Here is another splendid medieval study (similar to but more elegant than this one): St. Augustine in his study by Vittore Carpaccio (1502)
Of this painting, Henry James writes:
"This work is a pearl of sentiment, and I may add without being fantastic a ruby of colour. It unites the most masterly finish with a kind of universal largeness of feeling, and and he who has it well in his memory will never hear the name of Carpaccio without a throb of almost personal affection."
Silvia Mei. Autoritratto in medusa e male, 2012.
Georgia O’Keeffe Horse’s Skull with White Rose, 1931.
The Brick Lane Gallery - E16SA
4-15 December 2013
Private View Thursday 5th December 6-8.30pm
Samantha Payne is a Fine Artist from North London who focuses on the aesthetic of her work and its engagement with the viewer, rather than concept. The pure pleasure of creating is the driving force behind her painting, along with the belief that Art need not be complicated. Samantha has always had a strong opinion of this notion, having carried it through her work while studying Fine Art at Loughborough University.
‘Portraits’, Samantha’s first solo exhibition, is a collection of oil paintings depicting various people in her life, who have been selected and photographed specifically for this show. The artist’s aim is simply to create impact with these pieces and portray ten very individual personalities through uncomplicated imagery.
Tamara Feijoo. Naturalezas Invasoras.
Naturalezas Invasoras (Cerezo I), 2012. Gouache sobre papel.
Naturalezas Invasoras (Cerezo II), 2012. Gouache sobre papel.
Our Sorrows, 2012. Gouache sobre papel.
Our Sorrows (detalle)
Our Sorrows (detalle)
Finally finished my new painting for “Lacrima Acquarium”, a wonderful upcoming group exhibition in Rome…
Alessia Iannetti "Violiceps", graphite, watercolor and ink on wood, 30 x 30 cm, 2013.
LACRIMA AQUARIUM Institutional Group Exhibition
Acquario Romano Museum – Casa Dell’Architettura – Rome, Italy.
In collaboration with Dorothy Circus Gallery Curated by Alexandra Mazzanti and Giorgio de Finis From December 6th till December 30th 2013 opening reception friday December 6th 2013 at 6.30 pm
Lacrima Aquarium is a project curated by Alexandra Mazzanti and Giorgio de Finis, in collaboration with the Contemporary Art Gallery Dorothy Circus Gallery in Rome. The exhibition is dedicated to the most essential and female element, the water and its possible memory which can feed and rebuild our lives. Lacrima Aquarium brings to the stage the works of 33 artists, painters and sculptors from the new international pop surrealism scene, which represents the vanguard of contemporary figurative art. The artworks some from private collections, some brand new, composed on the theme of Water, will express through a dreamlike vision, the meaning of what the “Mother Tear” brings inside itself of the collective imaginary. Drop by drop the artists will create for the inspiring hall of the Roman Aquarium the ghost of a mother’s womb able to accept new doctrines, dreams and thoughts. During the opening event will be displayed the art video by Arash Radpour “La Creazione” and will be as well presented the first and the second volumes of Dorothy Circus Gallery’s annual catalogue, published by Drago Publishing and worldwide distribiuted by Last Gasp.
Water Temed Artworks by: Esao Andrews, Chris Berens, Miss Van, Ray Caesar, Nicoletta Ceccoli, Scott Musgrove,Tara McPherson, Sas Christian & Colin Christian, Natalie Shau, Marion Peck, Crystal Chan, Afarin Sajedi, Zoe Byland, Seven Moods, Marco Tarascio, Clementine De Chabaneix, Naoto Hattori, Leila Ataya, Adam Wallacavage, Francesca Romana Di Nunzio, Kukula, Camille Rose Garcia, Aron Wiesenfeld, Mr. Klevra, Kazuki Takamatsu, Kwon Kyungyup, Alessia Iannetti, Paolo Guido, and video artwork by Arash Radpour Special guests Tim Biskup - Lladrò & Jaime Hayon – Lladrò
Sponsored by: Lladrò, DRAGO Publishing, Acquario Romano, Dorothy Circus Gallery
Madia Partner: HiFructose, Wall Street International, Beautiful Bizarre, LeCool
Juliette Lemontey (France)
The artist Juliette Lemontey, has shown her work in group and solo exhibitions in San Francisco and all over Europe. Lemontey is always open to inspiration: “everything I see feeds me,” she says, influenced by a wide range of sources, including Japanese woodblock prints, etching techniques, and the vibrantly colored textiles of Asia and the Middle East.
Her large-scale paintings portray figures in various states of relâchement: simultaneously relaxing, and, as Lemontey puts it, “slipping away, falling apart.” At first glance, the figures seem to be in repose, burrowed amid the waves of striped and florid bedding, like a woman peacefully napping in a garden. Their bodies curve sensually across the canvas, taking up most of the frame. But look closer, and you see that these sleepers have a more complex story to tell: they grip their pillows tightly, as if for protection; their hands are curled into tense knots. They appear to be in a state of limbo. “Their bodies are here,” says Lemontey, “but their minds are elsewhere.” They are at once vulnerable, prone, and yet inaccessible, their thoughts turned inwards. There is a power in that.
Instead of using traditional canvas, Lemontey paints her figures on antique linen sheets, salvaged from attics and flea markets across France. Like the old masters, she mixes her paints herself, using pigment powders, turpentine, and linseed oil, eschewing manufactured, pre-mixed tubes. A wash of coffee or walnut ink, typically used in France to tint wood, stands in for the flesh of her figures, sometimes taking on a mottled appearance in places where it pooled on the canvas. Lemontey delights in the uncertainty of the process: “I like to keep ‘accidents’ in my work; I like to be surprised and to deal with the unexpected.”
Text by Jaime Gillin
Images © Juliette Lemontey provided by Artist
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