RED . . . Who's Afraid of the Big, Bad R. . .

Connections   oil on paper applied to wooden panel   50x70cm

Something new!

I have always avoided reds, don't know why, or rather I  do know why . . . too strong, too dominant, too . . too everything I guess. I considered them  too difficult to handle.

But here I deliberately chose red, alizarin crimson red to be exact, ( with touches of cad. red to warm up a little). After my sessions of mentoring with Janice Mason Steeves, I now feel I can defy my self-made taboos and restraints without consequences. It is completely liberating .  I enjoyed working on this piece, a real challenge and intend to continue with reds and new color schemes from here on.

Not only my color choice was liberated but so also was my method.  Again thank you Janice. I began with very thin washes of color (color, oil and turpetine) and watched as they dripped and intermingled down the paper as if they were watercolors. Remembering the importance of tonal contrasts I kept track of the lights and darks as I constructed my composition. Brushes were put aside in favor of spatulas, palette knives and . . . my fingers, also in line with the neccessity to "play" with my paint, to feel it glide onto the support, (which is paper, prepared with gesso and applied to a wood panel.

Again I am continuing my theme of anatomy using the spinal column as the central "figure"!

Just want to show you another "red" painting done awhile ago. There's a difference???? A change?
 

Figures -  oil, cold wax on canvas,  64x47cm

Thank you for visiting.

A Pleasant Surprise!!

This trompe-l'oeil in the courtyard entrance to Palazzo Martelli invites you to discover yet another secret treasure in the center of Florence. An out-of-the-way palace not usually on tour guide visits but my Saturday morning surprise, a guided tour, by a friend.

Museum of  Casa Martelli, a home-museum unique of its kind, created by a noble family over the centuries, and not the result of reconstruction and arbitrary integration. The complex and exhibition includes sculpture and paintings of the 17th and 18th centuries.

The majestic staircase that leads to the museum

We arrive at the museum after climbing this monumental staircase. At the top, at one time, the statue  "Il Giovanino" by Donatello reigned. (Now in the Bargello)

"Il Bagno"   ( The Bath )

 Completely decorated with trompe-l'oeil affrescos, this room is called the Bath. In the recessed area  to the right  a marble bathtub is set among the ivy and flowers depicted in the fresco. The dimmly lit room is  suggestive enough on its own but Saturday  morning a string quartet concert was scheduled at 11 and they were rehearsing here while we looked on. Four young and accomplished musicians.

 

The ballroom where concerts are held.

But, the sights that really were amazing to see were the rooftop views of Florence and her monuments as seen from a terrace  that is being restored at the top of the museum.  We were priviledged to see the city from there. I confess that I didn't have my camera with me so these pics  are off the web.  Sorry!  It won't happen again........

Florence rooftop view

rooftop view

Visiting Pontormo

I have already revealed my love for Pontormo in a previous post.  the  strength and innovation of Pontormo's work is notable. But, yesterday afternoon, my visit to the current show of works by Pontormo and his contemporary, Il Rosso Fiorentino was breathtaking. The vibrant colors, the volumes, the textures of various fabrics, silk, velvet, transparent veiling made me want to touch  as well as look, they were so real.

Fascinating was the famous “Visitation” which was used by Bill Viola as the basis for his video, also in the show, the first room of the show.
(see the link  http://youtu.be/fj17foaKAVU)

I would also like you to see the visit made by Bill Viola  to the studio where the restoration of Pontormo’s Visitation was done in preparation for the show.
 http://youtu.be/ULW45vncMXk

This is a partial view of Viola’s video.
 http://youtu.be/Dg0IyGUVXaQ

The Visitation (1528-29; Parish Church of Carmignano, Italy),  portrays the joyous moment at which Mary tells her cousin Elizabeth that she is expecting a child.
The video by Viola begins with two women--one middle-aged and the other younger--engrossed in conversation. After several minutes pass by, a third woman enters the scene and interrupts the dialogue by greeting the older woman. Through facial expressions and gestures, it becomes apparent that the middle-aged woman knows her well, while the other less so and maybe not at all. The third woman whispers something into her friend’s ear as they embrace, further isolating the other woman. An undeniable awkwardness becomes apparent as introductions are finally made and small talk is exchanged among the three.
Viola wasn’t interested in restaging Pontormo’s painting, He used it to create something new, something more contemporary although in the same spirit of the Renaissance artist’s work.

Pontormo for me is a precursor to Modern painting. He uses  volume and large brilliant color fields in a way that recalls the styles of many contemporary artists.