Dec 7, 2017

Lubaina Himid becomes oldest artist to win Turner prize

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  • Still from Mona Lisa: Beyond the Glass, Courtesy Emissive and HTC Vive Arts. Centuries after Leonardo da Vinci painted the Mona Lisa , his legacy continues to inspire artistic institutions to new feats across the world. Case in point, the Musée du Louvre in Paris has designed a grand retrospective of the Renaissance man’s career to commemorate the 500-year anniversary of his death, which delves deep into da Vinci’s approach to artistic creation. The exhibition consists of the Louvre’s own collection of five paintings by da Vinci and twenty-two of his drawings, as well as nearly 120 other works (paintings, drawings, manuscripts, sculptures, objets d’art) lent by fellow esteemed art institutions. Although the Mona Lisa will remain on display in the galleries of the permanent collection, there will be an opportunity for visitors to immerse themselves in the painting like never before. Titled Mona Lisa: Beyond the Glass , the last segment of the da Vinci exhibition is a partnership with HTC Vive Arts and Emissive VR to present a one-of-a-kind virtual reality experience of Leonardo da Vinci’s painting. This segment allows visitors to see the Mona Lisa up close, without the barriers of crowds or glass, and learn about the enigmatic woman herself. Victoria Chang, Director of Vive Arts at HTC says, “By using VR to tell the story of this renowned artwork, and to present it in a heightened, intimate setting, we hope visitors to the Louvre will have an enriched experience.” During the seven-minute immersion, visitors will be transported through time and place to engage with the history and myth of the Mona Lisa . The HTC Vive headsets combine imagery and sound to teach the visitors of the techniques used in the making of the Mona Lisa , as well reveal what Lisa del Giocondo (the sitter of the painting) looks like in 3D, even showing her stand up and move around. Courtesy of mymodernmet.com READ FULL ARTICLE: https://mymodernmet.com/louvre-mona-lisa-vr-experience/
  • Untitled 22 from "Banksy Captured," courtesy of Steve Lazarides. Banksy’s ex-dealer Steve Lazarides is releasing a book of unseen photographs of the street artist in action captured during the time they worked together, before Banksy skyrocketed to global fame. Banksy Captured is coming out in December, and the first 50 readers to get their hands on it will have the chance to win a rare Banksy screen print. Lazarides’s 250-page book of photographs document the 11 years that the former dealer worked with Banksy as his agent, photographer, and right-hand man. The images lift the veil on the secrecy surrounding the elusive artist, offering a behind-the-scenes look at some of his famous works while they were being executed. Asked why the time felt right to release the images now, Lazarides tells Artnet News, “I only recently got the negatives out of my loft. The date is just how long it took me to scan and edit them, and then put a book together. Nothing more to it than that.” The photographs will also be available as limited-edition prints with prices starting at £450 ($582).  Lazarides began his career as a photographer who documented British subcultures and underground movements such as the early 1990s rave scene, skater communities, and the early days of street art. The book, which will be self-published and self-distributed by Lazarides, comes out in December and is available for £25 ($32). Pissing copper from “Banksy Captured,” courtesy of Steve Lazarides. Courtesy of artnet.com Read full article: https://news.artnet.com/art-world/banksys-former-dealer-photos-see-highlights-1695195
  • Lavinia Fontana, “Portrait of the Maselli family” (ca. 1565-1614), oil on canvas, 102 x 138 cm (image via Wikipedia ) Lavinia Fontana asked her fiancée to sign an unusual marriage contract before they exchanged rings in 1577. Fontana wouldn’t be providing a dowry, as was customary in her native Italy. Instead, the Bolognese artist committed to financially supporting her husband, as long as they agreed to live under her father’s roof and she could continue painting in her family’s workshop. Her husband agreed. And with good reason: Fontana was a phenomenal success. Fontana — who will be featured in a two-artist exhibition at Madrid’s Prado Museum this month, alongside her contemporary, court painter Sofonisba Anguissola — is considered the first professional female artist active in any European city. Other women (including Anguissola) had been working in court settings or convents, which were more supportive of female painters. Fontana, on the other hand, competed with male contemporaries on the open art market, and her career helped pave the way for others. Fontana’s father, artist Prospero Fontana, taught her to paint a wide range of images. While most women of the time were limited to portraits and still lifes (genres that could easily be painted in a domestic setting), Fontana’s roughly 110 paintings include 23 public altarpieces. For the most part, though, she was sought after for her portraits, mainly commissioned by noblewomen. “For some time, all the Ladies of the City would compete in wishing to have her close to them,” wrote Count Carlo Cesare Malvasia, an artist biographer, in his 1678 anthology . “The greatest thing they desired would be to have her paint their portraits, prizing them in such a way that in our day no greater prices could be charged by a Van Dyck .” Fontana’s professional life was impressive; her ability to support herself, her husband, and her 11 children with her painting was a rare