Thursday, February 11, 2016

Magne Adolfsen. Karmøy exhibition/utstilling

f.1946 Kvitsøy

Kunstneren maler sine stemningsbilder fra hav og strand, fyllt av salt sjø, og det kan vel sies at han er trollbundet av havet. Da han har slektsrøtter til Karmøy er det naturlig for ham å finne motiver også herfra. Han har deltatt på Vestlandsutstillingen og Statens Høstutstilling.


Thursday, January 14, 2016

Liva Pakalna."Discover the enchanting side of luxury"

Gallery Jekabs

L.Pakalne.Ofelia in Gucci Flora, oil on canvas, olje på lerret, 2015, 50X60cm


Main image - a girl whom follows unobtrusive luxury.
Her works are to be found in the private collections in Italy, USA, Canada, Russia, France, Switzerland, UK, Poland and Kuwait.

Wednesday, January 13, 2016

Somewhere

Gallery Daugava

The works of three artists recent, graduates of Art Academy of Latvia - Madara Neikena (1988),  Edgars Soprans (1988) and Dagne Ventina (1986).

" "Somewhere" is ambiguous - places and things, real and imagined, can create different associations based on the individual experience leading the viewer into a surprising  insight."

Dagne Ventina, Scarf/Skjerf, oil on plywood/oil on finer, 2015, 40x40

Dagne Ventina.
" Everyday themes and rituals whose value and delicacy is highlighted by isolating them from their usual surroundings are observed by D.Ventina."

Madara Neikena. Home, oil on canvas/olje på lerret, 2015 , 120x180
" Madara Neikena catches the seamingly uncatchable in her painting - the mood, the smell, the sound of each individual element. The presence of nature has a significant  role in her work. The meditative temper and minimalistic approach of her creative work allows  the viewer to reflect on their own feelings."


Friday, January 08, 2016

Roy Andreas Dahl. Karmøy exhibition/utstilling

f.1958 i Langevåg på Sunnmøre

Han har utdannelse innen grafisk design og maleri. Separatutstilling på Galleri Graff, Oslo.
Gjennomgående i bildene til Dahl er at han tør å la de friske fargene stå i kontrast til hverandre.


Han har medvirket på flere kollektivutstillinger og har separatutstillinger i flere kunstforeninger og galerier i hele Norge blant annet fem ganger i Tjømes kunstsalong i Oslo og i Trygve Lie-galleriet i Sjømannskirken i New York.

Dahl er blant annet innkjøpt av Dyno Industrier, Hydro, Statoil, flere banker, institusjoner og Vesfold fylkeskommune. Han har sitt atelier i barndomshjemmet i Langevåg.

His work are to found in the collections of Dyno Industrier, Hydro, Statoil, banks.


Wednesday, January 06, 2016

Giovanni Francesco Barbieri also known as Guercino. Portrait of a lawyer (Francesco Righetti?)

Portrait of a lawyer, oil on canvas, 83,2x66,7cm, Private collection


This painter came from the City of Cento and acquired Europe-wide fame in the 1620s, briefly residing in Rome during the reign of Pope Gregory XV, becoming his protege. In decades to come, Guercino`s fame only increased as corroborated by his book of commissions (Libro del conti).

The Portrait of a Lawyer has a famous collecting history. After appearing on the American art market in 1987, it ended up in the collection of Edmund P.Pillsbury, Director of the Kimbell Art Museum in Fort Worth Texas. Sir Denis Mahon traced the work`s provenance back to the collection of Empress Josephine`s son Eugene de Beauharnais. This revelation was made, thanks to an entry by F.Muxel in a catalogue printed in Munich, providing information about the Leuchtenberg collection. This subsequent travels of the work took it to Saint Petersburg and before the October revolution to Paris (O.Mahon, in Giovanni Francesco Barbieri 1991, pp. 194-195). Information dating back to 1810 tells us that at that time the painting belonged to the Marchese Francesco Sampieri, who sold the collection of 130 works to Eugene de Beauharnais, Vice-Regent of Italy (before the sale, Guercino`s Portrait of a Lawyer hung on the wall of Francesco Giovanni Sampieri`s apartment).

It is possible that the man depicted in the portrait is lawyer Francesco Righetti (1595-1673), a doctor of  legal sciences, who was well-known in Guercino`s native city of Cento, which was also home to the artist`s studio until 1642 (Salerno 1988, pp. 212-213). The portrait was painted  between 1626 and 1628. The lawyer  depicted in the painting was an energetic, active personality, a member of the Community Commitee (Consiglio della Comunita) and author of publications with a legal content, as emphasised by the legal  tomes on the bookshelves (Helmholz 1992 pp.185-188). A wonderful example of a still life with the interaction of light and shade, as it was described in the 18th century by Giuseppe Maria Crespi.

Tuesday, December 29, 2015

Giuseppe Maria Crespi. Portret of Antonio Cartolari

Portrait of Antonio Cartolari, Oil on Canvas, 93x75cm, National Art Gallery of Bologna
Giuseppe Maria Crespi (Bologna 1665-1747)
Luigi Crespi (Bologna, 1709-1779)

This painting depicts engraver, designer and decorator Antonio Cartolari (1701-1779), who testifies in his 1777 will that in this portrait everything from the arms to the head is the work of S.r.Knight Crespi, also known as the Spaniard. The painting was subsequently delivered to the Bolognese Sanctuary for Impoverished Priests (Ospizio dei Poveri Sacerdoti Bolognesi) on Nozadella Street (Mazza 2000, pp.71-73). The writing in the will corresponds with the notes of Marcello Oretti: the head is painted by Giuseppe Crespi, also known as the Spaniard, everything else is painted by his son Canon Luigi.  Engraved on the plate is: Luigi C.f. It is known that Giuseppe Maria Crespi made corrections to his son`s paintings, which were painted in the family studio, and painted in the most complex details, such as, in the case of this painting the face of his friend Antonio Cartolari. As a creative duo, they were also well-known among the city`s clients for works of art, depending on the circumstances, their works were also ascribed under one name or the other, because son Luigi was also very gifted (Roli 1977,pp 144-148). By the time he was in his thirties, it is conceivable that the talented young artist was already capable of creating a work independently, and that he was responsible for painting the setting for the portrait of Cartolari: the project plans, compass ink and pencil even divert attention from the face, indirectly indicating  the ability of a student of Ferndinando Bibiena to depict complicated items. Just as in the portrait of the family of silversmith Zanobio Troni, in this painting Crespi alludes to the occupation of the subject of the portrait. The work`s stylistic traits and biographical clues suggest that it dates back to  around (M.Danieli, in Pinacoteca Nazionale di Bologna 2011, pp.158-160).