PAOLO CALIARI was born in Verona, hence he was known by the name Veronese. He studied with Antonio Badile while living in Verona, before moving to Venice in about 1553. With Titian and Tintoretto, Veronese dominated the Venetian art scene. His use of color differed from that of other painters of the Venetian school, and hints of his training in Verona can be seen in his distinctive yet harmonious coloring.
Veronese often painted religious scenes, placing them in an incongruous Venetian setting with the saints dressed in finery and jewels. Although he was censored for this decorative element which some viewed as sacrilegious, it enabled him to portray the splendor of life in the rich and triumphant city state of Venice.
During the early years of his career in Venice, Veronese painted frescoes for the great architect Sanmicheli. As a result, many of his works convey a lasting impression of the detail of architecture, including The Marriage Feast at Cana, where the feast takes place against a magnificent backdrop of sweeping Classical colonnades. The architectural setting intensifies the illusion that the painting is a scene from a play - sixteenth-century theaters often had two such flanking flights of stairs. It is widely believed that Veronese has included a self portrait of himself playing the viola da braccio; beside him are fellow artists Titian and Tintoretto.
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The Wedding at Cana, 1562-1563. Louvre /
INVITES YOU TO:
WILD LIFE
Duration: 16th August - 26th September 2009.
COBUS VAN DER WALT Bee Eaters
MARGOT HATTINGH
ROBERT KOCH
FAX: +27 21 4249063,
WWW.CAPEGALLERY.CO.ZA
RSVP: Tel 021-4235309 or
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The Deckle Edge is hosting an “Art-o-thon” on Friday 4th and Saturday 5th September. Throughout these two days, each of the 5 branches will provide the opportunity for clients to experiment with and test new and existing products. Contact one of the stores to find out about specific classes and demonstrations. Visit the website for contact details of the store closest to you. www.deckleeedge.co.za
Detail from "Marriage at Cana". The figure on the left, playing the viola, is widely believed to be a self-portrait of Paolo.
In the refectory paintings, as in The Family of Darius before Alexander (1565-1570), Veronese arranged the architecture to run mostly parallel to the picture plane, accentuating the processional character of the composition. The artist's decorative genius was to recognize that dramatic perspective effects would have been tiresome in a living room or chapel, and that the narrative of the picture could best be absorbed as a colorful diversion.
Family of Persian king Darius before Alexander The Great and his friend Hephaestion after Battle of Issus. Oil on canvas: 236.2 x 474.9 cm.
1565-1570
National Gallery of London
These paintings offer little in the representation of emotion; rather, they illustrate the carefully composed movement of their subjects along a primarily horizontal axis. Most of all they are about the incandescence of light and color.
The House of Levi
In 1573 Veronese completed the painting which is now known as the Feast in the House of Levi for the rear wall of the refectory of the Basilica di Santi Giovanni e Paolo. The painting was originally intended as a depiction of the Last Supper, designed to replace a canvas by Titian that had been lost in a fire. It measured more than five metres high and over twelve meters wide, depicted another Venetian celebration and was a culmination of his banquet scenes, which this time included not only the Last Supper, but also German soldiers, comic dwarves, and a variety of animals; in short, the exotica which were standard to his narratives. This enormous painting was created not so much to express the deeply pious feelings of its artist but to emphasize the grandeur of life in Venice .Even as Veronese's use of color attained greater intensity and luminosity, his attention to narrative, human sentiment, and a more subtle and meaningful physical interplay between his figures became evident.
That the subject was indeed a Last Supper, and then some, was not lost on the Inquisition. A decade earlier the monks who commissioned the Wedding at Cana had requested that the artist squeeze the maximum number of figures into the painting, but the Counter-Reformation had since exerted its influence in Venice, and in July of 1573 Veronese was summoned to explain the inclusion of extraneous and indecorous details in the painting. The Inquisition accused the artist of heresy, then a capital sin. The work did not show enough respect for its sacred subject, it was argued, with its midgets, drunks and fools. There is even a dog in the place traditionally reserved for Mary Magdalene, and people dressed as Germans! The tone of the hearing itself was cautionary rather than punitive; Veronese explained that "we painters take the same liberties as poets and madmen", and rather than repaint the picture, he simply and pragmatically retitled it to the less sacramental version by which it is known today.
