Saturday

Teatro Olimpico: Antiodèo

Sopraporte ornament in the lobby of the Teatro Olimpico, Vicenza
I was meeting with a new client this week who found me through this blog, which, she pointed out, has been languishing. Indeed it has, and I am sorry that business elsewhere has prevented me from writing as often as I'd like. I promised to go home and post something, and so I went straight into my most radioactive file for inspiration.
One of the great highlights of my life as a traveling ornamentalist was a visit to the Teatro Olimpico in Vicenza.  Someday when I am in better control of my emotional reaction to this incredible place I will post my photos of the theater itself.
For now I want to point out some detail from one of the two lobbies of the Teatro, the Antiodèo, which is decorated with Renaissance trompe l'oeil frescoes of classical architecture.
Antiodèo, Teatro Olimpico, VIcenza
Built into an oddly shaped medieval fortress, the Teatro Olimpico manages to present some classical proportions through the genius of the design by Palladio and Scamozzi.  The frescoes by Giovanni Antonio Fasolo create the illusion of symmetry in an otherwise awkward interior space.
The Antiodèo also houses a seriously dangerous architectural bookshop.
detail, trompe l'oeil casing, bracket, and cornice
As a decorative artist I will often stare at details admiring how they were painted. Look closely at the 'casing' of this doorway. So simply painted, so effective.

Hoc opus, hic labor est  






All images in this post by Lynne Rutter,  Vicenza 2009





Under Baroque Skies: finding inspiration in the clouds

In making studies of clouds I am constantly surprised and awed by what I see.  Nature truly is the most influential of all the artists, full of shocking and inspiring colors and compositions. I have learned so much about color just watching the sky change over the course of an hour.

As a muralist I often look at the work of the master artists who came before me,  for technical advice as well as inspiration. Some are known for their wonderful figurative murals or portraits, others for brilliant trompe l’oeil. To whom do you look for the best clouds?
Giambattisa Tiepolo: oil sketch for Perseus and Andromeda (1730) The Frick Collection, New York
Artists like Andrea Pozzo and Daniel Gran both are so famous for their illusionistic painting, that maybe they don’t get enough credit for composing really beautiful clouds:  clouds that break out of the “sky” and jump into the room;  clouds that are carrying groups of figures and yet still managing to fly up, create depth, and add color to dramatically designed scenes.  To my mind no one paints cloudscapes better than  Giambattista Tiepolo.  The virtuosic star of 18th century Venetian art, he painted larger-than-life goddesses and substantial allegorical figures seated in clouds that look as comfortable as down-filled cushions and light as a single feather. Tiepolo's murals are filled with light, and the most beautiful color palettes imaginable.
Join me here on a tour of some of my favorite clouds murals.

Andrea Mantegna “Camera degli Sposi” fresco 1465-1474 (ceiling detail) Palazzo Ducale, Mantua. image: Wikipedia
The center of the ceiling in the spectacularly painted Camera degli Sposi is one of the earliest examples of  the di sotto in sù effect. While the cloudscape in this ceiling is extremely simple, it’s effective because the scale of the clouds is consistent with what one could possibly view through an oculus of this size.

Ceiling of the Teatro Olimpico, Vicenza 1585 (detail). image: Lynne Rutter
The oldest surviving fully enclosed theater in the world, the Teatro Olimpico has the feeling of an open amphitheater in ancient Rome, thanks to this spectacular painted cloud mural over the cavea (seating area).  This theater was designed by the great Renaissance architect Palladio and seeing it was one of the top ten experiences of my artistic  life.  When I took this picture I could barely operate the camera as my eyes were filled with tears.

Andrea Pozzo “Apotheosis of Sant’Ignazio” fresco 1688-90 (detail), Sant' Ignazio di Loyola a Campo Marzio, Rome. image: Lynne Rutter
The surrounding quadratura and the famous anamorphic dome get a lot more attention,  but the action of Andrea Pozzo's famous ceiling mural takes place in its center- St. Ignatius of Loyola carried up to heaven by clouds that have reached into the church to scoop him up, assisted by angels. The clouds are composed as strategically as the rest of the painting.  Tip:  take a mirror to this church with you.   Have a seat, look down into the mirror  at the reflection of the ceiling. You will see a lot of different things this way (as well as spare your neck!)

Daniel Gran "Allegory of War and Law" fresco 1730 Prunksaal, Vienna. image: Wikipedia
More about the overall decoration than about reality, the colors of Daniel Gran‘s clouds play right into the décor of the rest of the interior, taking the room into its composition and the viewer along with it.  The Prunksaal (Austrian National Library) in Vienna is one of those amazing over-the-top Baroque libraries.

Kremserschmidt, chapel ceiling in Gruber Palace, oil on canvas 1780 Ljubljana, Slovenia
Martin Johann Schmidt‘s colorful cloudscape whirls around the figures and spirals upward, enhancing the foreshortening of the figures and creating a soaring effect. I love how the angel is holding up the lantern,  drawing  the room into the mural, and visa-versa!

Giovanni Battista Tiepolo “Apollo and Diana” fresco 1757 (detail) Villa Valmarana, Vicenza. image: Wikipedia
How do you support larger than life figures and still manage to make the clouds airy and filled with light? Watch and learn as Tiepolo does this with ease.

