from 1481 and the second from 1489-90 (both currently in the Uffizi):

I will grant that's it not an entirely fair comparison, since the contexts of their production are different and the first is quite a large fresco (243 x 555 cm, or about 8 feet x 18 feet) while the second is a smaller painting (150 x 156 cm), but there is still a noteworthy shift, in my opinion. The fresco shows the Virgin in an incredibly ornate setting; it's very much a testament to Botticelli's skill as a painter, having seen it in person, that you can see so many different textures from the wood grain to the different marbles to the textiles. All of these details point to worldly material wealth. In contrast, the second painting places Mary and Gabriel in a much simpler setting. Although some difference could certainly be attributed to the size, I would point out that textiles and the floor are still rather detailed, but are ultimately humbler materials--rather than an ornate marble floor, the figures are placed on simple terracotta. I would also point out that in the later piece, Mary stands over Gabriel, who is kneeling to her, in a way that suggests her position as the Queen of Heaven--she almost seems to be reassuring him, rather than the other way around. Obviously both pieces are rich with Marian symbolism, and I could sit here all day pointing out each and every detail in them (even in his simpler works, Botticelli, and other quattrocento artists, used enough symbolism you could almost argue that each individual brushstroke was symbolic somehow lol). (Also, all of that said, I will point out that the ornate frame of the second is original).

When, exactly, Botticelli first came into contact with Savonarola's ideas is unknown. There is nothing written by Botticelli himself that is known, and Vasari, though not the first to write about him (he is the first to link him to Savonarola, however), was born in 1511 while Botticelli had died in 1510. Vasari claims in the Vite that Botticelli became a piagnone, who eschewed creating art at all after becoming a devotee of Savonarola's, but this is false; Botticelli continued creating art until his death 12 years after Savonarola's execution--it's quite possible that Vasari was unaware of his later works, though. Botticelli had faced declining popularity since the late 1480s, and was (according to Vasari) reliant on wealthy friends (notably including Lorenzo de'Medici) to live. Additionally, although circa 1500 Botticelli painted at least two very Savonarolan pieces (the Crucifixion above and the Mystic Nativity), the original context of either is unclear. It's even been speculated that one or both of them may have been created for Botticelli's own personal devotional use. Even if they had been commissioned or otherwise intended for public viewing, the intended audience would have been small--continued devotion to Savonarola's ideas was heretical, and although there was not a small number of people who remained devoted to him, they had to do so in secrecy. It's also possible that Vasari confused Sandro for his younger brother, a fellow artist who does seem to have become a piagnone and likely was a follower of Savonarola's before Sandro was, though Sandro's timeline is just....extremely murky from 1491 until his death. The only work of his that can be dated with any certainty after 1491 is the aforementioned Nativity, which includes the inscription (originally in Greek): "I, Alessandro, painted this picture at the end of the year 1500, in the troubles of Italy, in the half-time after the time, during the fulfilment of the 11th chapter of John, in the second woe of the Apocalypse, in the loosing of the devil for three and a half years. Afterward he shall be chained according to the 12th chapter and we shall see him [trodden down] as in this picture."

...So you can see from the inscription that Botticelli believed 1500 to be an apocalyptic year in the literal sense.

You might be able to guess from all of this some of the meaning of the Crucifixion at the top of the post, but allow me to elaborate some anyway. It's dated to around 1500, though, again, nothing after 1491 (except the Mystic Nativity) can be dated for sure. It's tempera and oil on canvas, possibly transferred from panel, and is fairly small, measuring 72.4 cm x 51.4 cm (28.5" x 20.25"). At some point it ended up at the Palazzo Riccardi in Florence, then ended up in Paris, then Munich; it was sold to Edward Forbes in 1924, and Forbes sold it to Harvard's Fogg Art Museum in the same year; it remains there today. The Harvard site has a pretty concise description of it, so I will copy directly from them:

In this painting, perhaps made for his own use, Botticelli incorporates themes from Savonarola’s incendiary sermons. Firebrands and weapons rain down from black storm clouds, and an angel of justice raises his sword to slay the marzocco, the small lion that is the emblem of Florence. The purified city is shown in the background, bathed in light emanating from God the Father, as white angels chase the clouds away. Mary Magdalene desperately clutches the foot of the cross, while a wolf, symbolizing clerical vice, flees from under her robe.

