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World of Interiors Magazine

November 7, 2013 – 14:27

World of Interiors MagazineFlorenceart.net Studio d’Arte is featured in Maria Yiannikkou’s ‘Inspiration section’ in the November 2013 issue of World of Interiors.

The work presented is a wooden ‘cassapanca’ or bench seat, a decorative piece typically found in the grand foyers of Tuscan Villas.

Maria asked for details about the  process of commissioning this piece:
Alison Woolley: ”I design the furniture piece for the carpenter first, then design and execute the painted decoration.  I concentrate on the style and proportions, and details of the client’s needs. Custom decoration work of this type allows for many personal touches like the addition of family coat of arms, and the adjustment of the colours  with an eye to where the piece will be installed.

Inspiration section World of interiors

A careful study of historical models and many years of familiarity with Florentine antiques give me the basis for creating the design. For the execution I use traditional materials like gesso, casein paints, and waxes because I believe their beauty to be unsurpassed by modern materials.”

close up

the cassapanca

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PANORAMA Economy: speciale Architetti d’Italia/ Italian Architect special

May 25, 2012 – 15:55

Panorama Economy speciale Architetti d’ Italia
Aprile 2012

SCOPRIAMO a Firenze una laboratorio di creazioni artistiche di qualità, e dedicato all’insegnamento delle tecniche decorative tradizionali.

Tradizione artigiana e creatività moderna

panorama

Cover Panorama Economy March 2012 / Panorama Economy April 2012

Le tecniche decorative tradizionali, come la patinatura e la doratura a foglia d’oro e argento, sono preziosi strumenti anche e sopratutto per i creativi di oggi, i progettesti e designer d’interni più estrosi: mobili, pannelli, e complementi d’arredo decorati a mano secondo l’antica regola d’arte acquistano qualità

e autenticità senza pari, e permettono un assoluta libertà progettuale. Una realtà come lo studio d’arte Florenceart.net- nella zona conosciuta come “l’Oltrarno” a Firenze, quartiere la cui fervente tradizione artigiana risale all’epoca del Rinascimento- in questo senso conferma la sua unicità.

“Quando ho aperto lo studio nel 2005- racconta la titolare Alison Woolley, artista decoratrice di grande esperienza, specializzata nella pittura in stile d’epoca su mobili e per interni- ho voluto creare uno studio d’arte “aperto” dove si mescolano lavoro e formazione, in collaborazione con altri maestri artigiani. Qui produciamo manufatti in style fiorentino tradizionale, dal mobilio alle cornici decorate e dorate a mano, dai pannelli decorativi agli accesori. Il nostro lavoro è rivolto prevalentamente a designer e decoratori d’interni, ma siamo ben lieti di soddisfare richieste di ogni tipologia di cliente. Offriamo inoltre la possibilità di seguire corsi e lezioni private nelle arti della doratura e della pittura decorativa, nelle tecniche dello stucco veneziano e dell’affresco, fino al restauro dei dipinti, idealmente raccomandati per pittori di trompe-l’oeil, restauratori di antichità, artigiani e semplici amanti dell’arte”

The article translated into English:

Panorama Economy Special Edition: Architects of Italy
April 2012

We have discovered a workshop in Florence producing artistic creations of quality and dedicated to the teaching of traditional decorative techniques.

Artisan Tradition and Modern Creativity

testiera letto / bedhead trompe l'oeil

Painted bed head featured/ testiera letto dipinto visto su Panorama

Traditional decorative techniques such as gilding with silver and gold leaf and making ‘patina’ finishes are precious tools for today’s most original and creative interior designers. Furniture, panels and accessories produced employing the highest antique standards have an unparalleled level of quality and authenticity today, and allow the designer absolute creative liberty for their projects. In this sense, a reality like the Florenceart.net art studio located in the ‘artisan quarter’ in Florence, a zone known for its fervent artisan activity since the renaissance, is truly unique.

‘When I opened the studio in 2005’, says Alison Woolley, owner and highly experienced decorative artist specialized in period style decorative painting for furniture and interiors, ‘ I wanted to create an ‘open studio’ where working is mixed with learning in collaboration with master artisans. Here we produce works of art in traditional Florentine styles from furniture to gilded frames, decorative panels and accessories. Our work is mostly for interior designers but we are happy to satisfy the requests of many various types of clients. We also offer the possibility to take courses or private lessons in many different decorative arts including gilding, decorative painting, Venetian plasters and real fresco, even restoration of paintings. These courses are recommended for trompe l’oeil painters, restorers, artisans or simply art lovers.’

