SA.E.DA EDITORS ART & LIFE 2017123userdocs.s3-website-eu-west-1.amazonaws.com/d/a0/97/... · 2018....
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ART & LIFE 2017 Following Chagall’s Tracks a project of Salvatore Costantino SA.E.DA EDITORS
Transcript of SA.E.DA EDITORS ART & LIFE 2017123userdocs.s3-website-eu-west-1.amazonaws.com/d/a0/97/... · 2018....
ART & LIFE2017
Following Chagall’s Tracks
a project of Salvatore Costantino
SA.E.DA EDITORS
© SA.E.DA EDITORS
realized by F.A.W.A. - ITALY 2018
PROJECT dated 2017:Prof. Dr. Dr. S. [email protected]
http://costantinoartcritic.xoom.it
Chagall M., The Birthday, 1915 (front cover)©
Chagall M., The Blue Fiddler, 1947 (retro cover)©
CONTENTS
O’BRIEN, p. 9MCKINLEY, p. 15GÖǦDÜN, p. 21BLEIJI, p. 29MENNO VOS, p. 39THÉLIN, p. 47BIAGINI, p. 55WEI YAN, p. 59PETROSYAN, p. 65TEMÍN, p. 73SMAJS, p. 77
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Presentation
This is not a book about Chagall’s artworks, but a tribute to theskills of eleven contemporary painters and sculptors, to whom I wishgood luck and to achieve great fame and notoriety. To say the truth,these artists are all well known to the Italian and European public.Some are also known in the Americas. So we must explain that Cha-gall is for us not only a symbol, an emblem, but also a model to beinspired by. Who more than Chagall has combined Art and Life? Cha-gall is love: love for art, for his wife, for life, for Nature in toto. Thewonderful eleven artists, which you will find listed in the followingpages, are those who in our judgment have interpreted their profes-sion of painting and sculpting with a great humility and intelligence,which leads them to be today model for other artists but also for manyyoung people, who follow in their footsteps. These men and womendid not ask for money, they did not pay much attention to hard jobsand works, but they achieved great results in the most human (butless “economically useful”) field, the more spiritual that can exist.There is a beautiful poem by Baudelaire that speaks of lighthouses,saying that some men are like lighthouses for others who follow, andthat, without their help, they would never find the right path to theirdestiny of life and work. I know that Chagall has been a beacon formany generations precisely because his sweetness; lightness and loveare good for true art. So good trip my splendid knights of art, goodluck will bring you!...............................................................................
Prof. Dr. Dr. Salvatore Costantino
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THE BIRTHDAY PAINTING42 X 42 in
[107 cm X 107 cm],Euro 4500
Acrylic on Canvas - Acrilico su tela
ARTIST - KELLIANNE O’BRIEN
53 PAULS RdBRATTLEBORO, VT 05301
USA
World of colors, that animates the paintings of Kellianne O’Brien,is highly evocative. Colors, shadows and lights, that run in a conti-nuous visual game, which is not only a mere filling colorless spacebut escape from the emptiness, as if the artist perceives in the skinan horror vacui, that takes your breath away and it can fall into anendless night. Days, nights chase each other like children playinghide and seek in the tormented soul of an artist, which is alwayslooking for light, peace and serenity.
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“RHYTM IN BLUE”, 24 X 18 in [61 cm X 46 cm], Euro 2100 Acrylic on Wood Panel - Acrilico su pannello di legno
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“VIRGIN MEADOW IN IRELAND”28 X 30 in
[71 cm X 76 cm],Euro 1680
Acrylic on Canvas - Acrilico su tela
Kellianne O’Brien is not only interested in the world of abstractand evocative painting. Forays into the field of “figure” are notrare and strange, where Our Artist prefers topics from the worldof Nature and animals, but she loves also childish figures sket-ched with quick brush strokes and wide. Interesting style test is painting GODDESS, reminiscent of bothabstract mythological figures, sketched by great artists in Mittleu-ropean ‘900 (this painting is well-known in our field!).Kellianne O’ Brien is a polyedric world!
You can not simply define - for example - canonically the twotests paintings Elephant and The Lollipop Girl. An almost mena-cing figure looks at the observer, who is in troubles, while the lol-lipop girl, with his flaming hair, seems to walk in a timelessspace.