Feast in the House of Levi
http://www.artbible.info/art/large/51.html
http://www.artchive.com/artchive/V/veronese/cana_dtl_wine.jpg.html
Wikipedia
SAND, SEA and VELD FLOWERS
TWO DAY ART WORKSHOP
Natures Gifts: painting landscapes and still life.
Art teacher: Luce Suckling
a collaboration with the Blue Bay Lodge
Saldanha Bay
A two day painting workshop will be happening on the first weekend of September at the Blue Bay Lodge in Saldanha. This gorgeous location offers an opportunity to get away from the city and capture the beauty of the West Coast on paper. Drawing from the breadth of beach and veld which coexist in soothing harmony, you will gain skills in composing pictures and painting with the watercolour medium over two days in a tranquil and inspiring part of the world. The workshop will be run by Luce Suckling who has extensive teaching experience, as well as being a practicing artist and member of the West Coast Artists Guild.
Just 120 kilometres from Cape Town, Blue Bay Lodge is the perfect venue. All your needs will be catered for in the charming and comfortable rooms, and excellent food will contribute to a weekend to remember. And there is plenty to keep your partner occupied. The coasts reputable for breathtaking walks as well as places of interest such as the fossil park are close by.
Please direct your inquiries for details about the workshop and accommodation to:
Further information can then be forwarded to you.
You can also contact me direct at
Cell. 083-9554064
Theme: Sand, Sea and Veld Flowers
Venue: Blue Bay Lodge, Saldanha Bay
Dates: 5th September to the 6th September
Website: http//www.blouwaterbaai.com
Programme: Available on inquiry
Johnnie Liliedahl
This painting was executed using Maimeri Brera Acrylics exclusively. The palette of 8 colours I chose provided me with the ability to mix everything in the painting.
Sky: Primary cyan + Indanthrene blue + Cobalt blue
Mountain: Sky mixture + Quinacridone orange
Mountain mixture + Titanium white (highlights)
Evergreens: Indanthrene blue + Quinacridone orange + Primary magenta
Grassy Fields: Primary yellow + Indanthrene blue
Primary yellow + Cobalt blue
Cadmium lemon + Primary cyan (highlights)
Cadmium lemon + Indanthrene blue (highlights)
Wildflowers: Primary magenta + Pyrrole red (pink)
Cobalt blue + a touch of Primary magenta (blue)
TO VIEW A LOVELY PORTRAIT DEMONSTRATION BY JOHNNIE CALLED “VICTORIA”, VISIT
http://www.maimeriblu.com/demos.htm
(Just click on the web address to be taken directly to the site) /
THE ITALIAN ARTSHOP
EXCITING NEW DVD ARRIVING SOON- OILS
Many of you have been asking when the new DVD will be arriving, and your wait is nearly over. We are expecting the new order to arrive in about 2 weeks.
Please book a copy to avoid disappointment, these new releases are sold out so quickly!!
HERMAN PEKEL
Herman has a real passion for paint which is clearly illustrated in his work. He mixes traditional impressionistic values with versatility and his paintings reflect a deep insight into his subjects.
Working in oils, Herman goes into the countryside around Melbourne, selecting two different views of the Australian bush. He then paints the beachfront at St Kilda in Melbourne, the industrial dockland area with its cranes and boats and a view of Williamstown.
Click here to watch a trailer of this new DVD
http://www.apvfilms.com/show_trailer.asp?id=212
THE ITALIAN ARTSHOP
Tel 021-6851877
3 Weltevreden Ave, Rondebosch, Cape Town
www.italianartshop.co.za
Spectrum Art & Office in Durban expands their range of Maimeri fine art materials from Italy.Maimeri and has been manufactured by the Maimeri family since 1923, always with attention to quality and performance. Unlike many other contemporary manufacturers of art supplies, Maimeri is produced by artists for artists.
Spectrum initially put in Puro, Maimeri's top of the range artists qualityoil. Owner Alain Latham said the response was immediate and extremely positive. "This gave me heart to introduce theirwatercolours and, lately, their acrylics.Wewere so impressed with Maimeri's dedication to the artist's needs, that we created an entire Maimeri Center in our store" said Alain.
Not only does Maimeri provide artists with materials of exacting quality, they offer value as well. Artists can choose among varying ranges of oils, acrylics and watercolors, each meeting the specific needs of the artist, from student to master painter. Our in house artists love the new Maimeri line and we think you will too.
So enjoy browsing down the Maimeri aisle and if you have any questions, please feel free to contact or visit their website www.artjunction.co.za..
