Tuesday, November 19, 2019

Venice: Isola di San Giorgio Maggiore - Le Stanze del Vetro – Thomas Stearns alla Venini

 
Venice - Isola di San Giorgio Maggiore
Le Stanze del Vetro
Thomas Stearns alla Venini

The Autumn exhibition at Le Stanze del Vetro, Thomas Stearns alla Venini, until January 5, is curated by Marino Barovier, it focuses on the American artist who collaborated with the Venini glassworks in the early 1960s. After the initial period during which Stearns familiarised himself with local techniques, he started to create works of an extremely original character and unusual for Murano.
Luna – 1962
Stearns’s intention with this series was that, when lifting the vase and looking through the base, one would see the shape suggestive of the moon.


 
“I now fully realize the serendipity of events surrounding my work at Venini. Paolo Venini’s death had left the firm virtually bereft of a designer; my own naivete’ and eagerness to explore the medium left me in zealous experimentation; and the young Maestro Francesco ‘Checco’ Ongaro’s own efforts to prove his abilities led him to stick out his neck by collaborating with me.  This timing was just right making germane a situation of exploration and accomplishment.  We each saw it as an opportunity for ourselves… and we leapt in.”
Thomas Stearns -1989

Maestro Checco Ongaro and American artist Thomas Stearns




Thomas Stearns alla Venini

For the 31st Venice Biennale in 1962, Venini chose to exhibit, together with Tobia Scarpa’s works, six pieces by the American artist, which were rewarded with the accolades of the adjudication panel. Celebrated are his pieces Il Cappello del Doge, the Facciate di Venezia. The gold medal was proposed for them but could only be awarded to an Italian artist.
Cilindri – 1961-1962
Capello del Doge – 1961


Incalmi – 1961-1962


Ai Fili – 1961-1962


Focciata di Venezia – II Versione – 1962

 
Thomas Stearns alla Venini

Various series of Thomas Stearns’s glass pieces came into being, designed as an artistic impression of a sculptural kind, characterised by asymmetric and organic shapes and unusual glass techniques, rooted in the material of glass itself and with singular colour schemes.
Sentinella di Venezia - 1962


 
Thomas Stearns alla Venini

Stearns was also interested in cold finishing techniques and in the lighting sector, as artistic expression as well as technical research.

Illuminazione – 1961-1962
Doge’s Table Lamp for signing decrees, lamp with opaline glass light diffuser and external part in smoke-coloured transparent glass finished with thin horizontal incisions. Support structure and metallic finishing in bronze-plated brass.



Ai Fili - 1962


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Tuesday, November 12, 2019

New York: The Met Breuer – Vija Celmins – To Fix The Image in Memory – Retrospective Exhibition


The Met Breuer

Vija Celmins – To Fix The Image in Memory

Retrospective Exhibition

At The Met Breuer the retrospective exhibition - Vija Celmins – To Fix The Image in Memory - until January 12, provides a comprehensive view of her work through a selection of approximately 120 works—from her earliest paintings made in Los Angeles in the 1960s to objects completed in New York in the last five years. Celmins bases her exquisitely wrought paintings, sculpture, drawings, and prints on the world around us—sometimes through direct observation, but more often mediated by photography. 

Pink Pearl Eraser – 1966-67
Balsa wood and acrylic paint


“Nostalgic images… reaching back and taking care of these memories…and sort of connecting with myself.”

This work marks a key moment in Celmins’s transition from depicting objects in her studio to working with wartime imagery. Through such - nostalgic images - as Celmins has called them, she revisited her childhood in war-torn Europe.
Vija Celmins – T.V. – 1964
oil on canvas


Celmins based her wood models on real buildings – one in Venice, California and another, a saltbox farmhouse in Indiana where she lived as a child. She painted them with favorite motifs such as airplanes, trains, smoke and clouds.  While Celmins acknowledges an interest in Oppenheimer and Magritte in these pieces she was also inspired by Tony Berlant, a friend and fellow UCLA student who was making assemblage sculptures of houses in the mid-1960s.
House # 2 – 1965
wood – canvas – oil paint – fox fur – metal


Explosion at Sea – 1966
oil on canvas

 

“It occurred to me that the image and surface were interlocking with the picture plane so the work could invite one in and keep one out at the same time.”

Celmins’s second Los Angeles studio was not far from Venice Beach and in 1968 she began taking photographs of the Pacific Ocean, a subject that would command her attention for the next decade.    
Ocean – 1990
oil on canvas

 

“The black images of the night sky invite you in, you come close, and then you’re kept out by their physical flatness…which begins to have this strange, quality. You think you may be seeing something that isn’t there…the feeling of a deeper space, but also solid structure before you.  Both things at the same time.”

Night Sky #15 – 2000-2001
oil on linen mounted on wood




“I tend to do images over and over again, because each one has a different tone, slant, a different relationship to the plane, and so a different special experience.”