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Artisphere Online

May 25, 2012 – 15:54

Class Connection: Alison Woolley
December 9, 2011
by Barbara Clark

FULL ARTICLE available here

octupi

polpi triptych


Alison is a professional artist and decorator specializing in Italian painted furniture and the owner of Florenceart.net, a painting and decoration studio in Florence Italy. Alison graduated with honors after winning two scholarships from the Ontario College of Art and Design in Canada. She moved to Florence and worked for more than 15 years under the guidance of Florentine master artisans before opening her own bottega. Her bottega produces fine furniture finishes and decorative art for the interior design industry worldwide.

Who taught you?

A lot of people taught me, some directly, others I worked alongside, others I learned from through careful observation of their work (in this category I include the study of painters from the past. There is certainly a lot of great inspiration there.) As far as my formal studies go, I

studied at the Ontario College of Art, did a post graduate year in Florence Italy, and ended up finding work and staying here in this beautiful city of art. During my years of working as an apprentice I learned the traditional techniques of gilding, furniture painting and restoration. I think as you gain skill and experience it doesn’t necessarily diminish your desire to learn. Art is one of those fields that you can go on learning your whole lifetime.

teaching

Alison Teaching in Umbria, Italy

Who inspires you?

I am lucky to be inspired by great colleagues, Marco Cavallini, Vieri Panerai, Roberto Passeri, Chiara Mignani, Lynne Rutter, Gary Lord, Melanie Royals, and various interior designers. I am inspired by their ability and knowledge, by their entrepreneurial and creative spirits, and by their generosity and enjoyment of what they do.

What do you get out of teaching (besides the money, of course)?

We have people come to study at our studio from all over the world. The people who come are usually really enthusiastic about art and sensitive to beauty and they share this, which in turn renews my own passion for art.

Lately we are getting people from different places, like Egypt, India and Lebanon, for example. The world is so connected now through internet. It’s funny how the connection through art is immediate, even with people from completely different backgrounds. The people who come are often working in some artistic field and they have specific ideas about what they want to learn. It gives me pleasure to be able to offer them instruction from teachers that I believe are really excellent, both in their craft and as instructors.

I also get to travel to teach, which is exciting. I am planning to teach in San Francisco in July 2012, and hope to teach at IDAL this year.

What is your favorite project or technique?

I love gilded surfaces and the combination of gilding and painting, You can view some of my latest works here. I am very familiar with these techniques, having worked with them for many years. Most of them are historically correct techniques dating back to the early renaissance, and involve the use of real gold leaf and water gilding. I find a richness and quality in these materials and techniques that I have not found anywhere else.

The next thing for me to explore thoroughly will be fresco I think. Right now I am totally inspired by true fresco techniques, can hardly wait to get into doing more. It has been a real discovery for me. I was thinking that these were outdated antique techniques requiring too much work and preparation for today’s world, but that’s not true. This medium is so exciting for painters, it has all the versatility and richness of oil painting and the freshness of water colour. The colours are delicious pure pigments that dry to a permanent surface that will last 500 years with no problems. That is quality.

How has your curriculum changed in the last 5 years?

I like to feel things are always evolving, I have worked on better projects (this past year I have worked on interesting projects on the French Riviera and in Paris) and I have produced higher quality work. The economy here in Italy is pretty bad and that has certainly impacted my business, but not my artistic focus. I have been forced to re-evaluate many things, as I think we all have. I have realized that I personally give art a high value and I love what I do.

Please describe your classes/schools including the practical applications to what you are teaching.

seahorse

True fresco technique

Chiaroscuro courses: This subject matter has a wide practical application, you learn to effectively create trompe l’oeil frames and ornament specifically, but the basics of mixing shades and working with light and shadow can be used generally throughout any type of decorative painting.

Painting Restoration: Learn professional, practical techniques for restoring oil paintings on canvas, very useful for anyone who wishes to buy and sell old paintings for additional income, or to work in the field of restoration.

Fresco and Sgraffito: Learn true fresco techniques with real lime plaster- useful to make high quality decorative panels or for the creation or restoration of decorative frescoes on site, indoors or outdoors. This course can be taken also for the pure pleasure of discovering this exciting medium.

Gilding: Italian water gilding techniques useful for making beautiful decorative panels, gilded furniture and frames, or for the restoration of antique frames.

