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News Contributors, by rdpart posted on 02 Jan 2004
News Contributers wanted
Would you like to become a journalist for Artsright.com
Be a part of this information sharing experience
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Contact the administrators using the contact form, listing any new categories of news that you would like to contribute to, and they will allocate a user name and password for you to access the contributors menu.
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Artsright News
Artsright Forum, by rdpart posted on 30 Dec 2003
Artsright Now has a Forum
To use the Forum follow the Forum Link Here, or above on the Site navigation.
You can browse the forum as a user, however to start a new thread ar post in existing threads you will need to Register.
Please Note:: The registration for the Forum is differant to the Registration for the Galleries.
You can use the same username and pasword if you wish.
Once registered you can login and then you will be able to use the forum for posting, you will also be able to update your Profile details, upload Avatars as well as changing your password at will.
HTML code is permissable in the Forum, However I do ask that you refrain from placing TD tags.
Thankyou and have an enjoyable time at Artsright.com
Artsright News
Free Links Page, by rdpart posted on 30 Dec 2003
Artsright now has a new free Links Page
You can now submit your website links to the Artsright Links Page, Just follow the link to the Links Page Here oor on the navigation above.
To Add a Link, go to the category that you would like to add your link to.
Click on Add a Link on the Links Menu and you will be taken to a submitter form.
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Enjoy your experience at Artsright
Artsright News
Photo Album Added, by rdpart posted on 28 Dec 2003
Artsright Now have a photo album for users,
You can register as a gallery user, create your own albums and start to upload your images.
to find out how to become a member of the gallery section go to the help file
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General News
Test, by rdpart posted on 30 May 2006
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Feature Artist
Tiziano Vecellio - (1488/90 - 1576), by rdpart posted on 26 May 2004
 Titian or Tiziano Vecellio was born in a small alpine village of Pieve di Cadore, now not far from the Austrian border, where his family lived for many years. His parents, Lucia and Gregorio di Conte dei Vecelli, were respectable people of modest means. In about 1498, at the age of nine or ten, Titian and his elder brother Francesco were sent to Venice to start their training as painters in the workshop of the mosaicist Sebastiano Zuccato.
Though soon Titian left his workshop and began studying painting in the workshops of Gentile Bellini and Giovanni Bellini. It is believed, that his earliest surviving work Pope Alexander VI Presenting Jacopo Pesaro to Saint Peter (1502-1512) was influenced by Giovanni Bellini. In 1507, Titian joined the workshop of Giorgione as his assistant and three years (until Giorgione's death in 1510), which he spent with this outstanding master, were a lasting influence on the young Titian to such a degree, that some works which are now thought to have been painted by Titian used to be attributed to Giorgione, and vice versa. One of them is Concert Champetre (c.1510-1511), which is still in some sources considered to be painted by Giorgione. Other works by Titian, which bear the Giorgione's influence are The Birth of Adonis (1505-1510), The Legend of Polydorus (1505-1510), St. Mark Enthroned with Saints (c.1510), The Concert (c.1510), Noli me tangere (1511-1512), Gypsy Madonna (c.1512) and even his masterpiece Sacred and Profane Love (1514).
 In 1510 Titian received his first important commission to produce some frescoes in the Scuola del Santo in Padua dedicated the life of St. Anthony of Padua. Since that time Titian began to win independent commissions and to establish himself as a painter in Venice. In 1513 he opened his own workshop, in which he employed two assistants, one of whom had worked for Giovanni Bellini. In 1516 Titian was commissioned to paint a new work for the high altar in the Franciscan church of Santa Maria Gloriosa dei Frari in Venice, the Assumption of the Virgin (Assunta) (1516-1518), which was destined to become the milestone in the history of Venetian High Renaissance. This altarpiece made Titian the most celebrated painter in Venice. At the same time, it drew him to the attention of Bellini's old patrons in the northern Italian ruling houses. He was commissioned by the Duke of Ferrara Alfonso d'Este to produce three large mythological paintings The Worship of Venus (1518), Bacchus and Ariadne (1520-1522) and Bacchanal of the Andrians (1523-1525).