You see the depiction of Florence as a "new Jerusalem," as well as a purification of the Church. The choice of Mary Magdalene as a figure is relevant as well, if you recall that since the middle ages Mary Magdalene was viewed as a penitent former prostitute--her penitence and devotion to the cross here mirror the hope for the city of Florence to redeem itself from its vices and thus attain salvation (and its higher calling as the "new Jerusalem" in the world to come), as well as a hope for the Church itself to be reformed.

Botticelli's works have a reputation of ambiguity among art historians; even for his most well-known works, there's quite a bit that isn't known for certain about intended meanings or even who the figures in the pieces actually are. This Crucifixion is an exception to this, even if other elements of it (such as why it was made in the first place) remain unknown. One of the most interesting things to me about art history as a field is that even for the most well-known artists and works, there's always something that isn't known for sure. The field, and history more broadly, is full of tantalizing mysteries that likely will never be solved. Still, there's always something to be discovered, and, crucially, even in studying what we know for certain (or near enough to certain, anyway) there's immense value in gaining a deeper understanding of historical and cultural contexts. Art and the world are reflections of each other, they interact with each other, and knowledge of one will provide deeper insight into the other.

I think it is important to remember that even Renaissance artists who dealt with pagan themes were deeply Christian, creating art for deeply Christian patrons (and often directly for the Church itself; Botticelli's most known works may have been secular, but he was commissioned for many, many religious works, including working on the Sistine Chapel). It's an important context to be consciously aware of when engaging with their works, even if the specific beliefs are not as obvious as they are here. It's good to remember that artists exist within the context of the world they live(d) in and not isolated from it.

For additional reading and such I recommend:

1) Uffizi site (EN) on the Annunciation (1481)

2) Uffizi site (EN) on the Annunciation (1489-90)

3) National Gallery (London) site on the Mystic Nativity (1500)

4) Charles Burrough, "The Altar and the City: Botticelli's "Mannerism" and the Reform of Sacred Art" (1997) JSTOR

5) Charles Dempsey's biography of Botticelli for Oxford Art Online (2010)

6) Damian Dombrowski, "Savonarola und die heiligen Bilder: Ein Problem der Botticelli-Forschung" (DE) (2009) JSTOR

7) Richard Stapleford, "Vasari and Botticelli" (1995) JSTOR

8) Giorgio Vasari, The Lives of the Most Eminent Painters, Sculptors, and Architects, Project Gutenberg version tr. 1912 by Gaston du C. de Vere; entry on Botticelli specifically begins on page 245.

[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 Allan Ramsay, who offered him 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.

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.

Pics are Alexander Nasmyth a view of Princes Street looking east contrasting the New Town buildings on the left with the Old Town on the right, the drained Nor Loch still to become the gardens they are today. Our national poet Robert Burns, a view of Hawthornden Castle, a view of Loch Awe,and the steam bot The Comet, which I posted about recently and lastly Callendar House in Falkirk, which I myself have photographed and posted here on numerous occasions.

[jane-wisteria-waterhouse]

Download FREE hi-res art from the Getty Museum!

The Getty Museum now allows you to download and edit and do whatever you want with 88,000 high-resolution artworks. They're FREE for ANY PURPOSE (under Creative Commons Zero)...There are NO legal restrictions!

Go to getty.edu./art/collection

click the "Open Content" filter

You can search by artist name, medium, keyword etc.

A majority of the work is American and European but there are some ancient and contemporary works from all over the world, too.

