Tweet Spring is here and we just released our Spring Art Trends for 2013! Today, Gallery Direct announced that bold colors, geometric shapes and transparent inspired decor are some of the top art trends for spring 2013. We caught up with … Read More
Tweet Designers from all over the world work with Gallery Direct to transform homes and offices. We followed interior designer, Sarah Scott, as she helped a work from home mom choose the right art for her space, her style and … Read More
Tweet So where was I? I was in Vienna, in the Secession Building in winter, looking at Klimt’s poster for the first Secession exhibit (showing the aggressive Theseus who slew the Minotaur, like the new Jugenstil fighting the traditional values). I was wearing layer upon layer … Read More
Tweet “The most famous painting in the world” - The Mona Lisa. La Joconde. La Gioconda. Leonardo’s masterpiece. The portait of Lisa Gherardini, the wife of Francesco del Giocondo, is instantly recognizable to virtually everyone in the Western world. The Mona Lisa … Read More
The painting, created by Leonardo da Vinci between 1503 and 1519, has been the subject of much speculation and mystery for hundreds of years. Theories about its creation abound, and studies are still being done today as to the origins and formal qualities of the painting. In fact, artdaily.org reported this week that Alfonso Rubino has performed a geometrical analysis on La Joconde, revealing that Leonardo "worked the geometry found in his design of the Vitruvian Man into his paintings." According to Dr. Markus Frey of the Mona Lisa Foundation, not only is this a groundbreaking find, but is also confirms that a painting that was thought to be an earlier version of The Mona Lisa is in fact genuine.
The "Earlier Version," according to recent carbon dating, was created sometime between 1410 and 1450. There are so many theories as to the creation of the painting that an earlier version is sure to prove to be fuel for the proverbial fire. Theories about The Mona Lisa range from topics such as pregnancy, Bell's Palsy, high cholesterol, secret societies, biblical references, and many more.
The Mona Lisa has inspired people for centuries, but not always in a good way. In 1911, a worker at the Louvre, Vincenzo Peruggia, an Italian patriot, stole the small poplar panel right from the wall of the Louvre, believing that despite the fact that the painting was completed in France and legally sold to the French king after da Vinci's death, the painting belonged to the artist's home country of Italy.
After biding his time for two years, however, Peruggia attempted to sell The Mona Lisa to the Uffizi Gallery in Florence. Officials at the Uffizi immediately notified the Louvre, at which point it was returned to Paris after an extended tour throughout Italy.
The painting has also been the target of many iconoclastic attempts. It was attacked twice in 1956, first by acid and then by a thrown rock, at which point it was decided that it could no longer be displayed without the protection of a bulletproof-glass case. Even after the case was added, however, it was the subject of vandalism in 1974 and more recently in 2009.
So why does this painting inspire people so much - whether it be to artistic creation, endless research, conspiracy theories, criminal activity, or violence? The enigmatic smile, the beautiful and slightly surreal landscape in the background, the facial geometry, the bodily arrangement of the portrait, the identity of the sitter, and numerous other inquiries have captured the world's attention.
Personally, as a student of art history (who admittedly does not focus on the Renaissance, and is by no means a da Vinci scholar), the formal execution of the painting is at the heart of the matter. Putting aside all of the theories and mysteries surrounding it, The Mona Lisa is, above all, an exemplar of Renaissance fastidiousness and ingenuity. The amount of detail and precision that was exercised by da Vinci is the most captivating element of the painting. The bizarre landscape, the ethereal veil that floats above her delicate curls, every fold on her dress, the considered use of sfumato - all suggest to me that the painting was created by an exceedingly patient, practiced, and loving hand. When I look at La Joconde, I envision the artist, meticulously tending to each line, each shadow on the relatively small panel. I see a life dedicated to artistry and aesthetic integrity.
So what do you think? Does The Mona Lisa inspire you? What do you think she's smiling at?
