Florenceart - Studio of Decorative Arts

Umbrian Idyll

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

courtyard of the castle

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

detail of the concept for the columns

detail of end result

The wheat sheaf stencil near a window

‘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

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

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:

Plans were drawn up and the woodworker got to work

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

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

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Bergamo Salon

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	painter by Bonomini	Noble couple by Bonomini	Peasants by Bonomini
depiction of death	depiction of death	death personification	depiction of death

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Labour of Love

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…

I’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

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

*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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Musical putti

Carlo V. Mori will be posting on my blog while I keep up with work commitments.
When decoration gets labour intensive, writing about it seems like stealing time from the final goal. So I asked Carlo to write for me while I am busy painting. He wants me to show these sketches.

He says:
“Admiring the creative endeavor behind the making of an artifact is a revealing world:
a field of observation capable of leading us to the discovery of artistic motifs.
The history of the evolution of decorative patterns is is deeply related to the artist’s re-interpretation of old formulas.

For example, take this procedure of decorating an harpsichord. As usual, the preliminary drawing is the first step. In this phase, the initial skill of the applied arts craftsman is a good rendering of the figurative elements.
Using a classic approach, these were originated long ago in art history.

The decorative approach here aims to accomplish a really convincing ‘antique’ look and feel. The final objects will appear to be centuries old. Gracefully adjusting the composition to the surface areas requires sense of proportions and familiarity with the ‘old masters school’.

The preliminary sketch of these musical cherubs among flowery scrolls shows a secure definition of shapes. This design will be transferred unto the surfaces of the object, in this case the harpsichord. Although the contour line is very clear, the final application of colors will reproduce the style of painting as observed on ancient pieces of furniture. Together with the slightly fading quality of old distressed paint. This procedure will never stop to impress my eyes. Because its accuracy relies very much on the authenticity of the materials used. The ingredients are just a part of the knowledge involved in the making of this object. The final product will be hardly distinguishable from an exact replica of an historic artifact. Rather then the application of a ‘faux-effect’ on a piece of furniture, this object will portray history through its most subliminal ‘tactile’ qualities.

The style can be traced back to many different centuries. The composition derives from the grotesques ornaments genre. Its interpretation imitates a 19th century approach. During the 1800’s all existing decorative styles from different centuries and civilizations were catalogued, and classified according to their originating cultures in a much more extensive and methodical way compared to how this process had been carried out in previous centuries. The fact that patterns were classified and reproduced in prints, and the consequent vast spreading of pattern books led to a newly increased facility of access to a variety of forms for artists. Moreover, one of the consequences of the ‘cataloguing’ that characterized this era happened to be a rather creative and free approach to interpretation of the patterns.

The ‘rigorous’ standard which became commonly predominant to most 19th century academic art had an influence on the high end decorative arts. This certainly raised the overall quality at all levels of production in a time when the dialogue among arts and industry included, in the last quarter of the century, the use of photography. Obviously, before this radical innovation the diffusion of printed materials had reached a considerable impact and a remarkable quality.”

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Harpsichord in Paris

I am just back from Paris where I spent a week in the studio of the world renowned harpischord maker, Marc Ducornet.

Besides enjoying the atmosphere of Paris, I was painting a soundboard of an instrument called a ‘muselaar’. To quote John W. McCoy’s info on the web:

The Muselaar was a characteristic Dutch variation of the small rectangular or oblong instruments collectively called “The Virginals” in English. Those called “Muselaar” had the keyboard shifted toward the right side of the front of the instrument so that the plucking point was near the middle of all the strings, resulting in a harp-like tone. In fact, the Muselaar is acoustically just a small metal-strung harp laid on its side and boxed in.

The soundboard decorated in the Flemish style is meant to be a feast for the senses:

“[on the soundboard] were painted a crowded garden of stylized flowers, fruits, vegetables, insects, birds, and sometimes food (such as cooked and beheaded crustaceans and peeled lemons), animals and people. All things that could delight the senses in a garden were included, and it is entirely possible that the soundboard was meant to represent an allegory of the five senses - the birds for sound, flowers for sight and smell, food for taste, and the keys themselves, and perhaps the furry caterpillar and other insects, for touch.”

Also resurrection symbolism:“The paired caterpillar and moth, often found on Flemish soundboards, were a commonly understood symbol of death’s liberation of man’s spirit from his body, which had been restricted to crawling the earth in life, but in “death” and rebirth could now soar freely. The goldfinch, often found as a resurrection symbol in vanitas still-life paintings, occurred frequently on soundboards.”

“The Historical Harpsichord” Vol. 4 Harpsichord Decoration by Sheridan Germann.

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Melanie Royals and Gary Lord

Showroom open house
In October the new Florence Art showroom will invite guests for a special presentation of various decorative works.
Melanie Royals and Gary Lord will lead a decorative workshop given to train students on a real large scale project:
the result of it will be the total refurbishment of Florence Art studio. Three teams of students will carry out different techniques on the walls; plus a large floor, designed by Melanie Royals, will be decorated with stenciled patterns on a special covering. Part of the decors will be made using special Safra finishes (Venetian Plaster, Cocciopesto and others) with ‘Modello’ stencils.
You are welcome to visit and see the finished work on October 19th from 6pm to 9pm.
Hope to see you there!

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Venetian Plaster workshop

Venetian Plaster, Marmorino, Grassello and other special finishes from the Italian tradition.
Course on polished plasters
Teacher: Carlo V. Mori.
Sept. 17-21.
5 days workshop (20 hours total) will provide a sufficient training to start making beautiful walls.
During the lesson students will be taught how to handle the tools of this craft (trowels and special ‘knife-spatulas’), chromatic variations, wax and emulsion finishes. The gestures of the procedures, called ‘calligraphies’, are also part of the basic teaching of a creative application of the lime and plaster textures. We will be using Safra products, a high quality brand of lime based materials and other wall paint products.

See the calendar on Florence Art site. You have to scroll down on the new page to see related dates.

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