Just to let you know that some of my work will be on exhibition from 15th January – 4 February in the GXGallery London. Im on their website with some work so feel free to take a look at www.gxgallery.com or look at my site www.bowiesarthouse.com.
Below are some of the pieces on display and for sale.
“That’s rubbish, I could do that!” Lets face it, we’ve all heard some wiseguy crack that comment out at some point, whether the art was on tv, in the newspaper, or even in the gallery. What these people don’t understand is that behind every piece which looks simple to produce, the mental aptitude and creativity necessary, few possess.
I do appreciate that some work, even for artists, is quite simply rubbish, and im not denying that. What I am highlighting here is that the boldness to stand up, create something, and have it displayed, is not a quality that many people hold. And if these people who believe that they could create a replica of a work in terms of style and application, they tend to be the ones that don’t ever pick up a pencil and use some creativity. There is normally a concept behind the artists portfolio/exhibition/piece which is not obvious to the untrained eye.
The great thing about art is that everyone can do it, whether other people like your work or not. The late Sir Terry frost once said, “I think that everybody should do art and everybody can do it and that it’s good for the soul. You can cure all kinds of aches and pains with painting – therapeutically it’s marvellous” I couldn’t agree more. Not just physically, but mentally, the form of healing art provides cannot be found anywhere else. You can lose yourself in a work, and afterwards either you, or others can gain pleasure from it. True some may not like it, but is it not worth it for the few that do appreciate it?
Art is not about creating for others, but about creating for yourself – for a whole range of reasons.
watch until the end because it gets more amazing/crazier!
Amazing video about World War 2 in 1945, Matxcova, Russia. Art using sand to illustrate history
Watch and be amazed!
This one made me laugh!! If you have any quotes relevant and want to share them let me know and ill put them up and credit you,
“[Abstract art is] a product of the untalented, sold by the unprincipled to the utterly bewildered” Al Capp
If you need research doing for an artist get in touch! I will do my very best to research them in depth with the use of all my resources. No matter how unknown the artist I’ll do my best, and with years of practice I normally come up with something interesting! So you can reach me via email at bowiesarthouse@hotmail.co.uk or comment on this post, and remember it wont cost you a penny! Besides, I enjoy it!
Thanks a lot, Ed @ Bowie’s Art House (www.bowiesarthouse.com)
PART 3 – APPROACHES TO WALL PAINTING IN THE ROMAN WORLD
There are varied methods of studying painted wall plaster; the scientific approach (Bereat 1996), the statistical approach (Wallace-Hadrill 1994), and the literal approach (Scott 2000, Siebler 2008), and the incorporation of all three (Davey & Ling 1982).
Roman painted walls are typically divided into three horizontal parts (dado, frieze, and cornice) and three vertical parts (left, centre, and right). They were also distinguished into four different periods by August Mau during his excavations of Pompeii (the worlds largest collection of surviving wall-paintings). This categorisation has enabled researchers to differentiate between eras of buildings and their decoration.
THE FOUR STYLES
In this chapter I will be using Michael Siebler’s literary piece, “Roman Art” (2008), in which he expertly describes how Roman villa art was the response of a new ruling class. He describes how a person in this elite social class would often decorate their homes with imitations of famous pieces. According to Siebler, an aristocrat did not decorate their home to their own taste, but to present cultural horizons based on scholarly association to educated guests. (It was often possible for wall paintings to provoke learned debates; frequently design comes in conjunction with debate). Art may have represented the philosophical or social views of the owner. Wall paintings depicting scenes, a series of events, or virtues were translated into a picture language understood all over the Empire (Siebler 2008).
The first style (also known as the masonry style) was evident from the 2nd century BC to 80 BC. It was characterised by the presence of simulation effects, e.g. suspended alabaster discs and marbling. ‘Pillars’ and ‘cornices’ were often presented in white, and vivid colour was often used – symbolic of power and wealth.
An example is the Room painted with architectural elements in the Casa de Grifi, Rome:
The increasing trend of creating spatial illusion in front of the actual wall decoration gave a room more depth. Imitation marble was sometimes used to frame veins of alabaster; a technique carried out by painters to enhance magnificence. The inclusion of exotic stone increased in popularity among Roman senators at the beginning of the 1st century BC; after military retirement they had obtained knowledge of such luxuries from elsewhere in the Empire (Siebler 2008).