It is not given the observer to understand and determine if thislove for Nature and for the colors is determined in Our Artist by abelief in a supreme being that governs all, or only in the power ofNature. Kellianne O’Brien is an interesting artist, but her artworksare more important and they show a creator that is a person with adeep spirituality.
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MARC CHAGALL “THE WALK”
1918
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Aristotelian categories of place,space and time are not worth inMckinley artworks. His paintinglooks more like photography, a set of immediate shots, solitary in-stant, who do not care of man and his troubles, or of Nature and itscreations.
ARTIST - DANIEL MCKINLEY
11-25 46ord. Apt. 1-jLong Island CityNew York 11101
USA
Strange and different sym-bols mate and juxtaposed in hispaintings, especially when heshapes and depicts precise inte-rior of unlikely homes. Flo-wers, fruit, a table, a few potsand a Buddha bust are a strangesymbolic play in A Portrait ofFlowers. Mind you: not “por-traits of people”, but only re-presentations of things, shapesand structures. Mckinley doesnot affect the human body,which, when present in hispaintings, is always very smallsize, the maximum is a child ina scenario, however, still. Noteven the “movement” intere-stes in a particular way.
“MY SECRET GARDEN”24 X 30 in [61 cm X 76 cm], Euro 2000
Oil on Canvas - Olio su tela
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“BEYOND THE FACADE I AND II” 72 X 96 in [184 X 244 cm]USD 8000 [Euro 8000]
Oil on Canvas - Olio su tela
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Structures, buildings, palaces become new signs and symbols ofthe “special conventional signs” that McKinley offers to his tru-sted admirers. Roads that open behind gigantic walls, small trian-gular openings between rectangular tuff blocks under a motionlesssky. McKinley paintings’ general atmosphere is thin, almost mo-tionless.
Each viewer will have to strip of his own culture, own experien-ces and own prejudices, to be dragged into an art “splashing strongAfrican vivid colors” from all its pores. Blue, green, yellow,brown, orange, magenta chase on web as on a flowery meadowand they give life to an embroidery crazy but beautiful.
Somehow do Daniel prefers the composition of oils on canvas?Perhaps because it is easier to stand out sharp colors? or for someother mysterious reason. Howewer, forms and shapes that followon the canvas are clear and precise.
Among pictorial themes of Daniel McKinley there are also every-day objects, bottles, cups, paintings but also work boots, which aremixed with other objects completely different: doors, stairs, holes,gashes in the walls and strange and old walls.
It is not given the observer to understand and determine if thislove for Geometry and for colors is determined in Our Artist by abelief in a supreme being that governs all, or only in the power ofnumbers. His artworks are particular and they show a creator thatis a person with a deep brain power.
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MARC CHAGALL“BELLA WITH WHITE COLLAR” - 1918
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ARTIST - DAGMAR GÖǦDÜN
Hamam Sokak Mert Kule Apt. No:20 Kat:4 D:C
34728 Erenköy-İstanbul
“LOTUS CAMBODIA”Oil on Canvas
Among the many examples of Ne-lumbonaceae, Lotus Cambodia has avery interesting cultural history. Evenin mythology of Khmer’s times and inthe Kingdom of Kambuja this flowerhad a special importance. Many worksof art and monuments depict, forexample, Apsara dancers over lotusplants or with lotuses in the hands.Lotus Cambodia has a very rapidgrowth, lives in ponds, but its leavesare repellent to water and dirt. For thisreason, it is considered a symbol of pu-rity, loyalty, creativity and intelligence.Buddhism consideres it as symbol ofthe essence of human life, which,while remaining clean, has its roots inthe mud of reality. Lotus does not existwithout the mud, as well as Buddha ismanifested through the stresses of eve-ryday life. In Cambodia, Lotus is eaten
in almost all its parts. Sothat people – if we use aGreek word – could becalled “Lotofagoi” (lotuseaters).