Celmins stopped painting and switched to graphite as a new and more precise medium and she usually prefers to have her drawings shown without mats to underscore the notion that they are physical objects rather than windows framing an illusion.
Clouds – 1968
graphite on paper


  “Already made by schoolkids and me… a way of engaging somebody in what you have done.  Because when you look close, of course, you see one of the tablets has been painted.”

This group of blackboards includes three found objects and seven produced in wood by sculptor Edward Finnegan that were based on vintage tablets.  She painted each side of the facsimiles, inscribing traces of wear, cracks, and splinters.  Her inclusion of a meticulously stained tag further extends the work’s optical illusionism.  She was delighted by the consistency between handmade replicas and the originals.

Blackboard Tableau #1 – 2007-10
Found tablets – wood – acrylic paint – alkyd – pastel – string – paper – graphite
Blackboard Tableau # 14 – 2011-15
Found tablets – wood – acrylic paint – alkyd – pastel



“For a while the subject was the photograph… So whatever the photograph told me, I did.  I found a great freedom in this.”

In the late 1960s Celmins began collecting pictures of the moon from newspapers, magazines and astronomy books.  Her large personal archive became a basis for a number of drawings and became more of a starting point which she sometimes complicated her sources by placing pictures on top of one another or by doubling or enlarging details. Her shifts emphasize the constructed nature of the images and their distance from directly observed reality.
Untitled (Moon
Surface Luna 9 - #1) – 1969
graphite on acrylic ground on paper



Vija Celmins – To Fix The Image in Memory

Retrospective








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Sunday, October 27, 2019

Venice: Ca' Rezzonico - The Venice International Foundation - Annual Fundraising Gala Dinner


Photograph and copyright Manfredi Bellati


Venice – Ca' Rezzonico Museo del Settecento Veneziano

The Venice International Foundation
Annual Fundraising Gala Dinner
Album Cicognara Restauration – Premio Cotisso

The annual dinner of the members of The Venice International Foundation was held this year in the majestic ballroom of Ca' Rezzonico Museo del Settecento Veneziano on the Canal Grande. The gala dinner celebrated the ongoing project of the restoration of the Album Cicognara, housed in the Museo Correr and the assignment of the 2019 Cotisso Award, which was given this year to the Rubelli Dynasty, the Venetian family of fine fabric manufacturers known throughout the world.

Alberto Craievich - director - Ca' Rezzonico Museo del Settecento Veneziano - director - Drawings and Prints Cabinet at Museo Correr
Franca Coin – president – The Venice International Foundation – president – Friends of Venice, Italy, Inc.



2019 - Cotisso Award
Rubelli Dynasty

The highlight of the evening was the 2019 Cotisso Award ceremony. This year’s award didn’t go to a single person but to an entire dynasty: that of the Rubelli a family of fine fabric producers known throughout the world who have masterfully infused all the Venetian culture and tradition into their highly artistic fabrics.

Katia Da Ros, Franca Coin, Luca Bombassei, Guido Venturini,
Lisa Paola, Alessandro, Lorenzo, Andrea and Sandrina Favaretto Rubelli, Helene de Prittwitz Zaleski and Giacomo Cavallucci

  Copyright - Archivio Fotografico Fondazione Musei Civici di Venezia – courtesy Venice Foundation


Album Cicognara
Fundraising Project

Once again, the fundraising dinner was for the ongoing restoration project, the Album Cicognara, a collection of 81 drawings made by the greatest Neoclassical artists, both Italian and foreign - including Francesco Hayez, Giuseppe Bossi, Antonio Canova - donated as a sign of esteem and friendship to Leopoldo Cicognara, great patron, cultured historian, brilliant art critic, as well as President of the Academy of Fine Arts of Venice from 1808 to 1826 and "cultural operator" ante litteram for the protection, promotion and production of the arts. Friends of Venice Italy Inc. the American sister of the Venice Foundation also contributed to the fundraising project. The restoration started a few months ago and Alberto Craievich - in the dual role of director of Ca' Rezzonico and responsible for the Drawings and Prints Cabinet of the Museo Correr, where the Album is kept, updated guests on the status and progress of the works that should be concluded between spring and summer of 2020. To better ensure the conservation of the individual sheets, the Album will be "dissolved" and the hope of the Venice Foundation members is to be able to admire them all together in an exhibition dedicated to this important collection, which well represents the expressions of all the artistic schools of the Nineteenth century.