Following was the second style, which dominated the 1st century BC. Walls were decorated with structural features such as ionic columns and stage platforms. It induced a trompe l’oeil (a trick of the eye) and proved popular because it counteracted the claustrophobic qualities of the typical, windowless rooms of a Roman house; with domestic architecture becoming increasingly defensive – windows were becoming increasingly high up on a wall, or removed altogether to prevent access. Illusionist and architectonic vistas began to appear around 90 BC. Inspired by stage sets, the style developed into one large central tableau surrounded by two smaller ones. Due to the division of wall space, it was possible to continue the illusion with painted architectural features. The concept of framing a wall painting altered into covering an entire wall with a landscape scene, giving the viewer the impression of looking out onto a real landscape. The aspect of colour played a major part, predominantly whites, reds and greens, all symbolising wealth or importance. An example is a bedroom from the House of Publius Fannius Synistor Boscoreale, near Pompeii:
The villa owner must have been wealthy to purchase wall paintings of such quality. The illusionistic vistas of the ‘ideal landscape’ are impressive and the skill necessary to create such an in-depth piece would probably have led to the previous idea of wall paintings provoking educated discussions.
Due to the austerity of the second period, the third style left room for figurative decoration and the increased use of colour. It originated approximately 20-10 BC. The illusionistic qualities of the second style were somewhat removed temporarily and symmetry was fundamental; a wall was almost always divided into three horizontal and three to five vertical zones. Motifs, bases, or foliage would break up the vertical zones. After Augustus’ defeat of Cleopatra and the annexation of Egypt in 30 BC, plants and Egyptian animals began to appear in Roman wall paintings, reflecting social and political changes of the time. It was popular in Rome until approximately 40 AD and in Pompeii until 60 AD. Dating from around the years 30-20 BC, wall paintings in the Villa of Livia, Prima Porta are fine examples:
This example demonstrates the association of wall paintings and social status. Situated in an underground room serving as a retreat for guests of the imperial House of Livia (wife of Augustus), anyone honoured with invitation to visit this room would have surely escaped the relentless summer heat with this cooling and relaxing image. The pieces scale and quality are impressive, including realistic reproductions of thirty species of birds, exotic flowers and blossoming trees, combined with the illusion of an unoccupied scene, both of which are common in the second style.
The fourth (or fantastic) style was first introduced in 60 – 63 AD and was a blend between the 2nd style illusion techniques and the 3rd style figurative. It became more popular during Nero’s Domus Aurea of 64 onwards and includes the use of ‘windows’ painted onto a wall surface, as a result the viewer is provided with a sense of depth and perspective. This gave ‘windows’ to windowless rooms and the painting of scenery became popular.
Siebler (2008) states his belief that from the discovery of such works and the scale of Villa Farnesina where this piece was found, that it belonged to the military leader Agrippa (64-12 BC). Although the villa was certainly owned by a man of significant political and social status, there is insufficient evidence to be sure.
Despite Mau’s descriptive typology proves useful in determining chronology, style and showing that finances we necessary to paint walls in this way, his work does not add anything in depth to what wall paintings say in terms if society and status without an individual’s further interpretation. A count of the relative frequency of the four styles can tell us nothing due to the fact that the 4th style is going to be higher in number than any of the others.
Part 4 will be along in a few days, until then please feel free to email me any questions, leave comments and visit my website www.bowiesarthouse.com – all postage is free and there are huge discounts to be had. And remember for absolutely no cost whatsoever, if you have an artist you need researching we will do it free of charge to the best of our ability so drop us an email. Thanks a lot, Ed
If you need research doing for an artist get in touch! I will do my very best to research them in depth with the use of all my resources. So you can reach me via email at bowiesarthouse@hotmail.co.uk or comment on this post, and remember it wont cost you a penny!
Thanks a lot,
Ed @ Bowie’s Art House (www.bowiesarthouse.com)
Thats right! ALL ARTWORK IS DISCOUNTED FROM TODAY FOR A LIMITED TIME!! When you buy the piece we include a cheque to refund you in with the artwork! Easy as pie,
thanks a lot, bowiesarthouse