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LOTUS, oil on canvas - After so many years that I deal with Art,perhaps with a deliberate naivete as a teenager who makes his firstcultural discoveries, I still wonder if artists choose the subjects orsubject chooses the artist. Dagmar Göǧdün is an artist established,deep and with highly developed sensitivity. Then, I think, by force,that it was the artist to choose the subject in this case: the lotus flo-wer, the water plant (native to Asia or Australia).Against this background, it opens up very interesting consequences.Writers speak in words. Painters with colors and subjects. Nothing iscausal. Dagmar Göǧdün’s subject of art has a fascinating name: Ne-lumbo Nucifera (Gaertn, 1788), aquatic plant of the family Nelumbo-naceae. It is a sacred flower in the Hinduism religion and inBuddhism religion. For a long time it was also part of the symbols ofthe flag of some of the ancient Indian states. It fascinates me to thinkthat the artist Dagmar, who lives in the East Gate, Istanbul, has beenso farsighted to choose a subject so rich in history and religious andwith so deep cultural symbolic implications.
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As if Dagmar with a simple painting scream to all of us his constant,intense, beautiful invitation to peace and to brotherhood among peo-ples, with no difference between the one and the other.If we reflectwell, the Lotus in the Buddhist religion is unmistakably “symbol ofthe law of cause/effect”, which is one of the principles taught bySiddhartha.The brushwork of Dagmar is fluid, the colors perfect in their rhapso-dic weaving. A play of lights and shadows enriches the painting,which looks just like the metaphor of the life of a man, who alwayslived between the light and dark of his aspirations and actions.
RANUNCULUS, oil on canvas - There are about 600 species ofplants belonging to the family Ranunculaceae [Ranunculus subge-nus Batrachium – Batrachium from Greek “Batrachos” meaning“frog”]. In these flowers that belong to the yellow series, petals arevery bright and eye-catching.
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In America, it is also called “buttercup”. It owes its nickname/dimi-nutive of “little frog” to the Old Latin. Maybe because of it was bornaround the ponds, and how frogs it stays there. But according to theancient Socratic definition, which Dagmar knows well, we all the in-habitants of the Mediterranean Sea coast “are like frogs around a sin-gle big pond”.This flower, however, in the North Western Region of the PacificOcean coast is called “eye of coyote” because of according to legend,the coyote was able to launch in the air its eyes for fun, when aneagle stole them at flight. Then, the coyote, unable to see, replaced itseyes with the yellow flowers of Ranunculus.In this artwork, Dagmar Göǧdün shows to us an explosion of won-derfully twisted flowers to one another. A hymn to Nature, and toLife. White, red, yellow, green, pink and their shades chase each
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other on the canvas in a lively and joyful carousel, which is alsoan invitation to enjoy the beauty of our creation, the World. Dag-mar invites us to enjoy the gifts of Nature simply, with great hu-mility and love.
RINDERA LANTANA, oil on canvas - The subject, chosen bythe artist Dagmar Göǧdün this time, is very challenging. Artist’sbrushwork and compositional scheme shows how much preci-sion and attention such artwork must have cost its creator.Rindera Lantana is one of 150 species of plants belonging to thefamily of the Verbenaceae (which are spread in America, Africaand also in the Eastern Region of Australia). In Old Latin wasalso called “viburnum lantana”.The soft colors, which describe and fill the design of this pain-ting, are lying with great skill and calm, as if a special effect –that goes beyond the simple painting – has been searched. Fromsome points of view, you can say this artwork simulates an ima-gine taken in a scientific microscope in a botanical laboratory. Somuch precise details. The flower seems to be moving in theblack vacuum. The description of the filaments so thin, so swa-ying, is really sought and it simulates movement in its entirety.Black, white, pink, green and their shades chase each other inspirals, drop shadows, and overlays, that make very complex thevision of such a pictorial subject.It is definitely a very evocative and interesting artwork, thatshows a considerable pictorial talent. Overall, we are facing oneof the best tests of Dagmar Göǧdün painter, who has the abilityto describe the pictorial subject in all its details, not only themost significant and interesting.
