Tuesday, March 30, 2010

Styles and Movements: Japonism


Hello, here is the latest Styles post on Japonism, which continues our Movement through Modernism.  


Maternal Caress, 1891, Mary Cassatt
Drypoint and soft-ground etching, third state, printed in color, 14 3/8 x 10 9/16 in. (36.5 x 27 cm)


Divan Japonais (Japanese Settee), 1893, Henri de Toulouse-Lautrec
Lithographed poster, 81.2 x 60.3 cm  



Folies Bergere Fleur De Lotus, 1893, Jules Chéret
 Lithography poster for the Ballet Pantomime


During the 1850s, merchants began importing Japanese products to Europe and America. Due to this influx an interest in Japanese art spread. As such, so did the artist’s attraction to mimicking the techniques used in Japanese prints and ceramics. From this was born the Japonism (Japonisme) movement (circa the 1870s). From simple reproductions of prints emerged a style that fused elements from French Impressionism with those from Japaneseukiyo-e. Artists such as V. Van Gogh, P. Gauguin, E. Degas, and M. Cassatt were among those experimenting with the style.
The artists most influenced by use of bold lines and flat surfaces were Parisian printmakers, such as Henri de Toulouse-Lautrec and Jules Chéret. They transferred its woodcut techniques to lithography. The style prospered through to the early 1900s, because it ignored important aspects of Academy painting, such as asymmetry in the composition and lack of interest in shadows. Japonism inspired the Art Nouveau and Cubism movements.

For more information refer to:

Turner, J. Grove Dictionary of Art. Oxford: Oxford University Press, 1996.
Wichmann, Siegfried. Japonisme: the Japanese influence on Western art since 1858. London: Thames & Hudson, 1999.

Monday, March 22, 2010

Events and Art Festivals: Corpus Christi, Texas



               "Chalk it up for the Arts"
Where: Art Center of Corpus Christi
                 100 N. Shoreline
                 Corpus Christi, Texas
When: 26th-28th of March 2010
Times: Friday: 5:30-8PM, Saturday: 10AM-7PM, Sunday: 10AM-5PM 


I am a big fan of two very fun things, festivals and chalk. So, it should come as no surprise that I chose to write about the latest event taking place in Texas this coming weekend. Held at the Art Center of Corpus Christi, the festival begins with a ceremony and reception to officially open the exhibition. The festival's main attraction is the Italian Street Painting done by returning artists Julie Kirk and Melanie Stimmell. There are also many other art exhibitions, demonstrations, and performances (on Saturday and Sunday) free to the public. Not to mention the several arts activities for kidsincluding printmaking, mosaic making, and collage making labs. This is a great opportunity to see how great collaboration between different arts programs can make for a really fun event. So for those of you near enough, get out to Corpus Christi for some art time near the beach! 

Below are some examples of previous Italian Street Painting at the 2007 Festival of the Arts in Corpus. As always, get out there and enjoy the art!


Bella Via, Festival of the Arts 2007


Homere et Son Guide, Festival of the Arts 2007

Monday, March 15, 2010

Gallery and Exhibition Reviews: Antonello Blandi Exhibition in Palermo, Sicily

Notte Siciliana (Sicilian Night)
Mixed Media on Canvas, 100 x 100 cm


Da Palermo A Palermo (From Palermo to Palermo)
Mixed Media on Canvas, 100x 100 cm



I recently moved back to my hometown of Palermo in Sicily, primarily, with hopes of living in a quiet place where I could finish my MA thesis. But also to reconnect with my roots and discover what the art scene is like in Palermo. Since my family is still very much established in the city, I had the opportunity to visit the exhibition reception for a local artist. Antonello Blandi mixes three concepts in his paintings.  He begins by taking a traditional theme here in Sicily, the local landscape (known as Paesaggi in Italian, because it mixes the village-scape within the land). He then adds in an eclectic and arbitrary element: impressionist, abstract, surrealist, etc. All of which are depicted in vibrant colors taken from the Mediterranean setting. 