How am I just hearing about this?! Adding this bookmark file of "Free Images"...

Here are just a few of the gems I found...

Irises 1889 Vincent van Gogh (Dutch, 1853 - 1890)

L'Après midi [sic] d'un Faune (Nijinsky) 1912 Léon Bakst (Russian, 1866 - 1924)

Jeanne (Spring) 1881 Édouard Manet (French, 1832 - 1883)

Young Italian Woman at a Table about 1895–1900 Paul Cézanne (French, 1839 - 1906)

The Echo 1868 Julia Margaret Cameron (British, born India, 1815 - 1879)

I mean, I could spend hours just searching for stuff...

[themuseumwithoutwalls]

MWW Artwork of the Day (3/2/25) Alessia Iannetti (Italian, b. 1985) Aurora Consurgens (2018) Graphite, watercolor & acrylic color on wood, 30 x 40 cm. Dorothy Circus Gallery, Rome

Alessia Iannetti was born in 1985 in Carrara and attended The Academy of Fine Arts, where she studied with Professor Omar Galliani. She inherited his skillful technique of graphite on wood panel. Unlike today’s conceptual language, not contemporary enough, Iannetti’s art is cultured, confident of her figurative veer, and proud of joining a dreamscape and surreal Neoclassicism that ranks her as one of the most interesting artists of the New Surrealism and New Pop art scene

[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…?

[creature-studios]

I am the silhouette at 5' 6" IQ: est. 180-220

Leonardo di ser Piero da Vinci (15 April 1452 – 2 May 1519) was an Italian polymath of the High Renaissance who was active as a painter, draughtsman, engineer, scientist, theorist, sculptor, and architect. While his fame initially rested on his achievements as a painter, he also became known for his notebooks, in which he made drawings and notes on a variety of subjects, including anatomy, astronomy, botany, cartography, painting, and paleontology. Leonardo is widely regarded to have been a genius who epitomized the Renaissance humanist ideal, and his collective works comprise a contribution to later generations of artists matched only by that of his younger contemporary Michelangelo. Born out of wedlock to a successful notary and a lower-class woman in, or near, Vinci, he was educated in Florence by the Italian painter and sculptor Andrea del Verrocchio. He began his career in the city, but then spent much time in the service of Ludovico Sforza in Milan. Later, he worked in Florence and Milan again, as well as briefly in Rome, all while attracting a large following of imitators and students. Upon the invitation of Francis I, he spent his last three years in France, where he died in 1519. Since his death, there has not been a time where his achievements, diverse interests, personal life, and empirical thinking have failed to incite interest and admiration, making him a frequent namesake and subject in culture. Leonardo is identified as one of the greatest painters in the history of art and is often credited as the founder of the High Renaissance. Despite having many lost works and fewer than 25 attributed major works—including numerous unfinished works—he created some of the most influential paintings in Western art. His magnum opus, the Mona Lisa, is his best-known work and often regarded as the world's most famous painting. The Last Supper is the most reproduced religious painting of all time, and his Vitruvian Man drawing is also regarded as a cultural icon. In 2017, Salvator Mundi, attributed in whole or part to Leonardo, was sold at auction for US$450.3 million, setting a new record for the most expensive painting ever sold at public auction. Revered for his technological ingenuity, he conceptualized flying machines, a type of armored fighting vehicle, concentrated solar power, a ratio machine that could be used in an adding machine, and the double hull. Relatively few of his designs were constructed or were even feasible during his lifetime, as the modern scientific approaches to metallurgy and engineering were only in their infancy during the Renaissance. Some of his smaller inventions, however, entered the world of manufacturing unheralded, such as an automated bobbin winder and a machine for testing the tensile strength of wire. He made substantial discoveries in anatomy, civil engineering, hydrodynamics, geology, optics, and tribology, but he did not publish his findings and they had little to no direct influence on subsequent science. - from Wikipedia

[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

[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...