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MARC CHAGALL“GREEN VIOLINIST”
1924
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ARTIST - FRANS BLEIJI
Burg. Knappertlaan 218b3117 JA Schiedam
Netherland
At Artist’s Studio, 50 X 80, oil on linen - Visiting Bleiji’s studio isnot an easy task, nor you do it everyday. Viewer of Art, art lovermight think of being in a wonderful shop of a toymaker or antiquesof an old European city of a hundred years ago, but, in doing andthinking so, they would fall in the sweet deception that Master Bleijiarchitects at the expense of his admirers and his public. Bleiji has ab-solute knowledge of the design, all-encompassing attention to theclassic rules of perspective, and also he is a master of shadows and li-ghting effects. An artist who dares to focus all of his paintings and heinvests all his being in the painting technique of trompe l’oeil mustbe sure of his painting skills, but also of his own conception. Bleijirefers to the great Dutch painting tradition (master of the art oftrompe l’oeil - deceives the eye), but he is also able to go furtherback in time, fully drawing on the great masters who have perfectedthis painting technique, but he did not disdain the knowledge of thework of artists such as Escher, Dali, Rivera, Harnett and Boilly LouisLéopold. As for the colors, Bleiji has absolute mastery of their useacross the board but also the nuances; therefore, I have to assumealso the knowledge of precise techniques and strictly subject to therules of both mathematics of geometry, to ensure the desired effect.Brushes, tin pencil boxes of different colors and shades, bottle andespecially a celestial dirt pall (that hangs off a shelf) are at disposi-tion of the visual trap that Bleiji prepares to the viewer.
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Cabinet with toys, 100 X 58 cm, oil on panel - When Bleijicreates the perfect blend of colors, he used to evoke - and/orcreate - an almost magical world of very special atmosphere,which is halfway between the world of childhood, the world ofunreality and world of reality. Even the shadows come to life andplay to give a tone, to build a volume. There is all the parapherna-lia of the children’s games. All paintings are perfectly identical tothe real, indeed the real goal is that they seem more real than thereal. On the color palette of Bleiji, blue and red dominate; theyalso serve to give body to the painting that tends to take on depthand complexity. For those reasons, Bleiji needs to paint a postcardin the right background and a car on the top shelf. All toys seemto rest on a protruding chest of drawers, from which even theclown lying on the right dangles shoes. It is not easy what Bleijican do with mathematical precision, but showing a seraphic calm.
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EGGS, 30 X 40 cm, oil on linen - Frans Bleiji is a perfect set desi-gner and he has inherent in himelf the taste of pictorial photography,which is very useful in the preparation of classical subjects such asstill life, the products of nature or eggs, when he decides that theseare his best allies in his personal pictorial path. The technique, whichuses masterstroke, is a natural technique and old. It is based on theuse of chiaroscuro and perspective, reproducing reality in such away that the preparation concocted by the artist seem quite real tothe viewer. Bleiji knows that the probable simulation of the physicalworld creates a subtle play of references between reality and percep-tual illusion. Modern audiences love to get lost in this and in turnthey know how to lose the limitations imposed by the phenomenolo-gical world. The light illuminates from the right. Eggs and enameledpot are highlighted; the knife is used to give the illusion of depth aswell as the red nail that sticks out from the shelf, by contrast with thegeometry of the plane. A job very well done!
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PEARS, 50 X 50 cm, oil on linen - A still life very interestingand a pictorial test very important for this Artist. Our Artist feelsheir of a long tradition and he does not flinch before any test, al-ways trying to make a small step forward in his personal artisticpath. Frans Bleiji must not be a superstitious type, because, sooften working with shadows, he has an absolute contiguity with avery special and dangerous element. In the ancient world, espe-cially in Greece, the word, which described the concept of sha-dow, was in itself the bearer of ambiguity. The shadow is not onlythe appearance of being, but it is also a reflection of the living.Skiagrafia meant painting made on the basis of the shadow reflec-ted, the design which traced the outline. The painting Pears is theapotheosis of the shadows. Everything hinges on three floors,which simulate a depth that exists only for the viewer’s eyes, andthe color palette of Bleiji is minimized. Few colors (green, white,brown, yellow), a thousand shades. Definitely a copyright trialworthy of mention.
LET’S PLAY, 30 X 40 cm, oil on canvas - It must have cost a lotof effort the perfect layout of the scene with circular and rectangu-lar shapes, so arranged as to give the idea of space, even wherethere is not. The lighting from right to left and shadows serve togive consistency to the painted objects, that might seem in motion,as if the spinner and the marbles were going to fall off the shelfplane. It designed a children’s world, but the eyes are those of anadult. The adherence to the rules of perspective is a mathematicalprecision, as well as the color mixture, that simply describes arange of colors and shades really interesting. The poker card underthe shelf serves to give the illusion of space and certainly the pro-vision of the scene is the height of that of a master of direction. Avery interesting test for this artist; the painting draws fascinatinglyand incomprehensibly the attention of any observer. Looking atthe painting on the bias and sides, you really understand howmuch Bleiji was good at painting this subject.
