Categorie archief: schilderkunst

Travis Schlaht

Travis Schlaht (1975)

In deze korte reeks toon ik een paar schilders van de volgende generatie die het modernisme de rug hebben toegekeerd. Vaak baseren zij zich op de traditie van de Oude Meesters of de negentiende eeuwse Académie:
Vandaag: Travis Schlaht (1975)

Travis Schlaht (1975) is a graduate of The University of the Pacific in Stockton, CA., where he also starred on the school’s basketball team. After graduation, he moved to New York and became affiliated with the Water Street Atelier and blossomed as a painter under the mentorship of the Atelier’s founder and leader, Jacob Collins.
Travis Schlaht, inspiration
Travis Schlaht‘s paintings include still-lifes, landscapes, florals, interiors and figurative works, displaying his prowess in all areas of the realist genre. His palette is alluring; ranging from moody darks to sensuously saturated reds, yellows and blues. With confident, academic execution deeply introspective moods are created that are at once personal and painterly. Schlaht‘s subjects have a powerfully seductive quality that draw you in and keep you there to observe and contemplate his carefully designed compositions. His richly detailed still-lifes display both his sensitivity and daring bravura as a painter. His recent paintings of the Catskills, done while teaching at the great Hudson River School, are beautiful examples of the classic landscape. Travis Schlaht‘s powerful paintings stand out, he is a young artist with endless potential and collectors nationwide have taken notice.
 
Bron: johnpence.com

Travis Schlaht [ johnpence.com ]

Steven Levin

Steven J. Levin (1964)

In deze korte reeks toon ik een paar schilders van mijn generatie die het modernisme de rug hebben toegekeerd. Vaak baseren zij zich weer op de traditie van de Oude Meesters of de negentiende eeuwse Académie:
Vandaag: Steven J. Levin (1964)

Steven J. Levin
Steven J. Levin
Steven J. Levin, a native of Minnesota, was interested in an art career even as a young boy. His aptitude for art was inspired and nurtured by his father, a commercial artist. This desire continued throughout his childhood and by age fifteen, Levin had firmly decided on a career in art. After high school, he enrolled at the Minneapolis College of Art and Design. The training there however did not have the emphasis on drawing and painting that he had hoped, and after a year, he left and enrolled at the Atelier LeSueur in Excelsior, Minnesota. Modeled after the studio schools of nineteenth century France, the training at the Atelier consisted entirely of studio work under the direction of professional painters. He remained for the next six years, honing his artistic skills in drawing and painting from life. He completed his studies with an extended stay in England to copy works in London’s National Gallery in the time honored tradition practiced by the earlier American Impressionists. In his professional work, Levin continues to paint from life asserting that it is the best way to achieve a forceful representation. He draws his inspiration from many sources and his work reflects this diversity of interests with subject ranging from portraits, still lifes, and landscapes, to figure paintings. Steven J. Levin’s artwork exhibits a decided influence of the Masters and he cites Vermeer, Rembrandt and Hopper among those whose work has left a mark on his own development.
 
Bron: gandygallery.com

Goethe’s Grand Tour [ 4 ]

aan het lezen in Reis door Italië (1786-1788) van Johann Wolfgang Goethe
Goethe over Andrea Mantegna

Chiesa degli EremitaniIn september 1786 reist Goethe van Karlsbad naar Venetië. Op 26 september komt hij aan in Padua waar hij de Chiesa degli Eremitani (Kluizenaarskerk) bezoekt. Goethe moet weinig hebben van kerkelijke kunst, maar is zo in de ban van de antieken dat hij de fresco’s van Andrea Mantegna met episodes uit het leven van de heilige Jacobus en de heilige Christoffel niet wil overslaan. Hij bewondert vooral de architectonische helderheid en gedetaileerdheid van deze muurschilderingen. Wanneer Goethe de schilderingen aanschouwt, zijn deze al 330 jaar oud maar nog steeds in goede staat. Op 11 maart 1944 slaat het noodlot toe en wordt de Ovetari kapel waarin Mantgena‘s fresco’s zich bevinden, door geallieerde bombardementen vrijwel volledig verwoest. Het duurt daarna 59 jaar (!) om aan de hand van duizenden overgebleven stukjes de fresco’s te reconstrueren. In het Mantegnajaar 2006 was in het museum van de Chiesa degli Eremitani een tentoonstelling ingericht over deze reconstructie

In der Kirche der Eremitaner habe ich Gemälde von Mantegna gesehen, einem der älteren Maler, vor denen ich erstaunt bin. Was in diesen Bildern für eine scharfe, sichere Gegenwart dasteht! Von dieser ganz wahren, nicht etwa scheinbaren, effektlügenden, bloß zur Einbildungskraft sprechenden, sondern derben, reinen, lichten, ausführlichen, gewissenhaften, zarten, umschriebenen Gegenwart, die zugleich etwas Strenges, Emsiges, Mühsames hatte, gingen die folgenden Maler aus, wie ich an Bildern von Tizian bemerkte, und nun konnte die Lebhaftigkeit ihres Genies, die Energie ihrer Natur, erleuchtet von dem Geiste ihrer Vorfahren, auferbaut durch ihre Kraft, immer höher und höher steigen, sich von der Erde heben und himmlische, aber wahre Gestalten hervorbringen. So entwickelte sich die Kunst nach der barbarischen Zeit.
 
Bron: gutenberg.spiegel.de
Mantegna
Jacobus op weg naar zijn excecutie 1455
zo (maar dan in kleur) heeft Goethe het in 1786 gezien. Het werd in 1944 verwoest tijdens een bombardement van de geallieerden
Was in diesen Bildern
für eine scharfe, sichere
Gegenwart dasteht!

J.W. von Goethe [ Italienische Reise ]

One of the greatest losses due to the Second World War was without doubt the destruction of the Ovetari Chapel at the Eremitani. finished by 1455 by Mantegna together. initially, with Giovanni d’Alemagna, Antonio Vivarini and Nicolo Pizolo, the latter having created the terracotta altar. The scenes depicting the Assumption of the Blessed Virgin and the martyrdom of Saint Christopher and the transportation of his body have survived, as they were removed before the war. In fact the cycle narrated the stories of Saint James and Saint Christopher, accompanied by the images of Saints and Church Fathers: the twenty-year-old Mantegna showed himself to be a mature, profound interpreter of the new Rennaissance culture which he interpreted in a entirely Paduan manner. ( Bron: hotel-padova.com )

the Mantegna Project [ italica.rai.it ] | andreamantegna2006.it