Opening Reception: 6th of March 2010 18:30PM
Exhibition from 5th of March until 11th of March 2010
Opening hours: M-F 9:30-13:30 & 16:30-19:30 S/Sun 9:30-12:30
Website Link


Situated along the walls of the front room, sprinkled across the courtyard, and on easels in the back room were displayed Blandi’s brightly colored paintings. The exhibition at the Villa Niscemi is very different from those I have experienced in the UK and the US. For instance, the exhibition stays open for less than a week in this location, and then the works are moved to a gallery. As odd as this seems, it actually is a great way to get loads of people to come to see the works in a historical, but homelike atmosphere.


The brightly colored paintings were highlighted against the wooden walls in the front room and  the stucco walls in the back room. Unfortunately, the Antipasto table and influx of people traveling through to the main gallery space overshadowed the paintings placed on easels in the courtyard. Which is a shame, because of all the paintings, I believe these were the most captivating in technique and subject. Another interesting aspect is that there is no information available listed about the paintings. Although this meant the work was appreciated for its aesthetic value alone, it did make it very difficult to talk to the artist about a particular piece. 

Blandi implements many of the tools of his trade as a graphic designer to highlight Sicilian icons in bright colors and simple shapes. He then adds to this style by drawing upon art historical influences. Da Palermo A Palermo is reminiscent of Van Gogh's Bedroom in Arles (1888), but it also retains a Surrealist characteristic. When I asked the artist about his decisions to place the city's buildings on top of objects, I received a blunt, albeit slightly disillusioning answer. Without reserve the artist proclaimed that while some artists create work to satisfy philosophical or idealistic concerns, he paints to paint. He also realizes that his audience has diverse aesthetic tastes. For instance, some people like scenes with water or boats, while others might prefer chairs. As an older artist, he has realized that art is as much about originality and invention as it is about meeting the practical needs of both the artist and the viewer. 




Alba Siciliana (Sicilian Dawn)
Mixed Media on canvas, 100 x100 cm




Untitled 
Lithography Poster



*Note: Scaramanpittando is a conjunction of two words: scaramanzia and dipingere. Scaramanzia mean superstition, while dipingere means to paint. This link will bring you to the event page, check out the photos from the opening reception. 

Sunday, March 7, 2010

Artist Interview: Gina Marie Dunn


Amy Always Kept Fresh Gladiolas on the Table
24" x 24" x 1.5 Acrylic and Mixed Media on Canvas


A Season's Awakening
16" x 16" x 1.5" Acrylic and Mixed Media on Canvas 


Name: Gina Marie Dunn
Current City:  Dallas
Hometown: Brooklyn, NY
Preferred Medium:  Acrylic and Mixed Media on Canvas
Education: Loyola University in New Orleans- BA in Communications, Minor in Studio Arts

Tell me about you work in one sentence: With subject matter varying from cellular abstractions to modern landscapes, there is a dreamlike, organic aspect to my work that pervades.

Would you prefer to deal through gallery representation or directly with clients, why?  I think there are good points to both. Art Galleries provide wonderful exposure of  your work to a new audience. For example, my art gallery got my Valentine’s series of paintings featured in Daily Candy Dallas, something I probably could not have accomplished solo.  Gallery representation also lends so much credibility to your work.  However, having majored in Public Relations in college, I am no stranger to self-promotion and feel very comfortable pursuing independent opportunities to display my paintings as well as cultivating relationships with buyers.

What is your favorite forum/method of sharing information about art?  I started a blog a few months ago and really enjoy updating it. I would have to say, though, that my Facebook group, Utopia Pkwy. Art Studio, has been a great venue to share information about new works and upcoming shows.  You can reach people immediately and it is where I make the majority of my sales.

Your work is selected to show in a gallery or museum in the world, where would you choose?  I would choose the San Francisco Museum of Modern Art so I would have an excuse to go back and visit my favorite city in the United States.  The prestige of that Museum, to me, is unparalleled.