(...) I got a crazy teacher, he wears dark glasses Things are going great, and they're only getting better I'm doing all right, getting good grades The future's so bright, I gotta wear shades (...)I arrived in Vienna after a long train ride from Belgium, where I was "based" (my mom's sister has been living in Belgium forever, and she has always been kind enough to embrace me as a daughter all the times I was in Europe. By the way, I am Brazilian and was living in Rio at that time). When I arrived in Vienna, Rosa was waiting for me with some friends and a glass of wine at the train station. I remember that night: we hit a few pubs, I ate my first Goulash (Goulash is a Hungarian dish, and Budapest is just around the corner…) and I also lost my recent-Paris-acquired red beret in one of the restaurants we visited. It was December and cold, dark and windy; in spite of that, the streets were crowded and the people were in coffee houses, pubs, restaurants. Rosa knew a lot of people. Life was pulsating and there was no doubt about that. While I walked downtown, I noticed that the old buildings had sometimes a beautiful plate next to the door, saying something like "Here lived Schubert - or Freud - from (year) to (year)". Those plates were everywhere, mostly with great musicians names. At night, in the narrow and curvy streets illuminated by old lanterns, I felt that I had come to a magical place that I did not want to leave. Vienna was definitely a mix of East and West Europe, and having Eastern Europe in my blood (my dad was from Belgrade), that city could not speak more to my heart. Why this long introduction? Well, you can imagine how easy it was for me to fall in love with the art and architecture that I saw in Vienna. Let me explain that what first caught my eyes in Vienna was the Jungendstil (German for "youth style") : the Viennese / German version of the Art Nouveau. It was everywhere, but most obviously at the buildings doors. The Art Nouveau or Jungendstil was a reaction to academic art of the 19th century, and it was inspired by natural forms and structures. Curved lines, twisted iron, experiences with curves. Architects tried to harmonize with the natural environment. It is hard to figure out exactly what brought up that style (how can you really pin-point one single cause?). Real artists can grasp the Zeitgeist and translate it into forms, and that's what happened in Vienna, at the turn of the century (1890-19….). Wikipedia says that "The style was influenced strongly by Czech artist Alphonse Mucha, when Mucha produced a lithographed poster, which appeared on 1 January 1895 in the streets of Paris as an advertisement for the play Gismonda by Victorien Sardou, featuring Sarah Bernhardt. " Gallery Direct has Mucha's poster - see it here. [caption id="attachment_3355" align="alignleft" width="103"] Alfons Mucha - Gismonda, 1894[/caption] Of all the artists involved in the Jungendstil movement, Gustav Klimt is certainly still the best known. In the years of 1895 to 1900, Klimt pressed a personal crisis of middle age into a service of radical reorientation of his professional work (just like Freud, also living in Vienna and already a famous doctor). Klimt decisively rejected the realism in which he had been reared. He plunged into the self and embarked into a "voyage interieur". When he exhibited to the public the results of his explorations inside his world of "instincts", he encountered resistance from two ends: from liberal-rationalist academic orthodoxy, and from anti-Semites. In the face of hostility, Klimt withdrew from the public scene to the shelter of a small cottage house - to preserve and further explore the terrain he had just conquered and discovered. We need to remember that at that time, Vienna was not in Austria, but part of the the Austro-Hungarian Empire, and all over the world Imperialism had its days counted. Klimt represented the cultural situation in which psychoanalysis also arose. He, like Freud, confronted a period of historical transition. With other intellectuals of his class and generation, Klimt shared a crisis of culture characterized by the search of a new self. Gustav Klimt finally rose to fame in the service of wealthy families of Vienna. He decorated the Museum of Art History and the Burgtheather. During the years when these paintings won Klimt his fame, the social layer whose values he expressed was being undermined. The liberal society was crying for reform and a widespread, collective revolt began to spread through the Austrian middle class. "Die Jungen" ("The Youth") became the common name chosen by the rebels in one filed after another. In the mid-nineties, the revolt agains tradition finally spread to art and architecture. Within the principal artists' association – die Jungen – the name was used again – organized themselves to break the prevailing academic constrains in favor of an open, experimental attitude toward painting. They rejected the classical realist tradition of their masters in the search for modern man's true face. [caption id="attachment_3360" align="alignleft" width="528"] Section from Klimt’s ‘Beethoven Frieze’ with the character of ‘Lasciviousness.’
She’s the redhead seated on the back of the beast. Secession, 1902.[/caption] Klimt, though himself a young master of the old school, early assumed leadership in the revolt of die Jungen in the visual arts. In 1897, he led them out of the established artists' association to found the Secession. Like I once heard, un-learning is so often so more difficult than learning! And in order to deconstruct, it is so important to have achieved the knowledge of the "conventional". In 1898 the movement gained its own building, a project by the architect Joseph Maria Olbrich. The exhibition building soon became known simply as "the Secession" (die Sezession). This building became an icon of the movement. You can see more photos of Secession building below, with Klimt's paintings inside. Check the poster for the first exhibit on sale at Gallery Direct here. It is fascinating, how strong this image still is! I could write more, but what about giving you a break and continuing next week in "Vienna - Part ii?" Also, next time you buy a Klimt, think about all that the man went through, and all the freedom that his paitnings represent. No wonder they're strong until today. I found the images in this post in the web. I don't think my own photos survived these years, unfortunately. If you want to read more about Vienna and the "Fin-de-Siecle", I firmly recommend this book, which I consulted to write this post: "Fin-De-Siecle Vienna: Politics and Culture", by Carl E. Schorske. [caption id="attachment_3290" align="alignnone" width="300"] The Secession Building from another angle[/caption]
- you will need more light when shooting macro photography.
- you will have a very shallow depth of field when shooting macro photography.
- it's easiest to focus on the subject by moving the camera back and fourth until your subject comes in focus. "Live Mode" or viewing the camera image on the screen is great for doing this.
- when you disconnect your camera and lens, they can no longer “talk” to each other so you'll lose the ability to auto-focus, and control your aperture. Your camera will default to it's most open aperture setting. There is a way to “trick” your lens into keeping a tighter aperture, but more about that later.