Cabinet with Enamel, 60 X 40 cm, oil on linen - Bleiji’s primarygoal is purely to induce in the observer the illusion to be lookingreal and three-dimensional objects, while in fact these same objectsare painted on a two-dimensional surface. It is a pleasure to see thispainter’s work, because from the first moment you notice that he isa cultured and refined artist - though slyly and loves to play hide -and certainly he is not an artist that proceeds at random, guided byfashion of the moment and experiencing a thousand roads withoutrunning never a way through. The mixture of colors of this paintingis spectacular, sophisticated to the smallest detail and full of mathe-matical logic. In the right wing there is light and more vivid colors,bright red with black, blue and yellow. In the left wing, there arewhite enamels and shadows, which together with the cork give thebackground of the scene objects, randomly placed. The ladle evenhung outside the cabinet and a bottleneck helps in fooling the highof the viewer.
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MARC CHAGALL“THE BLUE FIDDLER”
1947
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ARTIST - MENNO VOS
Normastraat 1817323 TP APELDOORN
NETHERLAND
“NO BORDERS”Acrylic on Canvas100 X 100 cm, 2016
It is not easy at all to try to enter the pictorial world of Menno Vos.Like many children who play in a beautiful amusement park we areattracted by beautiful colors, catchy and shimmering, but immedia-tely a very important question arises: are we really sure to perceiveand deeply understand the real message of the artist? So when we are not sure of understanding what our most spiritualsenses allow us to guess, than it is useful to analyze Art also withmind. The work of Menno Vos is not a pacified work but a conti-nuous stream of consciousness that runs down a mountain towardsthe valley, dragging everything that it meet on its journey. It is astrong, robust painting with beautiful colors - and if we want evengaudy ones - that is strictly linked to Nature and life.Pictorial themes that are treated by Menno Vos are beautiful andevocative. The forest, the waterfalls, the birds and the seahorse be-come a wonderful opportunity to talk about world and nature. Aworld that has no boundaries and it is free to expand and to realizeitself according to its own choices. In the artwork NO BORDERS(2016, Acrylic on Canvas, 100 X 100 cm) the artist paints a scene
that is actually not in nature, but rather as the image, that he tran-sfigures. The colors blue, green and red chase on the canvas, crea-ting a harmonious and captivating whole. Typical figures of anatural landscape are intuited by the observer but he is never sureof what his eye transmits to his mind. Artwork of charm.
THE SEAHORSE (2014, Acrylic on Canvas, 60 X 80 cm) - OurArtist likes to play with seahorses, but he also loves pure move-ment. The picture is harmoniously structured, with light tones cor-responding to dark tones in a pictorial structure with arches.Menno Vos realizes a very elegant pictorial system with bright co-lors, which sometimes come into strong contrast with each other.
FOREST (2015, Acrylic on Canvas, 60 X 80 cm) - For MennoVos not only natural fauna is important, but also natural flora. He ispassionate about everything that nature contains, but he transfigu-res it with his powerful artist sensitivity. An invisible artist, wholoves to hide behind his compositions and play with the observer
“THE SEAHORSE”Acrylic on Canvas60 X 80 cm, 2014
“THE FOREST”Acrylic on Canvas60 X 80 cm, 2015
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“ANOTHER WORLD”Acrylic on Canvas80 X 60 cm, 2015
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“BIRDS”Acrylic on Canvas100 X 100 cm, 2016
“CASCADE”Acrylic on Canvas60 X 60 cm, 2017
as the cat does with the mouse, challenging him to enter his worldand understand his true artistic and cultural message.
ANOTHER WORLD (2015, Acrylic on Canvas, 80 X 60 cm) -In this work the imagination of our painter flies so high that wecan define him as a poet of color. Huge swirls of green, red andyellow chase each other over a still and timeless sky. Charmingand evocative.