[areyouscaredyet]

Love seeing your art on my dash, been following u for a while and i enjoy seeing your stuff from other fandoms too. Do you have any tips on picking colors?

hi anon! first of all, thank you so so much for this! i'm happy to know that there are people who don't mind my inconsistent posting habits lol. i have such a hard time staying still and the same can be said for my fandoms HAha for your question-- prepare for rambling!! as an educator, i simply can't refuse the opportunity to talk about art!! (you have been warned!!!)

i don't wanna make assumptions about your own art experiences, but i love to talk and for the sake of other people seeing this, i'm gonna rip the band-aid off RIGHT NOW.

the best thing you could ever do for your artistic practice is

LOOK AT ART ALL THE TIME.

it doesn't matter what era of art history, if it's contemporary, what medium it's in, none of that! just keep looking at art, you'll pick up on things naturally as you gain familiarity with different artists and experience in close-looking. you'll find what jives with you best based on your own aesthetic and thematic preferences.

(to talk about myself VERY briefly) i'm a painter-- most of my formal art training is in oil painting, so a lot of my influences for specific technique and color language come from painters. i bring this up so that you understand that what i'm saying is malleable and also so you trust what i'm gonna say! you don't have to look at the specific artists i'm gonna bring up, it's just so you can get a sense of thought process.

(read more for the best advise you'll ever hear)

REFERENCES ARE YOUR LIFE-BLOOD

nothing is original anymore, and it never was! not even in 1200 BCE or whenever else. when thinking about a piece, i try to consider as much as possible at the beginning, and then i start pulling references. people have been studying and experimenting with color since the dawn of time, why make things harder by forcing yourself to figure everything out on your own? having a repertoire of images to pull parts from can be extremely helpful and make things move much more smoothly.

my work is very influenced by historic christian art and more recently, a fuck ton of sci-fi shit. finding specific artists that make this type of work was important to me, because i had something i could concretely look into if i needed to solve a specific problem with a painting, or if i had a question that needed answering. for example: because of common trends throughout art history, certain lighting conditions and certain color choices already have certain associations! you don't need to memorize anything like that, but a quick google search (after you sort through the AI bullshit) can take you a long way!

off the top of my head, here are some really great artists to look at if you're interested in the kind of color fields that i explore!

Paulo Veronese

a 16th century italian painter (boring i know!! pls don't run away!!)

if you spend some time with his work you'll notice that his use of color feels very contemporary for someone born in 1528. a fun fact: green is notoroius for how difficult it is to wrangle in a painting. this guy, however, was SO good at painting with green, that they named a shade of green after him! it's aptly called Veronese Green!

Zdzisław Beksiński

"I wish to paint in such a manner as if I were photographing dreams" 

a must-know if you are interested in creepy sci-fi landscapes and eerie color pallets! he was a 20th century polish painter who worked in a lot of thin layers, building up these super wonderful and atmospheric pieces. he kept painting over and editing his works until he was satisfied- he had a bit of a weird attitude towards painting lol. he also had an extremely interesting life- i recommend everyone look into him just for the sake of hearing about the most tragic man ever

Sleeping By the Mississippi - Alec Soth

a lovely photo book from 2004 that uses vibrant color and funky composition to represent places visited by the artist on a series of road trips along, well, the Mississippi! to me, the book feels like a Nutcracker-esque exploration of the American Midwest, and does a great job of chronicling the connections formed while on his journey. everything is very quiet, but the use of color makes the world feel lived in and whimsical. each subject has their own soul. even if there's no person present in a photo, the energy of the image is palpable.

