Showing posts from January, 2014

Commemorating Childhood: The Figurative Art of Mark Lovett

I find it rather extraordinary that we commemorate through art important historical events, war heroes, authors and political leaders, yet we rarely commemorate in art what is most important to most of us: our family lives and our children. During the 19th and 20th centuries, depicting children in art was usually relegated to female painters (most notably, Mary Cassatt and Berthe Morisot) or depicted with unsettling undertones of sexuality, as is the case in Balthus’s controversial paintings. The figurative painter Mark Lovett commemorates through his beautiful paintings and photographs what matters most to so many of us: our children. Mark Lovett depicts children,  particularly girls, during the years (between 3 and 12) when they are old enough to appreciate family activities yet young enough to still enjoy the company of their parents. The subject of family and children is inherently personal, so I will mention one personal note, which is part of the reason why I’m so touched by Ma…

' Antonio Mancini ' the great

John Singer Sargent, who famously pronounced him to be the greatest living painter.
Mancini was born in Rome and showed precocious ability as an artist. At the age of twelve, he was admitted to the Institute of Fine Arts in Naples, where he studied under Domenico Morelli (1823–1901), a painter of historical scenes who favored dramatic chiaroscuro and vigorous brushwork, and Filippo Palizzi. Mancini developed quickly under their guidance, and in 1872, he exhibited two paintings at the Paris Salon.

Mancini worked at the forefront of the Verismo movement, an indigenous Italian response to 19th-century Realist aesthetics. His usual subjects included children of the poor, juvenile circus performers, and musicians he observed in the streets of Naples. His portrait of a young acrobat inIl Saltimbanco (1877–78) exquisitely captures the fragility of the boy whose impoverished childhood is spent entertaining pedestrian crowds. While in Paris in the 1870s, Mancini met the 

new John Constable oil sketch

Victoria & Albert Museum experts discover new John Constable oil sketch
LONDON.-V&A experts have discovered a previously unrecorded oil sketch by John Constable in the Museum’s permanent collection, concealed beneath a lining canvas on the reverse of Branch Hill Pond: Hampstead.

 The newly discovered work will now go on public display in the Paintings Galleries. The recent discovery was made by V&A conservators Clare Richardson and Nicola Costaras whilst preparing works for the Museum’s major autumn 2014 exhibition Constable: The Making of a Master.

X-radiography had formerly revealed evidence of another composition on Branch Hill Pond: Hampstead but it had been assumed that these were traces of an over-painted scene on the front. As the lining had become loose, the conservators removed it and discovered the previously hidden oil sketch on the reverse of the painting.

 In 1888 Constable’s last surviving child Isabel, gave the remains of her father’s studio contents: three ease…


T Arched canvas cm . 272 x 200

The painting comes from the Pieve of St. Apollinare and Ercolano in Bucine near Arezzo. 
It depicts the miracle that took place on the Esquilino Hill in Rome in 365 AD.

According to legend , hence the founding of the basilica of Santa Maria Maggiore, a noble Roman aristocrat named Giovanni and his wife , troubled by their inability to conceive children, donated their possessions to the Church . Soon after, during the night of August 4, a Madonna appeared to Giovanni and to Pope Liberio requesting that they built a church on a place that would e made know to them by a miracle. The next morning Giovanni and Pope  stood on the Esquilino Hill in Rome, where it was snowing in the middle of summer. As a consequence, the Basilica of Santa Maria Maggiore was built there.

In the fourteenth century, when the mendicant orders – religious orders demanding a vow of poverty and depending directly on charity for their livelihood – rose up in Florence and Arrezo, their cha…

Art Renewal Center Announces.....

Art Renewal Center Announces 2014 Salon Competition

The Art Renewal Center, a non-profit educational foundation dedicated to the return of realism and traditional training techniques in the visual arts, is currently accepting entries to their 10th annual competition.  The deadline for entries is Jan. 15, 2014. In the Salon, some of the best contemporary realist artists in the world compete for recognition, cash prizes, and a chance to have their work seen by some of the more than 5,000,000 annual visitors to the ARC website, as well as in other reputable venues.

“After a hundred years of suppression, traditional realism in the fine arts is returning in full force,” said ARC founder Fred Ross, explaining the importance of such a competition. ”Contemporary realism is the true inheritor of the 600 years of advancement in the fine arts before it took a disastrous turn down the blind alley of modernism and post-modernism. “We believe that realism is the only form of fine art which is equiv…