Antique Furniture Painting Techniques: Learn the techniques and materials for the proper preparation of wooden objects, panels and furniture, casein paint techniques and wax finishes for creating Italian and French style ‘antiques’

Mural Painting: Learn techniques for creating full scale mural works, with focus on efficient use of time, colour harmony, perspective, and the imitation of surfaces.

Floral and Colour Ornament: This is a course with a lot of practical colour techniques, useful for honing colour, composition and brushwork skills.

Private lessons are also available.

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The Question of Water Gilding

June 30, 2010 – 17:46
As published in ID - Digest Magazine, May 2010
A water gilded console and mirror frame by Florenceart Studio

A water gilded console and mirror frame by Florenceart Studio

This article is addressed to interior designers or decorators who ask the question, ‘What is water gilding and why should I pay for, or propose that the client pays for this more expensive option compared to other types of gilding?’

The reason to pay more is for the quality, certainly, as it is in most cases when we might agree to extra expense. But this extra quality may not always be necessary. Water gilding is necessary in the restoration of antiques, and can be used to great effect in contemporary decor. In this article I hope to explain how water gilding differs from other gilded finishes and help decorators and designers to make a more informed choice when they choose between them.

Water gilding in a modern context is suitable for high quality, carved or smooth  wooden objects that you wish to gild. Carved picture frames and chair frames, furniture,  and wooden sculpture are good examples. The gilding, if done well, will last centuries, will not tarnish,  will  glow with the inimitable lustre of real burnished gold, and will have an inherent value. Water gilding is generally not suitable for quick gilding jobs, a lot of architectural gilding, and outdoor gilding.

Water  gilding refers to the process of attaching extremely thin leaves of gold to a prepared surface.  It is called water gilding because the surface is wet when the leaf is attached. In reality the gilder is wetting a carefully  prepared  surface to revive its adhesive qualities and to create a situation where the fine leaf of gold is captured by the surface tension of the water, spread and pulled down to adhere to the surface as the water absorbs into it.

This process is laborious because  it  involves  patient, skilled handling of the gold, which is so thin that it can be blown away with a breath. It also requires a careful preparation of the surface to be gilded, and a good  understanding of the materials and processes involved. Although water gilding can be done with ‘false’ gold, (economical metal leaf made with brass and other metals), historically it was always  done  with  real  gold or silver leaf.

Antique French gilded mirror frame early 19th century. This rame is in the Florenceart studio for restoration at present. The original gilding is a combination of water and mordant techniques.

Water gilding in Italy was practiced and developed in the 13th, 14th and 15th century  as a means of decorating wooden objects such as altar panels, mostly for the churches. Although we now see these antique objects in a very tattered state, with the  gold leaf worn back to show the overlaps between the leaves and the red ground beneath, that is not how they were originally intended. As the author  Daniel V. Thompson puts it his book  ‘The Materials and Techniques of Medieval Painting’, we must imagine that we are  seeing them as Christmas trees in August, past their prime. We have developed a taste and a love for the look of worn leaf, so much so that many attempts are made to copy this look.

It is important when considering water gilding that we consider the object to be decorated as a whole. The intent of the renaissance craftsmen was to make something precious, often an object of devotion. This way of making the surface seem like a solid sheet of gold was designed for wooden objects, wood being the primary material available to them for this purpose. Water gilding today is practiced in much the same way as it was in the renaissance.

The Process:
The wood is coated with a mixture of  animal  glue and chalk called gesso. This mixture, applied as a warm liquid, binds to the surface, fills the pores yet does not seal the surface and therefore allows to a certain extent for the natural expansion and contraction of the wood, according to humidity levels. The gesso can be sanded to a very smooth surface when dry. Bole is then applied to the smooth gesso. Bole is fine clay, commonly yellow ochre or a deep reddish tone, which is mixed with a glue binder. Both the gesso and the bole have the quality that they can be burnished, that is, when they are flattened with pressure applied from a burnishing tool they compress and shine. After the gold leaf is water gilded to the prepared surface, it is allowed to dry and then it is burnished with an agate stone-burnishing tool. It is from the compression of the under lying layers that true water gilding takes its shine.

The water gilders tools: a cushion and knife for cutting the gold and gilders tip for picking up the leaf and a burnished gold carved frame.

The decorative technique of 'graffitto' shown on a water-gilded panel and a student’s work of a gilded frame with faux malachite decoration.