Francesco Hayez - Portrait - Leopoldo Cicognara - foglio 73


Franca Coin, Cesare and Liliana Rimini

 
Guido Venturini, Isa and Pierino Persico and Giulia Venturini



Renato Pellicioli, Katia Da Ros and Marco Cappelletto


Valentina Borgogni and Giacomo Cavallucci



Morella Morelli, Luca Bombassei, Aurelio Latella, Giordana Naccari 
Fabio Pacifico

 
Alberto Craievich
director - Ca' Rezzonico Museo del Settecento Veneziano
director - Drawings and Prints Cabinet at Museo Correr



Giulio Manieri Elia, Alessandra Mancino and Paolo De Benedictis

 

Andrea and Sandrina Favaretto Rubelli





Lorenzo Favaretto Rubelli

  Copyright - Archivio Fotografico Fondazione Musei Civici di Venezia – courtesy Venice Foundation


Album Cicognara - Museo Correr - cover



Manfredi Bellati and Tonci Foscari


Paola and Andrea Tomat


 
Guido and Paola Pennisi



Cecilia Matteucci Lavarini


Catherine Orentreich and Elizabeth Royer Grimblat


L’Aperitivo

 
Jean-Francois and Odile Saglio



Giuliana Dall’Ora

 

Felice Casson and Milva Andriolli





Ferigo and Claudia Foscari




Roberta Brunetti and Marco Cappelletto

 
Angelica Fontana and Alessandra Mancino



Paolo and Maura Costa

Copyright - Archivio Fotografico Fondazione Musei Civici di Venezia – courtesy Venice Foundation

Antonio Canova - Studio di Panneggio - foglio 34

 
Daniela Ferretti


 
Lara Caballini di Sassoferrato and Carmen Verderosa



Concetta Varalla and Daniele Zanichelli
 

Manuela Pivato and Andrea Giacobino

  Copyright - Archivio Fotografico Fondazione Musei Civici di Venezia – courtesy Venice Foundation

Francesco Hayez – Selfportrait – foglio 63


 
The Ballroom
Ca' Rezzonico Museo del Settecento Veneziano

The majestic ballroom was created in 1750 by the architect Giorgio Massari, with frescos by Giambattista Crosato and architectural trompe-l’oeil by Girolamo Mengozzi Colonna. The room is a heraldic and allegorical exaltation of the owners. The visitor is transported into a magical, fairytale atmosphere within the walls of a family home. The only pieces of the original furnishings remaining are the two majestic wooden chandeliers with floral patterns in gilded metal. Along the walls we find lavish ornamental furnishings in ebony and boxwood by Andrea Brustolon, one of the greatest Baroque sculptors of wood.



“In our fascinating and extraordinary adventures linked to Antonio Canova - started in Venice in 2012 at the Museo Correr and then continued through the years at the Gallerie dell’Accademia, the Gypsotheca and Museo Antonio Canova in Possagno up to the most recent exhibitions in Venice and in New York - we have learned to appreciate not only the great Neoclassical master but also the whole world that evolves around him. A world made up of his important clients, his international relations, his family, the smallest circle of friends. Among these, Leopoldo Cicognara, an enlightened figure, a patron and promoter of the arts, who played a fundamental role, and at the same time was a sincere and fraternal friend to Canova, so much so that it was in his arms that the sublime master died in 1822 behind Piazza San Marco.”
Franca Coin

Alberto Craievich - director - Ca' Rezzonico Museo del Settecento Veneziano - director - Drawings and Prints Cabinet at Museo Correr
Franca Coin – president – The Venice International Foundation president – Friends of Venice, Italy, Inc.

 
The Premio Cotisso
Dynasty Rubelli

Lisa Paola, Alessandro, Lorenzo, Andrea and Sandrina
Favaretto Rubelli



The Premio Cotisso

The hunky pure and monochrome glass sculpture created exclusively for Venice Foundation by designer Giordana Naccari

 
Irene Favaretto
Author – Rubelli. Una Storia di Seta a Venezia
Rubelli. A Story of Silk in Venice


 
Menu – Centerpiece

centerpiece on Damantio base - Rubelli - a spool of yarn for loom warp and silk scarf with Vasarely design



Alessandro Cecchi Paone and Nicola Cenedese



 
Guazzetto del Mediterraneo



 
Cristina Pecori, Claudia Irti and Richard Wilson

Copyright - Archivio Fotografico Fondazione Musei Civici di Venezia – courtesy Venice Foundation

Turpin de Crisse’ - Venice towards San Moise’ – foglio 15


Carla Comelli and Guido Venturini

 
Tonci Foscari, Paola and Andrea Tomat, Barbara Foscari, Paolo De Benedictis, Sandrina and Andrea Favaretto Rubelli


Semifreddo al Caffe’ con Crema di Cioccolato Fondente e Frutti Rossi

 
Franca Coin and Friends
Daniele Zanichelli, Concetta Varalla, Alessandra Mancino, Angelica Fontana, Elizabeth Royer Grimblat, Catherine Orentreich
Manfredi Bellati

 
Mara Zanette and Cinzia Boscolo


 
Veronica Vianello



 
Venice – Ca' Rezzonico Museo del Settecento Veneziano
















 




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