La Cappella degli Scrovegni | Stile

Rispetto alle Storie di san Francesco, le scene hanno una composizione narrativa più semplice e chiara e un minor affollamento dei personaggi. Si assiste a un maggiore affinamento dei mezzi espressivi, ad una più forte padronanza della composizione per gli effetti narrativi, dei gesti, delle posture, delle espressioni, della cromìa.

Le figure hanno un volume ancora più reale che ad Assisi, avvolte da ampi mantelli attraverso cui si capisce la modellazione dei corpi sottostanti. La stesura pittorica è più morbida e densa, con un modellato più fuso che dà alle figure un risalto più pieno e meno tagliente.

Le scene hanno la solennità degna della loro sacralità, i volti e i gesti mostrano i moti più intimi dell'anima. Le figure protagoniste sono sempre maestose e importanti, in un inimitabile equilibrio tra la gravitas della statuaria classica e le eleganze della cultura gotica, con espressioni sempre concentrate e profonde.

Più libero è l'approccio alle figure di contorno, vivacissime nelle fisionomie, nei gesti e negli atteggiamenti.

San Michele trafigge Satana

Winslow Homer (1836-1910)

American painter Winslow Homer (1836-1910) is considered one of the foremost painters in 19th century America and a preeminent figure in american art.

Largely self-taught, Homer began his career working as a commercial illustrator.

He subsequently took up oil painting and produced major studio works characterized by the weight and density he exploited from the medium.

Richard Currier (American, 1960)

Educated at the Ringling College of Art and Design, with further studies in Europe, Richard has been the recipient of numerous awards and honors.

Richard has exhibited extensively throughout the United States and is represented in several museums, as well as prestigious collections.

Currier has exhibited widely throughout the Southern United States for 20 years. He received his artistic training at the Ringling School of Art and Design in Sarasota, Florida, as well as independent studies in Amsterdam and Paris.

Renoir: "It gives my brain a rest, painting flowers"

"It gives my brain a rest, painting flowers. I don't feel the same tension as when I have a model in front of me. When I paint flowers, I put on colours and try out values boldly, without worrying about wasting a canvas. I wouldn't dare to do it with a figure; I'd be afraid of spoiling the whole thing. And the experience I gain this way is then applied to my pictures" - Pierre-Auguste Renoir.

Janice Darr Cua | Pittrice di figure e cavalli

Il talento naturale di Janice Darr Cua era evidente sin dalla tenera età.

Ha iniziato i studi con Phyllis Markawitz a otto anni.

Era ben istruita in olio, disegno dal vero e scultura.

All'età di 10 anni esponeva e vendeva opere d'arte a Los Angeles.

Edouard Léon Cortès | Post-impressionist painter

Pablo Picasso | Head of a Man in El Greco style, 1899

"Head of a Man in El Greco style" painting was created in 1899 by a Spanish painter Pablo Picasso.

The original size of the painting is 34x31cm.

The painting was painted in oil painting on canvas.

This painting is currently collected at Museum Picasso, Barcelona, Spain.

Paul Klee: "A line is a dot that went for a walk"

• "The pictorial work was born of movement, is itself recorded movement, and is assimilated through movement (eye muscles)".

• "Art does not reproduce the visible; rather, it makes visible".

Lennette Newell | Body art photographer

Naturalist fashion photographer Lennette Newell channels a lifelong passion for Earth’s biodiversity and the magical wonder of the natural world into compelling animal portraits that afford viewers an intimate glimpse of creatures large and small. Having grown up on the high plains of western Nebraska as the daughter of a veterinarian and cattleman, Lennette creates images that explore the innate connections between subject and photographer, the common ties between the world of humans and that of animals.

Newell’s black-and-white photographs are simultaneously stark in composition yet rich in detail. Again and again, the viewer comes face to face with animal subjects that display an unexpected emotionality that lends new insight into the inner lives of these creatures.