Other methods of gilding have been developed  in more recent times. The most common method of attaching gold leaf to a surface today is with the use of gold size. Gold size is glue that is applied to the surface to be gilded and left until it reaches ‘tack’. When the right tack is reached the leaf can be applied. Depending on the type of gold size used the time to reach tack can vary from 5 minutes to 12 hours. The longer tack times are generally the property of oil sizes and they are preferred for their self-leveling qualities that produce a very smooth gilded surface. They must of course be used in dust free environments to avoid dust settling on the sticky surface during the long setting time. Gold applied with size cannot be burnished and this is perhaps the most important aesthetic difference between water gilding and ‘mordant’ or size gilding.

The skilled gilder can combine methods of mordant and water gilding and advise on which would be best for each particular project. Here are some common undesirable problems that can crop up of when dealing with gilded surfaces and the errors that may have caused them:
Scratches, crevices and brushstrokes can be seen in the shiny surface of the gilded surface

A rough surface under the leaf will show in the finish so special attention must be paid to the preparation of the base
Crinkly or patchy looking gold leaf
This is usually a problem with mordant gilding rather than water gilding. Sometimes the gilder makes the error of applying size badly or attaching the gold leaf either before the size has reached tack, or waits too long. Metal leaf that turns green or oxidizes with time If false leaf is used this is always a risk. It can be delayed with the application of a protective varnish when the leaf is newly applied. Real gold will not tarnish.
Metal leaf which scratches off easily
With some of the hobby type water based mordants the gilded surface created is not durable, even when varnished, therefore this technique is not suitable for use on furniture.

The time-honored tradition of water gilding is truly a beautiful, high quality, long lasting form of decoration. There is much to know about gilding in general and there are many pitfalls to avoid when making technical choices for your gilding project. I hope that this article may be helpful to those who love the glitter of gold and wish to learn more about gilding.

Contemporary Gilding
For exquisite examples of contemporary gilding visit the web site of Michele A. Caron of the United States. Michele A. Caron is an American and European trained gilder and conservator with 25 years of experience. Her training and technical procedures are firmly established in the European tradition while at the same time maintaining an open mind towards the contemporary and the future.

Limited edition bracelets in gold, silver, copper leaf and mixed enamel

Limited edition bracelets in gold, silver, copper leaf and mixed enamel mediums, signed, numbered & dated by Michele A. Caron

Contemporary gilded, petite Art Nouveau chair

Contemporary interpretation of a gilded, petite Art Nouveau chair, signed, numbered & dated by Michele A. Caron

Author: Special Feature by Contributing Writer Alison Woolley Florenceart.net
Contributing Credits: Contemporary Gilding Michele A. Caron
Department: PAINT and PLASTER Gild-Shine-Metallic May 2010
Executive Editor: Judy Arnold ID-DIGEST.COM
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Umbrian Idyll

June 11, 2009 – 19:56

I spent a week in beautiful Umbria recently in a very special place called the Castello di Casigliano. This castle has a very long history and like many historical properties here in Italy, it has been adapted to function as a contemporary centre for meetings, fine dining and holiday accommodations. It is also the centre of an active farm producing barley, wheat, and olive oil.
In medieval times it stood as a bastion, fortified against the dangers of the outside world. But it was also a meeting place and a point of passage, being very near the famous Roman trade route the Via Flaminia. It is this second aspect of its history that the contemporary owners and management of the castle most identify with and wish to expand upon.

Often what stands out the most and makes a place special is the human element. I have to say the staff and management of the castle with their relaxed and joyful style gave a whole new meaning to the definition of ‘good hosts’. I am afraid I will always be doomed to compare any future hospitality to the very high standard set here.

What was I doing there, you may ask. I was invited to join with my friends and colleagues Melanie Royals and Gary Lord to help facilitate a decorative painting workshop they wished to organize on site at the castle, and to design and teach along with them. Participants came from all over the United States and, though many were professional decorators, others had little or no experience at all with decorating.

view from the castle over the Umbrian hills
view from the castle over the Umbrian hills
courtyard of the castle
courtyard of the castle
a 'before' shot of the room

a 'before' shot of the room

The Project:
The castle itself is a historical site and as such it is protected by the laws governing protected properties in Italy. The interiors are beautiful, and some are currently being restored. One large hall on the property , often used for large wedding banquets, had been renovated, but was in need of some ‘character’. The hall was a large stone structure that had been a grain storage barn, known as the ‘Granaio’. It had been restored from a ruin, given new floors, a new roof and white walls. It was practical and functional, but the owners were looking to make it warm and inviting to better serve its function to house so many special occasions.