BIRDS (2016, Acrylic on Canvas, 100 X 100 cm) - If the artlover or the simple observer will have the care and patience to ap-proach this powerful painting with the serenity of a child immer-sed in nature, then the happy man will really hear the birds singingin unison. You will see in the distance forests, a stream of flocks ofblack birds but also colorful ... in short, the spectacle of Nature.
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CASCADE (2017, Acrylic on Canvas, 150 X 150 cm) - Fans ofMenno Vos’ artworks in this painting are called to make a verydifficult but at the same time beautiful operation. They must re-turn with their minds and senses to their childhood, when thattime in the woods with the grandfather looking for blackberriesand raspberries, they were in a pleasant valley where a small andsweet waterfall ended. These are typical landscapes of the home-land of Menno Vos, but, with the work of this powerful artist, theyalso become landscapes typical of the homeland of the soul ofthose who have the intelligence and the desire to study and feelthem.
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MARC CHAGALL“MIDSUMMER NIGHT’S DREAM”
1939
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ARTIST - PHILIPPE THÉLIN
Rue De Théâtre 31820 MONTREUXSWITZERLAND
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PORTRAIT À L’OEIL CREVÉ (2016, 100 X 80 cm) - I think itis a very interesting artwork because - thanks to it - it is easier torecognize some of the pictorial peculiarities of the art of Thelín,which will become a constant in all his artistic production: thestrong and decisive brushstroke, but without outline; the stridentcontrast of colors, the distortion of reality within the mind and thesensitivity of the Artist.
AUTOPORTRAIT AU PANSEMENT SUR LE NEZ (2016, 81X 100 cm) - Who is really Philippe Thélin? The intelligent obser-ver will never know it because our Artist loves to torture his exter-nal image with self-portraits pulled at the height of coloristicexpressionism. They are exaggerated colors that collide with eachother in a fight with no holds barred. Does the artist suffer or doesthe artist have fun, looking at observer from the canvas?
“Portrait a ̀l'oeil creve”́(2016) 100x80 cm
AUTOPORTRAIT AU PANSEMENT SUR FOND VIOLET(2002, 100 X 81 cm) - Variation on the theme of self-portrait. Thistime the character painted in the painting is a bandaged head thatlooks briefly at the observer. Looking with interest at this painting,it makes me think that there is a way of saying in Italy, which isright for us: do not cover our head before we broke it! And this veryparticular poet-painter winks to the spectator with the only clearlyvisible eye that comes out of the bandages that cover his face. Thepainting establishes a direct contact with the observer.
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“Autoportrait au pansement sur le nez” (2016) acrylique 81x100
“Autoportrait aux panse-ments sur fond violet”(2002) acrylique 100x81
BLESSÉ À LA TÊTE (2014, 80 X 100 cm) - Analyzing the pain-tings of Thélin, inexperienced observer runs the risk of making abeginner’s mistake, exchanging our artist for a painter who is sim-ply naive and passionate about color up to the extreme limit. It isnot so. Thélin has two faces. He was a geologist, a researcher, auniversity professor, a graduate doctor in everyday life and his pic-torial models are high, considering that he looks to artists likeMunch, Corinth, Soutine etc. Even in a painting like this one youcan notice the study of details and attention to form, naturally all
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“Blesse ́a ̀la tet̂e” (2014) acrylique 80x100
“Spectral” (2015) acrylique 92x73
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transfigured according to the sensitivity of our Artist.
SPECTRAL (2015, 92 X 73 cm) - Philippe Thélin is a tirelessseeker (in German Language a Suchender). He seeks himselfbut sometimes to a careful observer this search may seem con-fusing as a poorly successful attempt at psychological introspec-tion. The self-analysis of Thélin is, however, very incisive andpowerful. Our author does not disdain incursions in the field ofthe oneiric and the symbolic, but giving a very personal coloringto the canvas.
SELFIE II (2016, 92 X 73 cm) - Thélin is an old-fashioned
Selfie II (2016)
acrylique92x73
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painter: observer is deceived if he thinks that our painter is onlyan instinctive naive painter! Our emphasizes himself as a charac-ter, but he uses this pictorial theme only to get involved with theobserver. He has a reverential sense of admiration for those whorisk, putting themselves on the line just as they observe and studyhis pictures so problematic, sometimes so confusing, but someti-mes full of a depth of communication that is hard to find todayand, above all, it is completely disarming.
