Artwing

03/04/2020

In 1985, Burri produced something spectacular for Gibellina, a Sicilian city that was destroyed during a terrible earthquake.
He created “Il Grande Cretto” in the ruined old area of the town, by transforming the ruins in alternated “full” and “empty” cracks of the Cretto.
Through the power of art and creativity, Burri established in the old Gibellina a new hopeful atmosphere bustling with life.

#1985 @ Gibellina Vecchia

02/04/2020

Good morning my dears, in today stories I asked if you ever heard of craquelure and what it means.
Don't worry, I didn't know as well!
It's never too late to take an art pill ✨

▶ The CRAQUELURE on a painting is the network, or pattern, of cracks that develops across the surface as the paint layers age and shrink.

Easel paintings in most types of paint, particularly egg tempera and oil, develop cracks which join up into a complex, extensive network.

Most pictures of any age show craquelure everywhere at the surface. It is also usual for the cracking to extend into the varnish. The craquelure on a picture can be very disfiguring, particularly when cracks in light-coloured paint layers become filled in with dirt.

Detail of:
Alberto Burri
Cretto G 1
1975

01/04/2020

Alberto Burri
Cretto G 1, 1975

Dear art lovers, since we are currently not able to visit museums and galleries, I wanted to share with you one of my favorite artworks from the Galleria Nazionale and tell you some interesting facts about the artist and his technique.

In 1973 Burri began to use again a new material and a new process: “Cretti.”
Cretti are obtained through a mixture of different materials that are then left to dry. This is a technique employed by the artist since his experimental period of using Mold. Burri was extremely attracted to unconventional, humble materials—such as tar, sand, and enamel— and processes like collage, Burri made work that is related to the European Informel movement and the Art Brut of Jean Dubuffet and is seen as a precursor to Arte Povera.

In Cretto G 1, light gradually insinuate into the lattice of the craquelure, generating an almost graphic effect. This work was exhibited for the first time during the retrospective dedicated to Burri in 1976 at the Galleria Nazionale d’Arte Moderna.


@ La Galleria Nazionale

02/03/2020

Piet Mondrian, Composition A, 1923, oil on canvas, Galleria Nazionale, Roma.

Lately I probably focused too much attention on the Galleria Nazionale lately (and there will be more other posts regarding their collection, so be prepared), but don’t blame me for falling in love with modern and contemporary art. Last semester I had two on-site visits at this museum and now I’m completely obsessed with it. Considering that I have been studying primarily the Renaissance period, it is interisting to share with you the knowledge acquired during those past modern courses.

Piet Mondrian was a well-known artist and founder of the Dutch avant-garde De Stilj aka Neolplasticism, which he promoted with his colleague Theo van Doesburg in 1920s. Even though the two artist will then separate and follow different stylistic directions, they initially shared the value and utopian spirit promoted by De Stilj. “The style” was published as a magazine and formed as a movement that focused on the balance between the individual and universal values in time in which machine began to assure ease of living. The new and pure plastic art embraced by Mondrian had two main goals.

The first was “objective” in nature, while the second one was “subjective” existing within the individual’s mind and heart. To express this nonobjective design Mondrian limited his formal vocabulary to the 3 primary colors (red, blue and yellow), 3 primary values (black, white and grey) and 2 primary directions (horizontal and vertical). These pure colors and this system based on locking color planes into a grid of interscting lines allowed him to achieve harmonious compositions. Piet Mondrian created a style of painting that is once personal and universal, inimitable despite its seeming simplicity. As a pioneer and founder of abstract art, Mondrian was the undaunted, completely selfless champion of objectivity.

12/08/2019

di Laura Corchia Finché quella donna del Rijksmuseum nel silenzio dipinto e in raccoglimento, giorno dopo giorno versa il latte dalla brocca nella

08/08/2019

Hope you like my first post 💕

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07/08/2019

Modonna Lochis
Giovanni Bellini
1460-1464
47x34 cm
tempera on panel
Bergamo Accademia Carrara-Italia

07/08/2019

Raphael and contemporaries from Urbino. Don't miss the exhibition that will celebrate the magnificent Italian artist, starting from October!