Giovanni Battista Tiepolo "The Triumph of Virtue and Nobility Over Ignorance" 1740 Oil on canvas, painted for the Palazzo Manin, Venice. image: Norton Simon Museum, Pasadena, CA
Multiple levels of clouds and strong contrast in Tiepolo’s Manin ceiling mural create depth and support the action in this allegorical tale in which sorority sisters Virtue and Nobility send out their posse of cherubs to put Ignorance in her place once and for all. Behind the hair-pulling drama, a bright yellow cloud  juxtaposed over a deep purple one:  ka-pow!

Dome ceiling fresco, 1749 Schloss Charlottenburg , Berlin. image: Lynne Rutter
This simple cloud mural  creates a sense of elegant calm as you ascend the ornate white plaster staircase of the beautiful Rococo wing of the Charlottenburg Palace.

Clouds over Mono Lake in the Eastern Sierra range of California, one hour before sunset. image: Lynne Rutter
Real clouds do the most amazing and beautiful things.  My best compositional references come from nature.  Flickr and google images have thousands of unbelievable pictures of amazing clouds.  Do you take cloud pictures too? If so, consider joining  the flickr pool “Painterly Clouds” and add your inspiring shots.

Lynne Rutter "Cloupscape" acrylic on plaster 18' diameter, Private Residence, CA
Nature inspired the composition of this dome cloud mural but I looked to maestro Tiepolo to inspire the painting technique, and for “permission” to make the sky purple and orange.

~~~



Visit the Gallery for more cloud ceiling murals painted by Lynne Rutter

di sotto in sù  is in the Glossary

Lynne will be teaching her cloud painting techniques in a special one-day workshop July 28, 2012 at the IDAL Convention in Reno, Nevada~~  ask for class # S203




Tuesday

Portrait of the Artist as an Artist

in my studio on a sunny day
It is an unusual thing for me to talk more about my creative process rather than my business.   So I am truly honored to be featured as Artist of the Month at Sinopia Pigments.   Sinopia is one of those rare and wonderful shops that specializes in pigments and raw materials for artmaking, and is particularly popular with anachronistic painters like myself.   Many other fascinating artist profiles are posted in Sinopia's artist pages. My heartfelt thanks to Alex for including me among such illustrious company.





  


Saturday

The Golden Gate

The Golden Gate Bridge view from Marin: photo by Lynne Rutter
This weekend San Francisco will celebrate the 75th anniversary of the completion of the Golden Gate Bridge.  An engineering marvel when it was built across the treacherous "Golden Gate" strait in 1937, the bridge is still one of the most admired landmarks in the world.  I cannot imagine my city without it.
north tower of the Golden Gate Bridge at dusk


Engineers work constantly to maintain the bridge which must withstand relentless wind, fog, traffic, and occasional earthquakes.

The iconic vermilion color of the Golden Gate Bridge is called International Orange, something akin to a "safety orange"  but which is actually quite a nice red, especially when seen against a clear blue sky.   

Left:   International Orange (Safety) above 
 International Orange (Engineering)  below, which is the color used on the Golden Gate Bridge.

Some colors I have matched to this - and by that I mean walking onto the bridge, fan decks in hand - include  Benjamin Moore 1307 "Geranium" and C2 Color  C2-067 "Firefly." This can change depending on the age and exposure of the paint.

Sadly this beloved landmark is also the site of dozens of suicides each year, more than any other structure in the entire world.  I think about this every time I walk or drive over this bridge.  What is it about beauty that can also inspire tragedy?  Once I saw a man wrapped in a blanket, being led off the bridge by police. Someone had noticed his desperate state and interceded. After too many years of debate, measures have finally been taken to install a safety net and in early 2013 this barrier will be in place.



There's Brooklyn Bridge, London Bridge, And the Bridge of San Louis Rey ~  But the only bridge that's a real gone bridge ~ Is the bridge across the bay  



Golden Gate Bridge  in detail at Wikipedia
Life in Color more about International Orange by Emily Eifler for Colour Studio, Inc.


photos in this post by Lynne Rutter
click on images to view larger


Exterior Color: Aesthetic Inspiration

Stick-Italianate Victorian in San Francisco her new custom paint scheme

I am excited to show you this recently completed color project - a Victorian in San Francisco a stylish new artistic dress.

Eddy St. Victorian, before painting

This 1880s Stick-Italianate Victorian house in the Western Addition  was long overdue for a paint job. Pale and peeling, it was nearly invisible and set back from the street behind an added garage and a tangle of overgrown plants.  The owner asked me to help make the house show up better, and give his home an artistic look using some of his favorite colors.

I created a scheme using a muted split-complimentary palette of mauve, green-grey, ochre, and rose, with hints of purple and peridot, and of course, some well-placed gold leaf.  This isn't necessarily an historic color scheme, but such colors were popular during the Aesthetic Movement, along with those other "indescribable colors" that I have been studying lately, and which provided inspiration for this design.
Eddy St. Victorian with new, Aesthetic colors
The garage and foundation walls were painted a warm grey, very simple and plain so as not to compete with the house. The roof of the garage will become a front garden.

Entry doors painted a deep glossy phthalo green-black

Originally I suggested an intense peacock teal for the front doors, picking up some of the color in the stained glass insets, but we decided to use a deep phthalo green/black, for a more formal look. Gilt elements on the glossy doors make for a stunning entrance.







*****

Color Consulting by Lynne Rutter 415-282-8820
  

Paints used on this house are by Benjamin Moore and C2 Color.



all images in this post by Lynne Rutter  - click on images to view larger