In what period of your career did you feel most aware of the needs of your audience, if ever?  I feel that the past year, when I have been most prolific in my painting, has allowed me to get more in tune with the needs of my audience. Only by producing works and receiving feedback, as well as building strong relationships with my Buyers has really helped me understand what I should focus my efforts on.

The art world right now is experiencing a newfound medium of exchanging information virtually. Do you think that this has affected the relevance of galleries, studios, and museums?  No, I feel it has simply opened another portal in which information can be exchanged and only serves to enhance the relevance of galleries, studios and museums.

Would you rather have your work well known in the art community or well understood in the general population?  Right now I am working on getting a strong local following…after that I will start taking on a wider audience.

Who are your artistic influences?  Marc Chagall, Charles Burchfield, Henri Matisse, Frida Kahlo, Vincent Van Gogh

What is it about your work that makes it different from these people and relevant in today’s society?  My work is highly personal because my creative process involves a lot of writing….either direct writing on my canvases or my collage-ing journal entries to form multi-layered texture pieces that have a lot of depth, both literally and figuratively.  Often I feel like my paintings are my diaries screaming out loud, articulating with color, shape and texture what I can’t seem to put into words.  This is relevant because I feel  they speak to my audience on a direct level.



A major theme in your work seems to be dreams and their connection to the world beyond ourselves, is your interest in this at all related to the constant flood of “reality” that we are subject to due to the power of the media whether relating to the news, celebrity events, or reality television? I believe that on a subconscious lever, my paintings are an escape from the constant flood of "reality" that we are all subject to, they are a retreat into my own head, my own dreams, my own way of processing reality. I choose to paint and express my emotions creatively rather than be spoon-fed by other forces more powerful than I can control that tell me how I "should" feel.  

Its 2012 and as the Mayans predicted, the world ends. Every cultural link is destroyed, but luckily there are few survivors. You are among them and are selected to document our cultural past. What artifact/artwork would you choose to record first?  I would document Van Gogh’s The Starry Night (1889). It is one of the most famous and recognized paintings in the world for a reason…there is something about it that humans can relate to, identify with and be soothed by almost instantly. “I know nothing with any certainty, but the sight of stars makes me dream,” Van Gogh once said.  That painting reminds humanity that we are at the mercy of powers greater than us and that life is precious and beautiful.





Check out other posts about Gina Marie Dunn at Daily Candy:

Monday, March 1, 2010

Styles and Movements: Macchiaioli

I'm back to the art blogging world. This week I am going to begin with another a Modern art movement, the Macchiaioli. Enjoy!
File:Giovanni Fattori.jpg
Giovanni Fattori, Cowboys of the Maremma Driving the Herds, 1893
Oil on canvas, 200 x 300 cm, Livorno, Museo Civico Fattori
Sulle colline a Settignano, 1885

Macchiaioli was a style related to the Impressionism and similarly criticized by the academy. Formed by a group of Florentine and Neapolitan painters in Florence, their painting style featured the paint rather than narratives. They painted in a sketch manner that highlighted their “initial impressions of nature,” in color, light, and shadows, primarily painting outdoors.[1] The group’s name, Macchiaioli, refers to the painter’s effort to emphasize the areas of light and shade by marking the painting with spots. These marks or stains of color were referred to as “macchie.” Preceding the French Impressionists, the Macchiaioli began with a group of artists in the 1850s that were tired of the stifling academies and sought to reinvigorate Italian painting. Influenced by the old masters (Caravaggio) as well as the French Barbizon School, the Macchiaioli (including artist Telemaco Signorini) changed Italian painting. Undervalued during its time, the movement lasted from 1860 to 1890.


For more information refer to:
Broude, Norma. The Macchiaioli: Italian Painters of the Nineteenth Century. London: Yale University Press, 1987.
Steingräber, E., & Matteucci, G. The Macchiaioli: Tuscan Painters of the Sunlight : March 14-April 20, 1984. New York: Stair Sainty Matthiesen in association with Matthiesen, London, 1984.

Turner, J. Grove Dictionary of Art. USA: Oxford University Press, 1996.