 In the following years Titian painted another monumental altarpieces Pesaro Altarpiece (1519-1526) and Madonna in Glory with the Christ Child and Saints Francis and Alvise with the Donor Alvise Gozzi (1520), which set a standard for the future. His another masterpiece of the time the Martyrdom of St. Peter Martyr has been lost. In 1523 Titian first met Federico II Gonzaga, Duke of Mantua, who became one of his clients. On Duke's commissions he painted Portrait of Federico II Gonzaga (1523-1529) and also some religious paintings, such as Madonna and Child with St. Catherine and a Rabbit (1530). Federico II Gonzaga also introduced Titian to the Holy Roman Emperor Charles V.
 The 1520s - 1540s were the years when Titian created his best portraits. The best, which survived, are A Knight of Malta (c.1510-1515), Young Man with Cap and Gloves (c.1512-1515), Man with a Glove (c.1520-1522), Portrait of Tomaso or Vincenzo Mosti (c.1526), Portrait of Ippolito de' Medici (1533), La Bella (1536), Portrait of Francesco Maria della Rovere, Duke of Urbino (c.1536-1538), The Young Englishman (c.1540-1545), Portrait of Cardinal Pietro Bembo (c.1540), Portrait of a Musician (c.1515 or c.1544-1546), Portrait of a Girl (Lavinia) (c.1545).
In 1533 Titian was called to the court of Charles V, where he was appointed a court painter and made a Count Palatine and Knight of the Golden Spur. Titian painted several portraits of Charles V, such as Portrait of Charles V (1533), Portrait of Emperor Charles V at Muhlberg (1548), Portrait of Emperor Charles V Seated (1548) and members of his family: Portrait of Isabella of Portugal (1548), Charles V's late wife, and his son Philip, the future Emperor, Portrait of Philip II in Armor (c.1550-1551), Portrait of Philip II (c.1554).
In 1538 Titian created another masterpiece Venus of Urbino (1538), one of the numerous paintings of a female nude depicting Titian's ideal of female beauty. Other famous Titian's women are Flora (c.1515-1520), Salome (c.1515), Venus Anadyomene (c.1520), Venus and Cupid with an Organist (c.1548), Danae with Nursemaid (1553-1554), Venus and Adonis (1553-1554), Pardo Venus (Jupiter and Antiope) (1535-1540) and even St. Mary Magdalene (c.1530-1535).
Titian created several commissions for the Pope Paul III from the Farnese family, among which Pope Paul III and His Grandsons Ottavio and Cardinal Alessandro Farnese (1545-1546), the picture was considered too revealing and was not finished.
 By the end of the 1550s, Titian had come to value the exploration of the color above all other aspects of art. His style and technique were evolving from the more precise contours, modeling and finish of the early portraits to a much bolder, freer style with more highly charged brushwork; he handled the paint increasingly broadly, creating an effect almost like mosaic, with patches of color. It was noted of his late work (as it was later of the Impressionists) that while the painting did not cohere if seen close up, when seen from the "proper" distance it became brilliantly clear. For splendor of color, the climax was reached in some of Titian's late mythologies painted for Philip II: Diana and Callisto (1556-1559), Diana and Actaeon (1556-1559), The Rape of Europe (1562), Venus Blindfolding Cupid (c.1565). Among of his other late works the most notable are Allegory of Time Governed by Prudence (c.1565), Penitent St. Mary Magdalene (1565), Religion Succored by Spain (1572-1575), St. Sebastian (1575). Titian died on 27 August 1576, in his house in Biri Grande in Venice. He was buried in Santa Maria Gloriosa dei Frari for which he created several of his best works.
In very different ways, his art influenced painters such as Nicolas Poussin, Peter Paul Rubens, Anthony van Dyck, Diego Velazquez, Rembrandt, Francisco de Goya, Eugene Delacroix, Edouard Maner, Auguste Renoir, to name but a few.
Feature Artist
Alberto Giacometti (1901-1966), by rdpart posted on 13 Feb 2004
Text from Edward Lucie-Smith, "Lives of the Great 20th-Century Artists"
 "Alberto Giacometti is, both because of the nature of his work and because of his close friendship with the philosopher Jean-Paul Sartre, the artist most closely identified with the Existentialist movement. Part of his art-historical importance springs from his defence of figuration at a time when the advantage was with abstract art. He was born in October 1901 in Italian-speaking Switzerland and came from an artistic background - his father, Giovanni, was a well known Post-Impressionist painter. Alberto was the eldest of four children and was always especially close to the brother nearest to him in age, Diego. From the beginning, he was interested in art:
 As a child, what I most wanted to do was illustrate stories. The first drawing I remember was an illustration to a fairy-tale: Snow White in a tiny coffin, and the dwarfs.