accomplishment. But she had some help from her hometown. “There was something about Bologna that was conducive to female creativity,” writes Babette Bohn, Renaissance art history professor at Texas Christian University and author of the forthcoming book from Penn State University Press, Women Artists, Their Patrons, and Their Publics in Early Modern Bologna . Elisabetta Sirani, “Portia Wounding Her Thigh” (1664), oil on canvas, 101 x 138 cm (image via Wikipedia ) Why was Bologna, the largest city in northern Italy, so receptive to women artists? Bohn told Hyperallergic , “A few factors include the city’s unusual political structure and the diversity of artistic patronage, from the lower-middle class up, the liberalizing presence of the university, and an already-existing tradition of accomplished women in other cultural sectors (that is, besides the visual arts).” Instead of being ruled by just one powerful family (like the art-loving Medicis of Renaissance Florence), Bologna was unusually ruled by a senate of 70 noble families — all of whom could afford and wanted to patronize art. Bolognese clientele was also more diverse, with people from the lower-middle class and upwards, including barbers, pharmacists, butchers, and university professors, buying art. And women had long been given educational opportunities outside the home in Bologna. The city’s university was established in the 11th century and began admitting women students as of the 13th century. (Fontana was an alumna, holding a doctorate.) As a result of these conditions, Bologna boomed with professional women artists, primarily painters. Of the 300 active painters in the city during the 1600s, around 25 were women — more than in any other Italian city. Some of these artists learned in family workshops, like Fontana, and, later on, Elisabetta Sirani. Beginning in the mid-1600s, women not related to a painter could attend the first art school for women that existed outside a convent, established by Sirani. And Sirani’s roughly 12 students weren’t painting floral arrangements or portraits of pearl-adorned ladies, either; they, like their teacher, specialized in history painting — then considered the most intellectually challenging genre and one that women couldn’t handle. Fontana, Sirani, and the latter’s students followed a succession of female Bolognese artists, beginning with Caterina Vigri, a nun who painted miniatures in the mid-1400s that remained within her convent. Vigri’s reputation quickly spread outside the convent walls, though, and her fame reached local cult status after her death. This admiration — which led to her beatification in 1592 and being named the patron saint of the Bolognese art academy in 1710 — contributed to a local culture that was particularly receptive to the idea of female artists. Properzia de’ Rossi, “Joseph and Potiphar’s Wife” (ca. 1525–26), marble (image via Wikipedia ) Following Caterina Vigri was Properzia de’ Rossi, one of the only known woman sculptors in early 1500s Italy, who began her career carving intricate designs in peach and cherry pits and later progressed to publicly commissioned marble sculpture. She was the only female artist with her own dedicated biography chapter in the first edition of early art historian Giorgio Vasari ’s Lives of the Artists (1550), and her bas-relief, “Joseph and Potiphar’s Wife” (1525–26), is still on view at the San Petronio basilica in Bologna’s main square. De’ Rossi helped set the stage for Fontana, who in turn created a receptive climate for Sirani. Sirani died young, at the age of 27, but in her decade-long career she created around 200 paintings and specialized in ambitious history paintings. A child prodigy who began producing public altarpieces when she was just 17 years old, skeptics reportedly visited her studio to get visual confirmation that she (and not her father) was truly creating these works. Writer Malvasi gave Sirani a backhanded compliment in his 23-page biography of her, saying that “she worked never like a woman and more like a man.” Elisabetta Sirani, “Allegory of Charity, Justice, and Prudence” (1664), oil on canvas (image via Wikipedia ) Sirani’s personal inventory of her work lists 195 paintings made for 98 different patrons; 85 of these benefactors were men (as opposed to Fontana’s largely noblewoman clientele) and 20 were from outside Bologna, even though she never left the city, and included multiple members of the Medici family as well as other patrons in Florence, Genoa, and Milan. Sirani paid her successes forward by opening a school, attended by artists such as Lucrezia Scarfaglia, Lucia Casalini Torelli, and Teresa Muratori (who painted the only recorded fresco by a woman during this period). Together, all these artists gave Bologna such notoriety around Italy that even great Baroque painter Artemisia Gentileschi considered relocating there. “We do have some correspondence to and from Gentileschi that suggests that she was considering a move to Bologna, evidently based on its reputation,” Bohn explains. “Although she never actually moved there.” Research on the women artists of Bologna is ongoing; there are still a lot of forgotten names and stories to unearth. Florence, Rome, and Venice are typically celebrated and trafficked as the grand artistic centers of Italy, but Bologna was also an art hub, for very different reasons. This more egalitarian history could place the city squarely on the art-trekking map, where it belongs. Courtesy of hyperallergic.com Read original article here: https://hyperallergic.com/522392/women-artists-bologna-lavinia-fontana/

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