Exchange art show with Prachatice, Czech Republic

part of the show of paintings by artists from the Czech Republic 

I would like to take you with me to 
this  beautiful show in an amazing setting that exists only in Tuscany: the Corsini Villa, Impruneta,  on the first day of timid sunshine after days of rain.

Villa Corsini

Persimmon tree

gate to gardens

Last rose of summer leads the way to art show

After  entering the gates of the Villa, a long road took us down to the studio where the show was hung.

approach to the studio

paintings by artists from Prachatice, Czech Republic, in oil, tempera, acrylic and watercolor

 Impruneta is the  area famous for clay production; pots, bricks, etc., but also terracotta sculpture.  This "pot-sculpture" marked a tiny staircase which led us up to a formal boxhedge garden where the  sculpture by Italian artists was placed.

Boxwood garden

While waiting for the cerimonies to begin, I explored the gardens enjoying the unexpected sun.

main entrance to the villa

spreading chestnut trees

young Czech musicians preparing for opening ceremony

typical Tuscan views from the walls surrounding the villa

vineyards and olive groves

 

An amazing setting for a show!!! Do you agree?

ON CHRISTMAS DAY. . .

  A MORNING OF TIMID SIGNS . . . a possible sunny day. . . then  high winds steadily swept in thick grey clouds. . .  but no rain . . . that was our Christmas day here in Florence. There was a highlight for me though. . .

The Certosa Monastery

..  the setting of the Christmas Mass. . . which every year is held in  the museum of the monastery of "The Certosa of Galuzzo", constructed in 1342. This  monastery  sits high on a hill at the south of the city of Florence and is where the famous painter, Pontormo, (1494 - 1557), lived and worked for a brief period.

The museum where Pontormo's work is shown and where Mass is held

It's always difficult for me to concentrate on the religious rituals when I am here.  I can't take my eyes away from the frescos.  They were realized in the period of 1523- 1525 and originally placed in the large Cloister of the monastery. Ruined by time and inclement conditions, the pigments are faded in part, but the  strength and innovation of Pontormo's work is notable. He was a pupil in the school of Andrea del Sarto  together with another famous painter of the Renaissance and Mannerism, il Rosso Fiorentino.

The frescos found in this room are part of the series of the Passion of Christ.

"The Deposition of Christ"

"The Resurection"

"The Oration in the Garden"

Can you wonder that I am distracted?  Every visit is a new emotion!

http://en.wikipedia.org/wiki/Pontormo . . "
In 1522,when the plague broke out in Florence, Pontormo left for the Certosa di Galluzzo, a cloistered Carthusian monastery where the monks followed vows of silence. He painted a series of frescoes, now quite damaged, on the passion and resurrection of Christ."

http://www.frammentiarte.it/dal%20Gotico/Pontormo%20opere/12%20storie%20della%20passione.htm

Reasons Why. . . Why Print . . .Mono. . .?

 Reasons why I like to print . . . mono . . . .?
 

monotype-2000

   Many I suppose . . . mostly because it is spontaneous, unpredictable, quick to execute, . . . not a tragedy to destroy if unsuccesful but easily retouched to correct errors or add details if need be. And. . . because there are so many-many solutions. So many-many experimental approaches possible. So many surprises depending on the paper used, the viscosity of the ink, etc.etc.  and, did you know that Degas as well as Toulouse-Lautrec, Gauguin, Klee, etc. . .  and, of course, Picasso were masters of the monotype? Just to name a few and not even mentioning contemporary artists. Interesting to see their work and to follow their example.

 And. . .
 printing
is good for the moments of transition in my painting.  I'm enjoying these printing days.  I'm enjoying the feedom it gives me. And, I'll probably continue for awhile.

What's up in the courtyard greenhouse?

 As of Friday, October 4th,
my strelizia flower looked like
this. . .. . . . .. .  . . .slow but steady . . . .. .

Monotype or Monoprint? What’s in a Name

plate 1

plate 2

I’ll be using these two plates for the next printing sessions. Note that they are both covered partially with masking tape to create texture as well as imagery and, because this tape will remain permanent, the prints will change their names.  What’s the difference?

Monotype vs Monoprint . .  .

A monotype is neither a print nor a painting but a combination of both. It is one image, painted or drawn  with various mediums, oil or water based, onto a clean plate.The image is then  transferred to paper. A monotype plate is unworked, has no scratching or carving on  its surface. It produces a single image and cannot be reprinted. My first prints were monotypes.

