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A painting, similarly to a narrative, is a text, and a text is a device that produces interpretations. I believe that Cremonini paints also in order to provoke mental responses.
He says so himself: the painting is a window. It is he who is looking, of course, but, upon opening it, we all look, and certainly each one sees the world as he conceives it, even when someone has predetermined his perspective and lighting. I thus read what he says as I make the effort to connect Cremonini's painting with contemporary literature.
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Read more: Leonardo Cremonini
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 In 1951, when he had just completed the last major project of his life, the Chapelle du Rosaire at Vence, Matisse summed up close on fifty years of work in these few words: "For me this chapel is the culmination of an entire working life and the flowering of a huge effort that has been heartfelt and arduous."
The only working life of an artist to match his in longevity was that of his contemporary, Picasso. But unlike the latter, Matisse produced an oeuvre subservient to a single idea: the search for a balance of colours and forms; by the end of his life, he succeeded in imprinting this upon matter, though, as he himself made plain, it was not without effort.
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Read more: HENRI MATISSE
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Nikolas Roerich (1874 - 1947) |
 Nikolai Konstantinovich Roerich, a prominent Russian painter of the late-nineteenth — first quarter of the twentieth century, had lived an interesting and extraordinary life. A man of many talents, he was known not only as a painter but also as an archaeologist, a writer, a scholar studying ancient cultures of India and Tibet. He lived most of his life in Russia, but he also spent a few years working in the USA and Western Europe and more that twenty years in India.
Roerich's enormous artistic and literary heritage comprises more than four thousand pictures, several volumes of memoirs and treatises on ethics and morality, tales, poems and studies in archaeology. His legacy is studied now by specialists in art, humanities, history, archaeology and other fields.
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Read more: Nikolas Roerich (1874 - 1947)
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THE SPRING OF 1909 was marked by an event which was destined to play a major role in the art world: Sergei Diaghilev organized the first performances in the west of what was later to become the Ballets Russes. His productions — which brought the best dancers from St.Petersburg and Moscow to the Theatre du Chatelet — were a resounding, unprecedented success. The intellectual, artistic and creative elements of Paris... took off their hats to the youthful, colourful, bacchanalian orgy that had come from the north-east, Anatoly Lunacharsky wrote. Well-known French authors, composers and artists without exception enthused over the impeccable performances, the picturesque profusion of decor and the mastery of the dancers. What particularly amazed the French public was the synthesis of music, choreography and painting. Paris was the first stop on Russian art's triumphal procession across Europe and America.
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Read more: BAKST: HIS LIFE AND WORK
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According to the myth, after the gods of Olympus defeated the Titans, they asked Zeus (king of the gods) to create a group of new divinities whose task would be to sing the praises of that great victory. After Zeus coupled with Mnemosyne ("memory") for nine consecutive nights, the muses were born at Pieria, at the foot of Mt.Olympus. Besides being divine singers, each of the nine muses had a different talent and was presented with a symbol.
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Read more: Muses in Greek Mythology
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The article available in Greek only. English text coming soon.
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Read more: Theofan Greek
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