Reconciliation - Billie Mendel

an AMAZING study of light and color. this artist spent hours of her time in the confessional booths of churches taking long-exposure photographs. the delicate way the light reflects off of different surfaces, pierces through cracks and holes, and washes over walls makes the spaces feel inhabited by actual spirits. there's an eerie, yet comfortable, feeling i feel when i look at these photos. it does an amazing job of visually portraying silence. this book was so important for me in helping with color pallets and lighting conditions!

i chose these example to show that looking at artists who use different mediums can also be a great way of seeing how people approach things from different perspectives!

anyways, sorry for the rambling! this was a long and convoluted way of telling you to just take color pallets and lighting conditions from other artists hAHA-- but hopefully this was helpful to you! if you want to reach out to talk about art or finding artists to look at, I would be more than happy to! the beautiful thing about the world is that there are millions of makers that exist RIGHT NOW, and you can find them at the click of a button!

thanks again, anon! best of luck with your creative journey :)

[immemorymag]

Zandalee Pascon is an Italian artist of Nigerian origin, born (in 2002) and raised in Northern Italy. Since she was a teenager, she has been passionate about photography and chose to study it, as a medium, at the University IUAV of Venice, from which she graduated in 2024, with a thesis that analyzes the concept of Wounds, starting from the scarifications of Nigerian tribes up to contemporary art.

She also did her internship at the no-profit gallery MOMENTUM in Berlin.

[reyaint]

ari.gen members | kang avelino sadire junseo

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date: february 5, 2025.

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"𝑫𝒐𝒏’𝒕 𝒔𝒕𝒐𝒑 𝒃𝒂𝒃𝒚 𝒅𝒐𝒏’𝒕 𝒌𝒊𝒍𝒍 𝒎𝒚 𝒗𝒊𝒃𝒆"

✧˖*°࿐background

cypher was born in Jeju Island, Korea, to a Korean father and a Filipino mother. Growing up in a multicultural household gave him a unique perspective on life and helped shape his easygoing, sociable personality. he was always surrounded by music and dance, with his mother being a big fan of Latin music and his father a former K-pop dancer who taught him the basics of rhythm and movement from a young age. cypher has always been passionate about performing, with an innate talent for dancing that quickly stood out in school and local competitions.

cypher’s passion for dance emerged early, and he took up various styles, from hip-hop to contemporary, quickly becoming a standout in local dance circles. his smooth yet powerful moves earned him recognition, and soon he started gaining attention from smaller agencies. however, it was his ability to pick up on various genres of music, blending them into his performances, that truly set him apart as a well-rounded artist. his vocal skills also developed in parallel, and he took up vocal training alongside his dance lessons.

cypher was a core member of the Genesis Crew, which later became the foundation of ARiSEN : GENESiS. before their debut, the group participated in a variety of underground performances and dance showcases. they had initially started as a dance group but had greater aspirations. cypher’s versatility in both dancing and singing played a key role in the crew's evolution into a full-fledged idol group.

cypher's journey took a significant turn when he joined JYP Entertainment as a trainee in 2013. He trained rigorously for several years, honing his vocal and dance skills. However, Cypher and the rest of the Genesis Crew found themselves at a crossroads, feeling limited by the constraints of their contract. In 2015, after much discussion, the group left JYP and signed with DeadSound Entertainment, seeking more creative freedom and a fresh start. Their decision was pivotal, allowing them to finally debut under the name ARiSEN : GENESiS in 2018.

"𝑩𝒆𝒄𝒂𝒖𝒔𝒆 𝑰 𝒍𝒊𝒌𝒆 𝒉𝒐𝒘 𝒕𝒉𝒊𝒏𝒈𝒔 𝒂𝒓𝒆 𝒈𝒐𝒊𝒏𝒈 𝒓𝒊𝒈𝒉𝒕 𝒏𝒐𝒘"

✧˖*°࿐basics

დ. stage name. cypher დ. full name. kang avelino sadire junseo დ. korean name. kang junseo დ. english name. jay avelino

დ. date of birth. october 1, 2002 დ. place of birth. jeju island, korea დ. nationality. filipino-korean დ. ethnicity. filipino-korean დ. race. asian დ. languages. — Korean (100%) — Tagalog (100%) — English (97%) — Japanese (92%) — Spanish (89%) — Italian (81%)