La Galleria Nazionale delle Marche, nel Palazzo Ducale di Urbino, propone ad ottobre la mostra Raffaello e gli amici di Urbino, in occasione dei 500 anni dalla morte dell’artista.

07/08/2019

The Swing, also known as The Happy Accidents of the Swing
(French: Les Hasards heureux de l'escarpolette, the original title)
is an 18th-century oil painting by Jean-Honoré Fragonard in the Wallace Collection in London.

In The Swing, a young gentleman has convinced an unsuspecting old bishop to swing the young man’s pretty sweetheart higher and higher, while her lover (and the work’s patron), in the lower left corner, stretches out to admire her from a strategic position on the ground. The young lady flirtatiously kicks off her shoe toward the little statue of Cupid. The infant love god holds his finger to his lips. The landscape emulates Watteau’s luxuriant perfumed bower in a park that very much resembles a stage scene for comic opera. The glowing pastel colors and soft light convey, almost by themselves, the theme’s sensuality.

07/08/2019

When Salvador Dalì meets Disney

estino is an animated short film released in 2003 by The Walt Disney Company. Destino is unique in that its production originally began in 1945, 58 years bef...

31/07/2019

The two American architects Ronald Rael and Virginia San Fratello have created the Teetertotter Wall, a swing that breaks down the boundaries.
In the middle of the arid landscape of California, Arizona and New Mexico stands the wall that divides not only two countries, but cultures and people, sometimes cutting cities in half, like El Paso.
It is right next to the latter, in Sunland Park, that the two architects and university professors Ronald Rael and Virginia San Fratello have created the Teetertotter Wall, an installation, or perhaps much more, a symbol.
The design of the Teetertotter Wall began in 2009, but only a few days ago its construction was finally completed. It’s no more than three pink swings – or balances to be more precise – placed exactly in the middle of the wall, half of which appear in Mexico and half in the United States.
The meaning of this work was explained on Instagram by the authors themselves:
“The wall became a literal fulcrum for U.S. – Mexico relations and children and adults were connected in meaningful ways on both sides with the recognition that the actions that take place on one side have a direct consequence on the other side.”

31/07/2019

Venus, Cupid, Folly, and Time by Agnolo di Cosimo, called BRONZINO (1503-1572), also displays all the chief features of Mannerist painting.

A pupil of Pontormo, Bronzino was a Florentine and painter to the first grand duke of Tuscany, Cosimo I de’ Medici (r. 1537-1574). In this painting, which Cosimo commissioned as a gift for King Francis I of France, Bronzino demonstrated the Mannerists’ fondness for lamed allegories that often had lascivious undertones, a shift from the simple and monumental statements and forms of the High Renaissance.

Bronzino depicted Cupid-here not an infant but an adolescent who has reached puberty fondling his mother, Venus, while provocatively thrusting his buttocks at the viewer. Folly prepares to shower the “couple” with rose petals. Time, who appears in the upper right corner, draws back the curtain to reveal the playful in**st in progress.

Other figures in the painting represent other human qualities and emotions, including Envy. The masks, a favorite device of the Mannerists, symbolize deceit.
Bronzino’s Venus, Cupid, Folly, and Time seems to suggest that love-accompanied by envy and plagued by inconstancy is foolish and that lovers will discover its folly in time. But as in many Mannerist paintings, the meaning here is ambiguous, and interpretations of the painting vary.

Compositionally, Bronzino placed the figures around the front plane, and they almost entirely block the space. The contours are strong and sculptural, the surfaces of enamel smoothness. Of special interest are the heads, hands, and feet, for the Mannerists considered the extremities to be the carriers of grace, and the clever depiction of them evidence of artistic skill.