A monoprint is, however, a print made using a plate that has already been worked on either by etching, collage, or lithography. The image will still be one of a kind but there is greater possibility to create a series, an edition of similar images. My next prints will be monoprints because, as you see, the plates have been worked on with tape. The main image in each will be similar.

  plate 1 (on the right above) inked before printing
the print

“. . .All Aboard!!!”

The Train

I took a day off the other day to go into Florence, something that is getting to be rare for me. What I mean is that I went into the city just for me, just to wander around. . . to window shop . . .and to meet a friend. Its fun just to do nothing in particular and let things happen without a plan.
The idea was to go to the flower market that’s held every Thursday in the center. It turned out that we went to an art show instead and then on to a long, chatty lunch.

A visit to Palazzo Medici Riccardi, a museum that features temporary exhibitions,  was  the real surprise of the day. We found three exciting exhibits, each totally different. One was the show by an Irish sculptor, Paddy Campbell, whose large bronze statues were in the courtyard as well as in the garden. But the pieces that struck me most were three realistic and funny Scenes placed in a small room off the main gallery: the Train,(see foto above) the Market, and a Bedroom. They were scenes of daily life populated by wax figures 1/3 of the natural dimensions, including hundreds of small objects, accessories and costumes of the period, all narrating  stories of normal, everyday people. The largest scene represented the Market of Sant’Ambrogio, Florence’s bustling central market place, full of stalls, customers buying, the salespeople hawking, plus all the natural surrounding caos; dogs barking, babies in buggies, etc., etc.

Sant'Ambrosio Market (part.)

Sant'Ambrosio Market (part.)

Sant'Ambrosio Market (panaramic viiew)

                                           Take a close look at these photos to see the details

          The second show was a three room exhibition  by an “unidentified” artist.

mixed media on paper, wood panel

tempera on paper, wood panel

     That is, the artist had refused to put his name on the exhibition forcing us to go back to the bookshop for info. Armodio is his name, an artist of international fame.(He participated in the 2011 Biennial in Venice) His work has an aura of metaphysical silence and whimsical irony that is incredible and fascinating.

Then the third show. Not a “show” as such because it is a visit to the second floor of the Medici Riccardi Palace which is always visible.  I  just hadn’t been for years.
The highlight, after seeing the decorative rooms and  furnishings, was seeing the frescos in the chapel done by Benozzo Gozzoli entitled “The Procession of the Magi”. Breathtaking!! really. (visit the web site to see all)

Will do this more often.

detail of the fresco

fresco in the Magi Chapel

http://www.palazzo-medici.it/mediateca/it/index.php
http://www.palazzo-medici.it/

Playing Hookey!

It's been pretty obvious I immagine.  I admit, with a little guilt, that for the past couple of months I have shamelessly  played hookey, yup, I have been unjustifiably absent from the studio. Summer has made me into a lazy, undiciplined being that would rather flip flop from chair to sofa, melting into the heat that has suddenly struck with torrid temps and sipping lemonade in a futile attempt to quench the fire.

But, thank goodness, the absence was only physical.  Those of us who paint know that we're never completely far away from our studios. There is always a mental presence that is constantly working. Everything we see, feel, encounter  daily is  stored in our minds for use in a more profitable future. Even my virtual tour with you to the Biennial Art Expo in Venice has been a precious stimulation as well as a preparation for my visit to Venice in the fall.

8"x 8"- gesso and rusted nails on paper

8" x 8"- gesso and rusted nails on paper

Months ago, I started a series of small works with cold wax on paper using  rusty nails. (see post "New . . .and Already Rusty") Four were finished but I had also prepared two others which have been there waiting. ( see above photos ) Using the same  paper (8" x8") primed with gesso in thick layers, I embedded my rust coated nails into the pasty surface. I created texture in  the gesso by raising and adding more material around the nails with a spatula intending to anchor the nails and to add interest around them. . . When the surface dried however, less rust was released from the metal probably because the gesso neutralized the effect of the acidic vinegar so I used coffee to obtain areas of light and dark.

These two pieces have been on my mind all these months and are now in the working!

Holland . . . at the Biennial

I continue my "virtual" trip to the Biennial art expo in Venice by taking a peek into the Dutch Pavilion in  the Gardens. The Dutch artist, Mark Manders, whose work runs from installations to drawing, from sculpture to videos, is featured artist in this pavilion and has entitled his exhibition "Room with Broken Sentence".  "Nothing appears  as it is and nothing is as it appears" is the statement by Manders, . . ." every realization lives in the double spectrum of an enigmatic tension and, at the same time, a strongly evocative acceptance. . ."

Part of Mark Manders' work at the Dutch Pavilion