დ. height. 180 cm (5’11″) დ. weight. 60 kg (132.3 lbs) დ. zodiac sign. libra დ. blood type. A+ დ. gender. male დ. pronouns. he/they დ. sexuality. onmisexual დ. s/o. n/a

დ. personality. —cypher's personality is warm and charming, which is evident in his interactions with the members. he has a tendency to take on a supportive, big-brother role, despite being the youngest. —cypher is the kind of person who thrives on human connection, and he has a natural talent for making people feel at ease —he is caring and emotionally invested in the well-being of his friends, often going out of his way to ensure everyone is happy and united. —despite being the youngest, he’s also incredibly hardworking and determined, constantly pushing himself to improve. —he holds a special place in the group, often being the one to lighten the mood with his playful nature and infectious laughter.

mbti. ESFP (the entertainer) enneagram. 2w3

"𝑻𝒐 𝒕𝒉𝒆 𝒍𝒆𝒇𝒕, 𝒕𝒐 𝒕𝒉𝒆 𝒓𝒊𝒈𝒉𝒕, 𝒇𝒐𝒍𝒍𝒐𝒘 𝒎𝒆"

✧˖*°࿐career

დ. training period. 2013 to 2017 დ. company. jyp entertainment ( 2013 - 2015 ), deadsound ( 2015 - present ) დ. group. arisen genesis (2018 - present)

დ. rep color. orange დ. rep emoji. 🐶 დ. positions. main dancer, vocalist, maknae

დ. their performance style is characterized by sharp, yet graceful movements that captivate audiences. cypher is known for their fluidity and precision in dance.

დ. their stage presence is magnetic, and they can switch from playful, youthful energy to a more mature, powerful persona in an instant, making them a versatile performer.

დ. cypher contributes to the group's dynamic concept, blending a mix of contemporary dance with K-pop's high-energy performance style. the group is known for their bold and innovative choreography, and Cypher plays a crucial role in creating impactful dance sequences.

დ. as the Main Dancer and Maknae, he often brings a high-energy presence to their performances, especially during the more upbeat, aggressive moments of their songs.

"𝑱𝒖𝒔𝒕 𝒍𝒊𝒌𝒆 𝒕𝒉𝒂𝒕 𝒀𝒆𝒂𝒉 𝒂𝒉 𝒚𝒆 𝒚𝒆 𝒚𝒆𝒂𝒉"

✧˖*°࿐facts

დ. despite his confident, bold persona, Cypher still gets nervous before performances, especially solo ones. he’s learned to manage his stage fright by doing breathing exercises and visualizing his success before stepping on stage.

დ. cypher is known for his signature scent, a mix of citrus and musk with subtle woody undertones. His favorite perfume is a high-end brand that he picked up during a trip to Paris, and he uses it sparingly to maintain its mystique.

დ. cypher is also a fan of K-dramas, and his favorite is Crash Landing on You.

დ. cypher’s fashion sense is a blend of urban streetwear, modern K-pop flair, and athletic comfort. his style is edgy yet approachable, allowing him to stand out both on stage and off. he’s known for his ability to balance comfort with bold statements, often sporting pieces that showcase his vibrant, playful personality.

დ. his favorite Filipino dish is Adobo, and he often finds comfort in eating it when feeling homesick.

დ. he is a coffee enthusiast and enjoys experimenting with new ways to make his perfect cup. a self-proclaimed coffee lover, Cypher can often be found sipping on iced coffee or a freshly brewed cappuccino during rehearsals. he says it’s essential to keep him alert during those long, tiring practice session

დ. hobbies: cooking, street art, sketching, coffee

დ. inspirations: JHope, blackpink, cl, tupac

დ. he’s known for his love of dogs and has a pet dachshund named “Bobo.”

დ. personal motto: "Be the rhythm in the silence, the spark in the dark."