"He remembered his youth as being very happy; he also recalled his own arrogant self-confidence: 'I thought I could copy absolutely anything, and that I understood it better than anybody else.' This self-confidence began to waver in 1919:
Once in my father's studio, when I was eighteen or nineteen, I was drawing some pears which were on a table - at the usual still-life distance. But they kept getting smaller and smaller. I'd begin again, and they'd always go back to exactly the same size. My father got irritated and said: 'Now start doing them as they are, as you see them. And he corrected them to life-size. I tried to do them like that, but I couldn't help rubbing out; so I rubbed them out, and half an hour later my pears were exactly as small to the millimetre as the first ones.
 "His father allowed him a break from school in order to find himself, but instead of returning to school afterwards, Giacometti went to the School of Arts and Crafts in Geneva, where he studied with a member of Archipenko's circle. In May 1920 he went to Venice for the Biennale, where his father was an exhibitor, and discovered Tintoretto, who inspired him with a kind of euphoria. But on the way back he visited Padua, where he discovered Giotto in the Arena Chapel: 'The frescoes of Giotto gave me a crushing blow in the chest. I was suddenly aimless and lost, I felt deep pain and great sorrow.' He made two more visits to Italy in quick succession. During the second one, an old Dutchman whom he had agreed to accompany, and whom he in fact scarcely knew, was suddenly taken ill and died. His death made a great impression on the young Giacometti - he later said it was the reason why he had always lived provisionally, with as few possessions as possible:
Establishing yourself, furnishing a house, building up a comfortable existence, and having that menace hanging over your head all the time - no, I prefer to live in hotels, cafés, just passing through.
 "In 1922 Giacometti went to Paris, to study under the sculptor Bourdelle at the Ecole de la Grande Chaumiére, and in 1925 he and his brother Diego set up an atelier together. In 1927 he had his first one-man exhibition, at a gallery in Zurich, and in the same year the brothers moved to the cramped studios in the rue Hippolyte-Maindron which they were to use for the rest of Alberto's life. In 1928 he exhibited two sculptures at the Galerie Jeanne Bucher. These not only sold immediately, but brought Giacometti into contact with the Paris avant-garde: in particular, he met Masson and the circle surrounding him. In 1929 he signed a contract with Pierre Loeb, then the Surrealists' preferred dealer, and this was followed by an invitation to join the Surrealist Group. His first one-man show took place in 1932, and set a fashion for Surrealist objects with symbolic or erotic overtones. Much of Giacometti's art at this time was influenced by primitive sculpture seen at the Musée de l'Homme - an influence which was to persist even after he changed direction as an artist.
"Like many avant-garde artists of the time, Giacometti found himself in a dilemma. His clientele was a fashionable one, and in addition he supplemented his income by making decorative objects, in collaboration with his brother Diego, for the leading decorator Jean-Michel Frank; but he was keenly aware of the class struggle in France and sympathized with the underdogs. Louis Aragon, the member of the Surrealist Group with whom he felt the closest bond of sympathy, reacted to the same tensions by becoming a committed Communist. Giacometti moved in a different direction: he gradually separated himself from the Surrealists and returned (a great heresy) to working from the model - he began with a series of portrait busts of Diego. Breton did not like this development and Giacometti was tricked into attending what turned out to be a Surrealist tribunal. Before the proceedings could be fully started, he said, 'Don't bother. I'm going,' and turned his back and walked out. There was no public excommunication, but his friends in the movement deserted him.
 "In the late 1930s his career was repeatedly interrupted - first by an accident when a car ran over his foot, then by the outbreak of war. In 1941, in wartime Paris, he made very important new friendships, with the philosopher Jean-Paul Sartre and Simone de Beauvoir. But as the Occupation tightened its grip, he moved to Switzerland, arriving in Geneva on the last day of 1941. He lived and worked in a small hotel room and supported himself by making furniture and doing interior decoration work passed on to him by his brother Bruno, who was an architect. While living in Geneva, he met Annette Arm, whom he later married.