The room had 9 columns around it and we decided to accent these with some decorative painting. At the request of the owners I made up a pilaster design that incorporated the products of the surrounding farmland and the crests of the noble families involved in the history of the castle. The choice of colours was soft and neutral, meant to play as a background to the celebrations that would take place in the room. Melanie Royals designed all the stencils for the room. I must say, this part was fun and an eye-opener for me. I can’t wait to design some more things and send them over to her to have stencils made. I am so full of ideas about what could be done with the combination of stencils and hand painting, but anyway, back to the current story! The large wall surfaces were given a textural finish with a warm transparent glaze. There were raised stencils of a wheat sheaf at irregular intervals around the room that caught the soft light coming in from the windows. Now for some pictures:

sketch for the columns
sketch for the columns
deatail of the concept for the columns
detail of the concept for the columns
detail of end result
detail of end result
The wheat sheaf stencil near a window
The wheat sheaf stencil near a window
working_dagmar
groupwork_dagmar talking_dagmar

‘Work Hard Play Hard’:
The whole experience was wonderful. It was a great group, something that you can never predict, but are so thankful to be part of when it just comes together like that. The spirit was great, The amount of work done was surprisingly large, and I renewed my ties of ‘amicizia’ with people I already count as friends and met so many inspiring new comrades. Unforgettable.

Myself and Melanie Royals beside a column
Myself and Melanie Royals beside a column
Gary
Gary
Thanks to Melanie Royals, Dagmar Alexandersson and Jan Moody for the borrowed photos.

For more pictures:

http://gallery.me.com/daxstudio#100110

http://designamour.com/

http://www.flickr.com/photos/designamour/collections/72157618300530436/

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A Table for A Muselaar

June 7, 2009 – 9:13

The painted muselaar from my ‘Labour of Love’ post of
October 23, 2008 needed a table and stool. The client requested that we take inspiration for the design from the harpsichord stand pictured in this Flemish painting:

painting_stand hand_carved1
Plans were drawn up and the woodworker got to work

assembled1

We then finished the stand with traditional gesso and pigment paints and gave it an antique ‘patina’

stool_table2 detail

The table left the workshop for Switzerland on Saturday to join the muselaar. Addio!

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Bergamo Salon

February 23, 2009 – 18:12
Carpenter by Bonomini

Carpenter by Bonomini

I paid a quick visit to the organizers of the upcoming Salon exhibition in Bergamo last week. It looks like the Salon gathering, planned for April 15-20 will be really exciting this year. The Palazzo Moroni in Bergamo Alto as well as the cloisters of San Francesco will house most of the exhibition and the events. I enjoyed taking the funicular then walking through this lovely hill town. The streets are lined with boutiques, charming restaurants and small hotels. I did make an unusual discovery, with the guidance of Lucretia Moroni, this years host for Salon. I visited the church of Santa Grata Inter Vites di Borgo Canale where there are a series of ‘fantasie macabres’, by a well known local painter from the second half of the 18th century, Paolo Vincenzo Bonomini. These are a series of paintings, large size and loosely painted in vibrant colours, depicting living skeletons as the subjects in all the scenes. There are various characters depicted, a bride and groom, a soldier, a woodworker and an artist painting a canvas, for example. This last one is apparently a self portrait of Bonomini.

These paintings fit in to the tradition of ‘memento mori‘ depictions in art, reminding us of our mortality, that death is ever present and could join us at any moment of our lives. In fact many historical depictions of death show skeletons meeting characters from all walks of life and dancing them to the grave. (See examples below) Apparently Bonomini’s series of macabre paintings met with great success in his home town and many local residents laughed as they recognized portraits of themselves.

soldier by Bonomini

soldier by Bonomini

painter by Bonomini

painter by Bonomini

Noble couple by Bonomini

Noble couple by Bonomini

Peasant couple by Bonomini

Peasants by Bonomini

depiction of death

depiction of death

depiction of death

depiction of death

depiction of death

death personification

depiction of death

depiction of death

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Labour of Love

October 23, 2008 – 17:28
fully decorated muselaar

fully decorated muselaar

I have finally finished this project. It is a decorated muselaar, a similar instrument to a harpsichord. The outside is decorated with a vivacious painted marble, the soundboard is decorated with birds and fruits from the Flemish tradition, and the inside of the lid has a landscape painting depicting the myth of Orpheus and his young wife, Eurydice, taken from him into the underworld after she died from the poison of a viper’s bite.