SPECTRUM NOW STOCKS THE FOLLOWING FULL RANGES OF MAIMERI PRODUCTS:
· CLASSICO OILS
· PURO OILS
· BRERA ACRYLICS
· VENEZIA WATERCOLOURS
· MAIMERI BLU WATERCOLOURS
***ACRILICO ACRYLICS WILL BE ARRIVING SOON***
A RANGE OF PALETTE KNIVES AND ACCESSORIES
Visit KZN's No.1 art shop, 415 Umgeni
Road Durban, you'll be glad you did!
USING HOUSE PAINT IN YOUR PAINTING
There has always been a bit of controversy over using alternative products instead of the common store bought art materials. Some painters even claim that they use left over bacon fat from the frying pan as a painting medium!! Their reasoning- I’ve done it for years with no problems yet.
After a bit of research, I think that I have found some rather compelling evidence that house paint is called “house” paint for a reason, and artist paints are called “artist” paints for a reason:
1) House paint is not designed to last hundreds of years, or even dozens of years.
Experiment: Paint a square on your lounge wall in the exact paint that it was initially painted with (if you are already a disbeliever in using house paint in your paintings then there is no reason to do this experiment and ruin your lounge walls! This one is for the skeptics!). You will notice that even when completely dry, the new square of paint is a completely different colour, and you will now have to paint your entire lounge again in order to get rid of the inconsistency.
This is because house paint is not properly lightfast (and also has all sorts of additives in it) and will fade and/or discolour within a matter of months. Many colours will become amber in tone, while some may even become brown with age. Other problems will definitely depend on the brands and colours, but may include efflorescence on the surface (or a white powdery accumulation on the surface). With inferior ranges of colorants one will also develop reduced colour saturation on most colours.
2) Does anyone know what house paint is made from?
Artist paint is designed to produce wonderful paintings- house paint is designed to cover walls. They have completely different uses and are therefore made completely differently!
Good artist paints are as pure as possible, the best ones are made with only pigment and binder (oil is the binder for oil paints, and acrylic resin for acrylic paints). The purer the paint, the better.
House paints contain all sorts of other compounds and substances that add particular properties, such as plasteriser and drying accelerants to name but
a few.
3) When applied a little too thickly, a skin can form on the surface of the paint, and as the underlying paint dries, visible wrinkles form on the surface.
4) I don’t know about yours, but my house doesn’t bend and stretch like a canvas!
House paint is not designed to withstand the kind of bending and stretching that takes place on a canvas, and will therefore often crack.
One cannot assume that any attempt or effort has been made to formulate house paint for use on flexible supports; to be shipped around the world; or to have to maintain their surface profile for decades.
Although exterior paint has a higher acrylic content than interior paint, and is therefore more flexible, it will not handle a canvas like artist quality paint will.
Have you ever seen a house with peeling paint before? If your answer is no, then you need to get out more! House paint peels- even off walls, which aren’t put through the stretching that a canvas can go through.
Conservation scientist Tom Learner said this about one of Jackson Pollock’s works entitled “Summertime 94”:
“You can also see quite clearly differences in the physical properties - in other words how brittle the paints are. You can see distinct cracks, vertical and horizontal, in the black and grey areas, whereas the artists' oil paint is still pretty flexible and no cracks are apparent there.” http://www.tate.org.uk/learning/learnonline/modernpaints
(Pollock worked in oil based house paint with artist quality paint is specific areas)
5) Using house paint only as a primer:
The above points are still valid even when using the house paint only as a primer.
The house paint will adhere to the canvas, but unlike an artist primer, the paint contains surfactant (the emulsifier in water-based dispersions). This will make the surface slicker and less absorbent, providing a less than ideal surface for the adhesion of the next layer of paint.
Over time the layers may separate and cracking is very likely to occur.
6) The ethics of selling a painting that has been painted with house paint:
Many artists will say that they have been using house paint on their canvases for many years and they have never had a problem. Well let me ask you this; how many of you own a painting that is older than say ten, or even twenty years? I’m sure most people have some artwork that is even older. My point is that you don’t know what will happen to that painting in 20 years. And the buyer is certainly not paying for a painting and expecting to throw it away after ten or twenty years- he’s expecting it to last forever, or at least for his entire lifetime! In fact it is time reputable galleries insisted on their exhibitors specifying the type of paint used.