"An important development in Giacometti's work took place during the war years. In the period 1935-40 he had worked from the model, and had also made some paintings; he then began to make heads and standing figures from memory, but had an experience which paralleled his attempt in his late teens to draw the still life of pears in his father's studio:
To my terror the sculptures became smaller and smaller. Only when small were they like, and all the same these dimensions revolted me, and tirelessly I began again, only to end up, a few months later, at the same point.
"When he packed up to leave Geneva, his total output while he was there fitted into half-a-dozen matchboxes. it was only when he returned to Paris after the war that he found himself able to make sculptures of more normal dimensions, but now they were tall and thin. He reoccupied his studio, which was still intact, and shortly afterwards he was rejoined by Annette. In January 1948 Giacometti's new work was exhibited at the Pierre Matisse Gallery, New York. The catalogue preface, written by Sartre, did much to propagate the idea that Giacometti's art was now one 'of existential reality'. From this point his post-war reputation as a sculptor (the paintings were neglected until the late 1950s) grew rapidly. He held his first European one-man show of the new work at the Kunsthalle in Basle in 1950, and his first Paris exhibition since the war at the Galerie Maeght in 1951. The year 1956 saw a further development in his work - he was now seized with a desire to produce paintings which were recognizable likenesses. Each portrait required many sittings - the business of sitting for Giacometti has been described in a lively book by James Lord, who stresses the artist's half-humorous despair at his continual inability to catch precisely what he wanted. Giacometti himself once said:
If I could make a sculpture or a painting (but I'm not sure I want to) in just the way I'd like to, they would have been made long since (but I am incapable of saying what I want). Oh, I see a marvellous and brilliant painting, but I didn't do it, nobody did it. I don't see my sculpture, I see blackness.
"He was awarded the major prize for sculpture at the Venice Biennale of 1962, and the award brought with it worldwide celebrity. He was philosophical about the penalties of fame:
I refused the intrusion of success and recognition as long as I could. But maybe the best way to obtain success is to run away from it. Anyway, since the Biennale it's been much harder to resist. I've refused a lot of exhibitions, but one can't go on refusing forever. That wouldn't make any sense.
 In the 1960s Giacometti's health began to fail. In 1963 he underwent an operation for cancer of the stomach (he made the curiously characteristic remark: 'The strange thing is - as a sickness I always wanted to have this one.'). The cancer did not recur, but in 1965 heart disease and chronic bronchitis were diagnosed. Giacometti died in June 1966 at the Kantonsspital in Chur, Switzerland."
Books on Alberto Giacometti:
Alberto Giacometti: Sculptures, Paintings, Drawings, by Angela Schneider. The best monograph.
Giacometti Portrait, by James Lord.
Giacometti: A Biography, by James Lord.
Looking at Giacometti, by David Sylvester.
Montparnasse Revisited - Face to Face With Giacometti (VHS Video).
Feature Artist
Giorgio de Chirico, by rdpart posted on 16 Jan 2004
Giorgio de Chirico (1888-1978)
 Giorgio de Chirico was born in Greece into the family of an Italian railroad engineer and later studied in Athens, Florence and Munich, where he was much influenced by Nietzsche's philosophy and Arnold Böcklin's Symbolist art. In 1910, de Chirico moved to Paris where he made contact with Picasso and befriended Guillaume Apollinaire (1880-1918), French poet and leader of the avant-gardistic movement rejecting poetic traditions in outlook, rhythm, and language. In Paris he began to produce highly troubling dreamlike pictures of deserted cities, eg. The Great Tower, The Soothsayer's Recompense, Mystery and Melancholy of a Street, etc.; pictures with fantastic combinations of images that carried a charge of mystery, eg. Love Song, Portrait prémonitoire de Guillaume Apollinaire, The Uncertainty of the Poet, et al. The same haunting shapes tend to appear again and again in poetic combinations.