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MARC CHAGALL“THE BLUE HOUSE”
1917
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ARTIST - PATRIZIA BIAGINI
Via G. FALCONE 200066 MANZIANA
“LA PORTA ROSSA”
Artist Patrizia Biagini is one of those rare cases of instinctual ar-tist, who an art critic like me find with great difficulty in his work.Biagini is interested in a series of topics and cases of human life,which often spoiled her to investigate the darkest corners of thehuman soul. But the artist is not afraid to descend into the depthsof her soul and her science to bring out the archetypes of womanand man she paints with intensity, which true observer can hardlytolerate. Here we are dealing with a powerful artist who has not yetfinished exploring her intimate sides, but who perceives from a di-stance human calls to love and brotherhood, that everyday menhave no ears to hear.
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“LAMPEDUSA”
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MARC CHAGALL“OVER VITEBSK”
1924
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ARTIST - WEI YAN
75 Roxton Road, OakvilleOntario, L6H 6V3 Canada
“IMMORTAL LAND”24” X 24”
IMMORTAL LAND, 24” X 24” - This artwork is a perfect exam-ple to try to understand the beautiful and deep world of the artistWei Yan. The pictorial means that artist often uses are mixed (Chi-nese ink, watercolor or acrylic), but the hand that guides the brushis always firm and secure. Wei Yan loves to combine cultural andtranscultural elements that come from both the East and the West.
INFINITY, 24” X 60” - Inside artist Wei Yan, East and West arecombined, and pictorial themes are reminiscent of a glorious pastand an ancient land, which artist mixes and overlaps with the im-mense and pure spaces of a large and generous Canada. Infinity isunderstood in the sense of without borders.
“INFINITY” - 24” X 60”
“LATE AUTUMN”12” X 16”
“UNRESTRAINED”24” X 36”
LATE AUTUMN, 12” X 16” - A woman, an image, a feelingpierce my soul in a late and tired autumn. A breath of wind fades a beautiful hair that I see disappearing inthe distance. A sense of emptiness and loneliness pervades me.Perhaps I can only keep the memory of her that has passed into mylife as a happy season and that now is nothing but a dead leaf fal-ling from a tree.
UNRESTRAINED, 24” X 36” - The cultural baggage of artistWei Yan is broad and enriched by sources that come from differentcultures. Perhaps while painting artis’s mind flew to beautiful Chi-nese festivals of a distant childhood (with dragons, winged ani-mals and spells), or to the many books artist read as an adult,
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thinking of a special Pegasus, which perhaps resembles the ar-tist a lot. The observer will decide what to make of the sensa-tions that this painting excites in us. Unnatural gesture of thefourth leg of the horse speaks volumes about how we are com-pletely immersed in the field of the oneiric.
Artist Wei Yan ‘s Brief Biography
Wei Yan, Born in Beijing, China. Having completed his BA de-gree at Beijing Capital Normal University, Fine Art department,he studied at Seneca College in Toronto, Canada. His workshave been collected from North America, Europe and China,also won many professional art awards. He is the member ofseveral professional affirmations such as Society of CanadianArtists, Portrait Society of America, Portrait Society of Canada.His art works represented by different art galleries across To-ronto, Ontario, Canada.
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MARC CHAGALL“THE JUGGLER”
1943
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ARTIST - RUDIK PETROSYAN
520 WESTVIEW AVE 2nd FLCLIFFSIDE PARK, NJ
07010 USA
“LIGHT ATTRACTION”
LIGHT ATTRACTION - This painting is a true celebration ofcolors. It almost seems that Petrosyan has fun in cheating the in-genue observer. The real theme of the picture must remain hid-den. Then a riot of colors comes out of the canvas and it splashesin the eyes of the observer, preventing him from understandingthe real game of the artist, which is all “provocation” and “evo-cation”. From this painting springs a strength and a desire to livein the light and at the maximum of their possibilities. Truly im-pressive.
