For more extensive artist's bio, articles and list of exhibitions, visit artist(s) website(s). Many of the images displayed on this site are copyrighted, and are used here only for purposes of education or critical review. All rights are reserved by the artists who created the works referenced herein.

Painting is silent poetry, and poetry is painting that speaks. Simonides

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Marco Martelli

Marco Martelli

'' ...Marco Martelli e' dunque artista visivo prima che pittore, finalista del Premio Arte Mondadori 2006, ritrae un mondo in sospeso tra realta' e finzione.

“Tutto quello che ogni giorno, ogni momento, cade dalla realta' davanti al nostro sguardo distratto, lo vediamo risorgere dalle tele di Marco Martelli, ma cambiato, trasformato, uguale e diverso, rivestito di una prima e dimenticata bellezza, denso di un enigma che ancora forse incatena qualche ritardatario esploratore, intrappolato nella fitta rete della metafisica. La sensazione e' di inoltrarsi insieme all'occhio indagatore del pittore, occhio magico che si riveste di nuova luce ed attenzione, in quello spazio misterioso che circonda le cose e che ci sfugge.

(…) Non si tratta di mera rappresentazione, ma di essenza, di sensibilita', e quella che appartiene a Marco si fa colore, pigmento e luce per esprimere l' emozione di quegli elementi quotidiani incastonati in profondita' nella sua testa; essi sono il mondo che ci regala, istanti che lo innamorano e lo catturano, sono istanti di una vita ed istanti propri degli oggetti, belli come totem, assoluti come icone, chiusi in un'immobilita' in cui vorremmo entrare per conoscere, alla fine, di che pasta sono fatti i sogni". (Silvia Cosi)''


Gianluca Gori

Gianluca Gori

Gianluca Gori è nato nel 1967 a Firenze dove vive e lavora. Si diploma all’Istituto d’Arte nel 1986 e dal 1991 prosegue la ricerca pittorica da autodidatta iniziando in breve tempo a lavorare come ritrattista e a dedicarsi alla progettazione di decorazioni parietali di interni.

Nel 1997 dipinge la Pala per l’Altare della Chiesa dell’Eremo di S.Caterina a Rio nell’Elba e, nello stesso contesto, presenta la prima mostra personale.
Tra il 2001 e il 2003 Collabora con la Maison Pucci progettando nuovi stampati dei tessuti.

Nel 2003 realizza e cura le retroproiezioni e i costumi per la prima rappresentazione europea dell’opera Tentazioni di Bruno de Franceschi.
E’ del 2004 la sua ultima mostra personale presentata presso la Galleria Falteri a Firenze.
Nel 2005 dipinge i sipari per il Rake’s Progress di Igor Stravinsky per l’Opera di Las Palmas con la regia di Mario Pontiggia.

Gerhard Richter

Gerhard Richter

something different ...

Gerhard Richter was born in Dresden in 1932 to a middle class family. Like many Germans of his generation, his relatives were involved in the Nazi movement; his mother's brother, Uncle Rudi died a young Nazi officer, while Richter's mentally disabled aunt was imprisoned in a Hitler euthanasia camp. Rigorous ideology and death have haunted Richter since he was just a child, perhaps causing his strong dislike for ideology of any kind and underpinning the attraction that nature, as an indiscriminate force, holds for him.

Support from his mother encouraged him to become an artist during his mid-teens and he embarked on a classical education at the Dresden Art Academy in Communist East Germany. Years later and a few months prior to the erection of the Berlin Wall, he and his wife fled with only a suitcase to Düsseldorf in West Germany. From 1961 to 1964, Richter studied at the Staatliche Kunstakademie Düsseldorf under Karl Otto Gotz.

Blurred Paintings

A Half Century of Art

Richter officially began painting in 1962. Here we give you access to his various works, ranging from oils on canvas to overpainted photographs, and including the historical reference of photographs, 'Atlas'.

A History of the Blurred Image
Gerhard Richter, Krems, 1986. Courtesy Collection Böckmann, Berlin at Hamburger Kunsthalle

''...In the 1960s, what Richter was doing was considered very innovative – we get this sense from the very retro educational video that you can watch in a little room in the museum. His paintings start with a photograph that he takes himself; he projects it onto a blank canvas, traces its outlines, blocks out the colours and areas, and then proceeds to blur it with a large brush.The effect is an image that both contains and hides information. Later, in the 1980s, he painted on top of things (like in Krems in the photo here), or abstracted them completely.

The catalogue article by Wolfgang Ullrich is an interesting reflection on the blurred image and what it means to us. He points out that many of the iconic images of recent years are blurred – he mentions Lady Di in the revolving door of the Ritz in Paris, but you might think of anything published from a surveillance camera or by the paparazzi, not to mention amateur films and photos sent into newspapers or posted on youtube. Ullrich contends that the blurred image thus is credited with authenticity and spontaneity, an observation I find interesting but perhaps on its way out with the improvement of digital cameras that help make everyone a better photographer. In film the blurred image may be associated with memory, spirits, or motion. Meanwhile, the figures of speech “faded memory” or “blurred recollection” imply that our inner eye needs glasses ;-)

In an interview of 1966, Richter said something that pretty much explains why he took up the blurred photo technique in his works:

A painted murder is completely devoid of interest, a photographed one shocks everybody. We must introduce something like this in painting.

''Richter’s blurred paintings attempt to “eschew the appearance of painting” by removing the brush stroke. However, I have to say that this fails somewhat, but in a positive way: I’d seen reproductions of his works, but they in person they are much more interesting because you can really see the medium. I saw a brush hair imprisoned in the face of the Liz Kertelge. I can see the texture of the canvas (and I’d have liked to see more closely, but the curators put up a white block in front of the canvas that I assume was so that I didn’t step on it and leave shoe marks)...''


Angela Hardy

Angela Hardy

Angela Hardy received her BFA from NSCAD in Canada. In Hardy's almost 20 years of painting her work has been sold to collectors in Canada, Europe, and the USA, including the renowned collection of Howard A. Tullman. Although she enjoys painting various subject matter, Hardy is constantly drawn back to the female form. Hardy's passion is to capture women during their most decadent, colorful and playful moments, "I've loved to play 'dress-up' during my childhood. Sometimes I still do! I think every woman still has a little - or a lot - of that little girl in them, trying to get out. I love capturing that!" Bob Buckingham, Lawyer, collector: "Angela's pieces, whether they be a soft, sensuous still life or bold portraits of her avant-garde friends all reflect the magnificent colours she was infused with as a child raised under the aurora borealis of Labrador." Hardy has called many places home over the years, Labrador, Newfoundland, Halifax Nova Scotia, Germany, Chicago USA, and now beautiful, historic old Quebec City.


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