 In 1917 in the Ferrara military hospital, de Chirico met a compatriot, also a painter, Carlo Carrà (1881-1966), and together they founded Metaphysical painting. Although the movement was short-lived, it was perhaps the most original and important movement in the Italian art of the 20th century, and the highest point in de Chirico's painting career. De Chirico's Metaphysical paintings were hugely influential on Surrealist artists, who recognized in them the eloquent expression of the unconscious and nonsensical to which they themselves aspired. "In words and by example, Ernst, Tanguy, Magritte, and Dali, among others, showed a rare unity in acknowledging de Chirico as a forerunner master." (p. 165 in Modern Art. By Sam Hunter et al. Harry N.Abrams, Inc. 2000) In 1918 de Chirico and Carrà contributed to the periodical Valori Plastici which gave a literary aspect to Metaphysical painting.
 By the 1930s, however, de Chirico had moved to a more conventional form of expression. His great interest in archeology and history took the form of Neo-Baroque paintings full of horses, still-lifes, and portraits. The Surrealists, in particular, condemned his later work.
 In 1929 de Chirico wrote Hebdomeros, a dream novel; but in the 1930s, after he had returned to Italy, he renounced all his previous work and reverted to an academic style, and to his study of the techniques of the old masters. He published his autobiography Memorie della mia vita in 1945.
Biography gained fromOlga's Gallery
Feature Artist
Salvador Dali, by rdpart posted on 02 Jan 2004
 Salvador Dali was born on May 11, 1904, in the small agricultural town of Figueres, Spain, in the foothills of the Pyrenees. This meant that he lived only sixteen miles from the French border in the principality of Catalonia. He was the son of a prosperous notary, and spent his childhood in Figueres and at the family's summer home in the coastal fishing village of Cadaques. His first studio was built for him by his parents and was situated in Cadaques. For most of his adult life he lived in a fantastic villa in nearby Port Lligat.
As a young man, Dali attended the San Fernando Academy of Fine Arts in Madrid. Early recognition of Dali's talent came with his first one-man show, held in Barcelona in 1925. He recieved international fame when three of his paintings were shown in the third annual Carnegie International Exhibition in Pittsburgh in 1928. In a way, this was was his prime 'starting block'.
 After this, Dali went to Paris the following year, again holding a one-man show, and at this point Dali joined the Paris Surrealist Group. It was in this same year that Dali met Gala Eluard when she visited him in Cadaques with her husband, the French poet Paul Eluard. She became Dali's lover, muse, business manager, and the source of inspiration for many of Dali's greatest works. They were married in 1934 at a civil ceremony and made their first trip to America.
Dali emerged as a leader of the Surrealist movement and his painting, Persistence of Memory (1931) is still one of the best known surrealist works. But, as war approached, the apolitical Dali clashed with the Surrealists and he was expelled during a trial conducted by the group in 1934. Although he did exhibit works in international surrealist exhibitions throughout the decade, asserting that: "le Surrealisme c'est moi" by 1940 he was ready to move into a new era, one that he termed "classic."
 During World War II Dali and his wife, Gala, took refuge in the United States, returning after the war's end to Spain. His international reputation continued to grow, based as much on his flamboyance and flair for publicity as on his prodigious output of paintings, graphic works, and book illustrations; and designs for jewellrey, textiles, clothing, costumes, shop interiors, and stage sets. His writings include poetry, fiction, and a controversial autobiography, `The Secret Life of Salvador Dali'.
Dali returned to the Catholic faith of his youth and he and Gala were married in a second ceremony in 1958, this time in a chapel near Girona, Spain.
Dali produced two films - `An Andalusian Dog'(1928) and `The Golden Age'(1930) - in collaboration with Bunuel. Considered surrealist classics, they are filled with grotesque images. `The Persistence of Memory', painted in 1931, is perhaps the most widely recognized surrealist painting in the world.
 In 1974 Dali opened the Teatro Museo Dali in Figueres. This was followed by retrospectives in Paris and London at the end of the decade.
After Gala's death in 1982, Dali's health began to fail. It deteriorated further after he was severely burned in a fire in Gala's castle in Pubol, Spain, in 1984. Two years later, a pacemaker was implanted. Much of the years 1980-89 were spent in almost total seclusion, first in Pubol and later in his private room in the Torre Galatea, adjacent to the Teatro Museo Dali.
On January 23, 1989, Salvador Dali died in a hospital in Figueres from heart failure and respiratory complications.
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