[dd20century]

Alexander Girard: Color, Texture, and Joy

“Anything can be used to create beauty.” – Alexander Girard

Alexander Girard’s Youth

American architect, interior designer, product designer, and textile designer Alexander Girard was born on May 24, 1907 in New York City to an American mother from Boston and a French-Italian father. He spent his childhood in Florence, Italy, which likely influenced his later design aesthetic. (1) Florence’s rich artistic and architectural heritage of the Renaissance likely contributed to his appreciation for craftsmanship, attention to detail, and bold use of color that would later characterize his work.

When young Girard was 10 years old his parents sent him to a boarding school in England. After graduating school he studied architecture in London in 1927 and later in the Royal School of Architecture in Rome. (2)

Alexander and Susan Girard pose with their family and several pieces of their folk art collection (circa 1950). Photo credit: unknown. Image source.

Alexander Girard Begins His Career

“In 1932, Girard returned to the United States and opened his first design office in New York City. Five years later, he moved again, to Detroit, where he opened a second studio” (3). In the United States, Girard’s work became influenced by the current movements of Modernism and Art Deco, blending traditional European elements with contemporary design, creating a unique style that bridged both European and American aesthetics. (1)

During his time in New York Girard was “a member of the Architectural League of New York and the American Institute of Decorators” (4). Also while in New York Girard met designer Susan Needham March. They fell in love and married in 1936. The couple had a daughter and a son. Later Susan would be instrumental in helping Girard build their impressive collection of folk art for which the couple purchased a 200-year-old adobe house in the early 1950s in Santa Fe, New Mexico. The Girard’s home “evolved into a showcase residence...featured in television shows and books” (4).

In Detroit, Girard “practiced design and architecture in Grosse Pointe, Michigan” (4) and decorated the homes of many wealthy clients. In 1949 he curated an exhibition “For Modern Living” on postwar Modernism for the Detroit Institute. (1) This groundbreaking show “included the first public display of Charles and Ray Eames’s molded plywood chairs” (3). In 1953 Girard served as interior designer on Eero Saarinen’s Irwin Miller House in Columbus, Indiana.

Alexander Girard, Living Area of the Miller House, Columbus, IN, (1953-1957). Photo credit: Library of Congress. Image source.

Girard Joins Herman Miller

During the late 1940s, Girard became friends with designer Charles Eames “when the two … realized they had coincidently designed almost identical modern radio cabinets and were both experimenting with plywood chairs” (1). In 1952 Charles Eames helped to recruit Girard to join the Herman Miller Company and head up their Textile Division. (5) Girard was responsible for transforming the “look and feel of the furniture products designed by Charles Eames” (5) and those of Herman Miller’s head designer George Nelson. Girard used bold colors and strong graphic patterns on the upholstery he designed for the firm. Many designs were inspired by the Southwestern folk art that he loved. (1) Girard was not only concerned with the look of the fabrics used but also their quality introducing “new and varied forms of fabrics that could be used on a whole host of products and offer durability, comfort and versatility" (5).

Alexander Girard, T&O Showroom, New York City (1961). Photo credit: Vitra Design Museum. Image source.

In 1961 Herman Miller opened the T&O (Textiles and Objects) showroom which featured, “textiles as an integral part of interior displays for both designers” (2) and consumers. Girard’s folk art was also predominant throughout the showroom. Unfortunately, the shop was a bit ahead of its time. Consumers still comfortable with the muted color palate of the late 1950s were not yet ready for Girard’s bold looks, although his designs would become very popular by the decade’s end. “Girard continued designing for Herman Miller until 1973. He created over 300 textile designs in multitudes of colorways, wallpapers, prints, furniture, and objects” (6).