I will be sorry to see this one leave the workshop. I’ve become quite attached to it.

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If you try sometimes you get what you need…

May 14, 2008 – 14:58

caravaggioI’m just thinking of the researchers who were meticulously scanning a 400 year old archive for details on one painting, and in the meantime, discovered documentation of another more important one. I’m referring to the book that I’ve just finished reading called ‘The Lost Painting’ by Jonathan Harr. It’s Fabulous. I consumed it in a very short time. It is full of details for those who like intimacy with paintings. It’s for those who like to hear about the minute explorations of art historians searching through archives and uncovering centuries old jottings that reveal paths to be followed. The author manages to describe the methodically executed historical research and documentation without being boring. The fact that he has not changed names to conceal identities attests to his careful quest for accuracy. He discusses the technical research done on the paint and the canvas, theories on the under-painting and how the work was executed. The author’s acute observation and detailed description extend to Italian life, and the art world surrounding the painting. His skill in describing it all bring an intimacy to the work which makes you feel really close to the research and the painting itself. You come away feeling you really know the story of this painting, like you might know the story of your best friend’s divorce, including who said what, when, to whom. The story of the ‘Taking of Christ’ is a story that spans almost 500 years, and knowing it brings you closer to the truth of how paintings were (and are) made. I recommend this book coupled with ‘Secret Knowledge’ by David Hockey, (ISBN-100-500-28638-8) for further insight on the creation of a work like the ‘Taking of Christ’. As an artist, I can’t help but agree with Hockney’s theories about the use of the lens in painting in Caravaggio’s day. It leaves me with no less respect for the skills of the artist, and helps to understand the role of the painter in the technical orchestration of a large scale important religious painting such as the one in question. The creation of a painting like that was, in fact, a ‘tour de force’ of body, heart and mind.
http://en.wikipedia.org/wiki/The_Taking_of_Christ

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Learn Trompe L’Oeil with Marco Cavallini

April 15, 2008 – 12:41

A unique opportunity to acquire true historical Trompe L’Oeil* techniques in Florence, Italy

studentwork*Trompe-l’œil: (French: “trick the eye”) is an art technique involving extremely realistic imagery in order to create the optical illusion that the depicted objects appear in three-dimensions, instead of actually being a two-dimensional painting.
-From Wikipedia

- Be guided personally through practical hands-on training by an expert teacher. Take advantage of the special opportunity to study with this wonderful teacher in a small group with personal assistance in English.

- About the teacher: Marco Cavallini teaches historical painting techniques at the Institute of Art in Florence and lectures at the University of Florence on the history of architecture and interior decoration. He is well known and respected in Italy for his publications and his teaching. He is regarded as one of the few remaining representatives of the artists workshop tradition started in the Renaissance in Florence.

- Learn easily with carefully organized systems of colour mixing and guidance as to the correct use of suitable tools. The teaching provides a way to ‘fast-track’ past a lot of experimental learning.

- Acquire techniques passed down through generations of highly skilled professional painters
which are time saving and adaptable to various projects.

- Train your eye and be inspired by examining some of the world’s most precious decorative cycles in the company of experts. Organized visits in Florence are included in the program.

- Rest assured that the teaching is founded on generations of knowledge and recognized merit. You can rely on the expertise of Florenceart.net studio, a well established Florentine-based artisan studio specialized in decorative painting, gilding, and restoration, to provide access to expert knowledge, exclusive visits and quality teaching in this field.

July 14 – 18, 2008 (1 week only) Intro Trompe l’Oeil: Monday to Friday 3pm to 7pm including 6 nights accommodation in comfortable hotel in central Florence: Price: 900.00* euros per person

July 21 – 25, 2008 (1 week only) Advanced Trompe l’Oeil: Monday to Friday 3 pm to 7pm including 6 nights accommodation in comfortable hotel in central Florence: Price: 900* euros per person

* Discount of 100 euros for Intro and Advanced courses taken together. Price based on double occupancy. (Contact us to request singles)

All course materials provided.

Few spaces available, contact us today!

For more info call the Florenceart studio in Florence and ask for Alison: + 39 055 733 2865
e-mail: info@florenceart.net

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