Oscar Ghiglia, View of Villa d'Ancona a Volognano, oil on panel, 39 x 28.5 inches, 1913/1915
Ilaria Rosselli Del Turco blogs about the work of the underknown painter Oscar Ghiglia.
She writes: "His portraits are characterised by a solid perspective structure, immediate but in fact very complex. They never indulge toward sentimentality nor [do] they become flamboyant. With a classical departure point, they are made modern by the simplification of the drawing; all the emotional content is reduced to a precise construction of the image... [Ghiglia] refused impressionistic instances coming from France, preferring Nordic influences, such that one of Hammershøi, that we see in his domestic interiors... The format and the subjects recall the Macchiaioli painters but landscape for him is in fact a rational construction. It is not until that period that he might have come in contact with the work of Cezanne, with which he shares the concept of a painting as physical object and the use of colour as builder of form."
Sultan writes: "The close harmony of grays and blacks, the stillness, the soft light, the simple compositions lend to Hammershøi's paintings a sense that we are seeing what is essential in his world and thus in ours."
Peng writes: "The Macchiaioli artists rebelled against the established art academy stultifying conventions of ‘finished paintings’ and thematic restrictions to biblical and historical or courtly subjects. They were the descendants of Tintoretto, Caravaggio, Velasquez, and Spagnolotto (Ribera), innovating the chiaroscuro method of enriching tonal expressions and spatial depth relations in a modern context. They were true modernists, enthusiastic for the new medium of photography, with its pronounced light and shadow, and for Japanese prints and paintings and the adoption of sharper and defining white tone."
Ilaria Rosselli Del Turco reviews a book on Sargy Mann, a painter who has continued to make perceptual-based work even as his eyesight has deteriorated. A short film trailer about Mann and information on both ebook and print copies are available via the book's kickstarter page.
Del Turco writes that the book is a "go-back-to text, a real insight in the life of a painter, where Mann explains about the search for his motif, how he proceeds from it to conceiving a work, the difficulties in realising his ideas and finally the completion of the painting. Spacial tension, rhythms, the language of light, are all taken into consideration as he traces the process of painting."
As Tim Adams wrote in 2010, "the change in his sight [Mann] greeted with artistic curiosity: 'my world had become greyer and hotter,' he recalls. 'I was a human spectroscope such that I could see that a sodium streetlamp was monochrome because it only had an orange halo whereas a car tail light of the same colour had a spectral halo…' He'd read about Monet's cataract operations before he had his own and what he was most interested to discover was whether he had colourless cataracts or the yellowy-brown ones that had progressively informed the changing palette of the Impressionist at Giverny. Would he, like Monet, see the world saturated in blue again after the operation? To his joy he did, and his painting for a while reflected this new cobalt dazzle."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.