VENICE IN MY DREAM - Who has never had Venice in mindor in his forbidden dreams? Venice is a powerful and stronglyevocative pictorial subject. Petrosyan loves the incursions in thedream field and this time describes a beautiful dream in a beauti-ful painting. Two figures floating on the water in front of one ofthe most famous squares in Venice. The buildings, the structuresare reflected in the water, creating a game of reflections veryevocative. It is not known whether the figures, probably two Ve-netian nobles of the golden age, are the copy of two carnivalmasks or just a mental projection of our artist. The scenographic
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“VENICE IN MY DREAM”
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“PARADISE”
pictorial structure is truly magnificent. The colors are spread onthe canvas with great mastery and their nuances in one stroke arebrought to us in a world that was, but which now is no more.
PARADISE - What is Paradise for Rudik Petrosyan? There arethree musician angels with zither, guitar and trumpet in a beauti-ful red and blue forest. The pictorial structure is divided into twofloors, front and back (the forest described in the background ismore blurred than the angels). We know contours of the bodies ofthe angels only but never their features, that would seem human.It is not necessary to bother a powerful and beautiful poet likeDante Alighieri to say that music and cult of beauty are two waysthat lead us to God. In fact, in the Dante's Paradise the souls areblessed because they enjoy the vision of God, of His light,
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“ANGELS”
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and for this reason they sing and dance incessantly. A paintingwith great attractiveness, for sure.
ANGELS - Rudik Petrosyan is an artist passionate about colors,but his passion is not superficial or a mere stylistic exercise. Pe-trosyan expresses himself through colors, he evokes moodsthrough colors, he constructs a new world through colors. In thispainterly-themed painting, Petrosyan finds an important stylisticsolution to express his feeling about angels. Two beautiful figures,but totally evanescent (closed eyes and nose are perceived only)seem to hint at a dance step with a wave movement towards theleft. The richness of the drapery and the contrast between blue,red and their nuances make this painting very evocative.
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MARC CHAGALL“LIGHTS OF MARRIAGE”
1945
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ARTIST - JOSEFINA TEMÍN
Hacienda de Rancho Seco 221Colonia Echegaray
Naucalpan, Edo. de Méx.C.P. 53310
ANTURIO YPEDRA
(SERIE DI 2)
Josefina Temín is a true artist and a teacherof sculpture that young people should takeas an example. She works with wood, paperor other completely natural and simple mate-rials, but she has an absolute mastery in ma-king elegant the materials she uses. Hersculptures seem jewels of an ancient trea-sure. They are precious, because there is nogreater elegance than that which is enclosedin the purest and most uncontaminated Na-ture. Josefina adores Mexico, her homeland,and enhances its beauty by raising it as asymbol of creation. The compositional te-chniques of this artist are simple but at thesame time do not give room for compromi-ses so her work is really difficult. Josefina’ssculpture requires self-denial, precision anda nescio quid that only a few lucky artistsperceive during the actual creative process.Flowers, palms and petals become the op-portunity to tell Nature in its splendid diver-sity, which never stop to change andtransform itself. Clearly the beautiful naturalplaces of Mexico have played on her morementally pure creative instinct.
“REDONDECES”(SERIE DI 2)
“PALMITAS Y COCOLES”(SERIE DI 3)
“EL PEZO”
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MARC CHAGALL“OVER THE VILLAGE (CITY)”
1918
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ARTIST - IZTOK ŠMAJS-MUNI
EFENKOVA 293320 VELENJE, SLOVENIA+38635874174, +38641430043
[email protected]://hopna.net/smajs/index.htm
“DYPTICH”, from DXOM series,90 X 60 each panel
As an art critic, I can only have words of praise for the artistIztok Šmajs Muni. He is a very powerful artist with a long expe-rience and obtained in almost the whole world. Our artist hasparticipated in exhibitions, installations, international art fairsand artistic events of great value, winning prizes and awards. HisArt is a difficult one to understand for the general public, be-cause it is very deep and intellectual. Who remembers Ars Elec-tronica of Linz, Austria 1998, can well understand (our artistwas there). DYPTICH and STEPFATHER, that you see below,are two extremely interesting works, I would say almost fascina-ting in the pure sense of the term: they bewitch with their neuro-nal beauty. Multi-colored reticulates are intersected andintersecting they reproduce pure shapes of rectangle and circle.A truly interesting work worthy of the utmost attention.
“STEFPHATER” Acrylic on Canvas190 cm diameter
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SA.E.DA EDITORSPrinted in ItalyJanuary 2018