While Girard is perhaps best known for his work with Herman Miller, he did not work exclusively for the company. This allowed him to obtain commissions for interior projects for Braniff Airlines and John Deere. He designed many restaurant interiors, most notably LaFonda del Sol (1960) and L'Etoile Restaurant (1966), both in New York City, and The Compound Restaurant (1967), in Santa Fe, New Mexico. (2)

Alexander Girard, La Fonda Del Sol Restaurant, New York City (1960). Image source.

La Fonda Del Sol

Girard collaborated with his friends and fellow designers Charles and Ray Eames on the La Fonda Del Sol project. The restaurant which opened in the Time-Life Building in 1960 "was a Latin American-themed eatery with beautifully designed murals, typefaces, menus, tableware and fabrics all by Girard” (5). The Eames designed the restaurant’s furniture, and Girard asked that the chairs “not be higher than the surface of the table and that they could be pushed to the table and leave a clear field of vision over the restaurant” (5). The resulting chairs were an upholstered “adaptation of the fiberglass arm and side chairs but with a lower rounded back.” Herman Miller later sold the Eames’ designs under the La Fonda line. (5)

Alexander Girard, Menu from La Fonda Del Sol Restaurant, New York City (1960). Image source.

Girard and the End of the Plain Plane

In 1965 Girard obtained a commission from Braniff Airlines to spearhead a rebranding campaign called “The End of the Plain Plane.” Girard was responsible for redesigning over 17,000 objects “airplane interiors to waiting room seating, condiments, blankets, uniforms and even food trays” (5). Girard did not design the airline attendant uniforms which were designed by Italian designer Emilio Pucci. In addition, Girard created a line of furniture for Braniff's ticket offices and customer lounges which Herman Miller marketed only in 1967. (5) Girard’s design was so popular that other airlines soon followed after the Braniff corporate redesign program.

The Girard Foundation

Alexander and Susan Girard founded the Girard Foundation in 1962. The organization managed over 100,000 items in the couple’s folk art collection. “Toys, dolls, icons, and other ethnic expressions” 2 made up the collection. “In 1978, Girard contributed his immense collection to the Museum of International Folk Art in Santa Fe, New Mexico, United States”. (2) The Girard Wing of the museum houses Multiple Visions: A Common Bond, a permanent collection by Alexander Girard designed and installed. (2)

Alexander Girard, Poster for the 'The Nativity’ exhibition of folk art, Nelson Gallery of Art, (1962). Image source.

Alexander Girard's Awards and Legacy

Alexander Girard was awarded the Silver Medal by the Architectural League of New York in 1962 and the Elise de Wolfe Award by the New York Chapter of American Institute of Interior Designers in 1966. (2) In 2001, Cooper Hewitt in New York City held a retrospective of this work The Opulent Eye of Alexander Girard. Another exhibition of Girard’s work was held at the San Francisco Museum of Modern Art in 2006. Several books have been published on Girard’s work. (2) Alexander Girard died from complications of Alzheimer's Disease on New Year’s Eve 1993 in the home where he and his wife had lovingly assembled their folk art collection. (4)

With current interest in mid-century modern design, Girard’s work has become very popular and highly collectible. A new generation of designers has been influenced by his bold color sense and strong graphics and by his sense of joy and whimsy obtained by combining those designs with Southwestern folk art.

References

Stardust.com, 2024. Alexander Girard Biography. https://www.stardust.com/alexander-girard.html

Wikipedia.com, (1 October, 2014). Alexander Girard. https://en.wikipedia.org/wiki/Alexander_Girard

Stylepark AG, (2024). Alexander Girard. https://www.stylepark.com/en/designer/alexander-girard

Lyons, R. D. (2 January, 1994). Alexander H. Girard Dies at 86; Architect and Interior Designer. New York Times online archive. https://www.nytimes.com/1994/01/02/obituaries/alexander-h-girard-dies-at-86-architect-and-interior-designer.html

Eames.com, (2024). https://eames.com/en/articles/alexandergirard

Herman Miller (2024). Designers: Alexander Girard. https://www.hermanmiller.com/en_lac/designers/girard/

[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