Thursday

We're having a Ball- and you're invited!

This year marks the 30th anniversary of Artistic License, a San Francisco guild of period revival artisans of which I am a proud member. To celebrate this milestone, we are throwing a gala party- the Artisans Ball - and you are invited!
our beautiful invitation was designed by Steve Bauer of Bradbury and Bradbury Art Wallpapers, after a design by Walter Crane.
This special event is a benefit for the historic Bayview Opera House, San Francisco's oldest theater and a vibrant center for community and arts programs.  
Please join me, and and the members of Artistic License, the San Francisco design and preservation communities, our friends and patrons,  for the Artisans' Ball-  where there will be music and dancing, food and drink, and a celebration of San Francisco history! 

Saturday,  December 8, 2012 7 -11 PM
at the very elegant Green Room  
San Francisco War Memorial Veterans Building

Tickets available at  www.ArtisansBall.org

tickets and donations are tax-deductible


Friday

Vienna on my mind

Interior of Peterskirche, Wien
In December the Maestro has a commission for the Klagenfurter Ensemble premiering on December 6.  Hmmm, what a lovely ulterior motive to have Christmas in Austria. Even better, one of my oldest friends is coming all the way from New Zealand to meet us there!
I'm looking forward to a great big shot of Baroque inspiration, with lots and lots of gold leaf...
So here are a couple of moments in the beautiful Peterskirche in Vienna.
 
anamorphic trompe l'oeil dome over the altar
This fabulous confection was designed by Johann Lukas von Hildebrandt and features a dome and interior by Matthias Steinl filled with marble, stuc-marmor, painted faux marbre, carved figural pews, and plenty of gilding - as well as plenty of trompe l'oeil gilding. The painted decor and murals by Johann Michael Rottmayr replaced earlier efforts by Andrea Pozzo. (Can you can believe that?) 


photos in this post by Lynne Rutter, Vienna, 2007
click on images to view larger
more nice images of the Peterskirche
Uksus  Kammeroper von Erling Wold: opens December 6, 2012 in Klagenfurt, Austria






Sunday

Studio Visit: Atelier de la petite écurie, Château de Versailles

Cherub from the chamber of the queen, carved by Fanchelli and gilt à la grecque by Daniel Sievert.  photo: Lynne Rutter 

A fascinating and integral part of my work is the restoration of historic buildings, surfaces, furniture, and antiques.  It's not my primary business these days, but it inspires and informs my work and the techniques I employ every day.  When I travel I am excited to see the work of other restoration artisans, so I am especially thrilled to share with you my visit to the Château de Versailles, more specifically,  this glimpse inside the atelier of the gilder-restorers. 
Laurent Hissier and Daniel Sievert. photo by Jerôme Hissier
I met gilder and decorative painter Laurent Hissier via the internet, and in 2007 made a visit to Versailles to meet him and see his work at the palace. My friends and I were given a warm welcome by Laurent and his mentors, master gilder Daniel Sievert and renowned decorative painter Pierre Lefumat, and treated to a stunning backstage tour of some of the non-public parts of the palace.  I felt an immediate and strong affinity for these kindred spirits; their commitment to their work is so inspiring.  They are but a few of the nearly one thousand people working in relative anonymity to care for this spectacular palace.
Standing in a small bedroom, in what might be called the attic, crammed with broken gilt chairs and other odd bits of furniture that are more or less priceless, Laurent remarked that this a life’s work that is never finished. This is why it is so important to pass on the knowledge. 
restoration in progress of a gilt wood bench. photo: Lynne Rutter
Laurent and I kept up a correspondence via email, while I anxiously anticipated the book he and Daniel were writing -  the book - detailing everything they know about gilding. 
In October I visited Versailles again and called on my friends in the gilding atelier, where I was presented with a beautifully inscribed copy of  Art et Techniques de la Dorure à Versailles - Gilding at Versailles!
buy this book!


The gilding and restoration workshop is an airy, beautiful studio housed in the petite écurie, the former stables of the King.  Restoration is a ceaseless effort here; restorers have access to the best materials, the support of the state, and a seemingly endless stream of thrilling projects working on priceless items of national importance.  The sense of purpose and responsibility one feels there is truly awesome.  

The gilder-restorers’ work is traditional in nature, with techniques passed down from teacher to student, from master to apprentice, forming an unbroken link from the creation of a piece to its renewal, and then on to the next generation of restorers to come.   Gilding at Versailles  documents this work and continues this tradition. The book represents generations of accumulated knowledge from work done in the palace over the years.

excerpt from Gilding at Versailles - step by step restoration of a gilt console
excerpt from Gilding at Versailles; phot0: Adrien Brotons: Laurent water gilding a frame.  The gilders tip (brush) is being held with a hampe, or gilder's pole.  The book includes instructions for how to carve your own. 
Ziska, Daniel, and Lynne in the studio
limestone stairway to the atelier


My colleague Ziska Childs and I had a nice visit with Daniel.  Ziska is an accomplished scenic artist and designer, and having lived in Paris, she fortunately speaks French rather well. Artisans from other areas of the atelier came in to meet the visiting artists from America.  We told them all how famous Daniel is. 
Laurent was unfortunately away that  day. Where?  Oh, he was in Italy restoring something in the Vatican Palace. Yes I know how that sounds.  It is exactly how it sounds... what a life! 
a vivid assortment of pigments photo: Lynne Rutter

a carved and gilt sample in the atelier  photo: Lynne Rutter
Master gilder and wood carver Daniel Sievert came to Versailles at the age of 14 as apprentice to Maître Grandvoinet, a master craftsman well known across France, the titular gilder of the castle.  After many years working alongside his mentor, Daniel joined the CTFDU Compagnons du Tour de France des Devoirs Unis, a French guild of craftsmen with the highest standards of training, and earned the honorable title Ile de France au cœur d’or, a true master gilder.  He returned to the Versailles atelier as sculptor and restorer of bois doré  (gilded wood), and in 1977 succeeded M. Granvoinet as head gilder.      
a collection of moulds of classical ornament for decorating frames  photo: Lynne Rutter
Laurent Hissier started working at the Château de Versailles as a night watchman, and spent many long hours studying the decorative work in the palace interior while checking for security issues.  He took it upon himself to learn and practice the techniques used in the  décor of the palace.  He was taught casting and molding by Yvon Bailleul in the sculpture workshop, and in 2003 was accepted into the gilder-restorer workshop, to train with Maître Sievert.  Laurent also studied with  Pierre Lefumat, a world-famous master of faux finishes,  who taught him the techniques of faux marbre and painted finishes while working in the  palace. 

faux limestone finish painted by Laurent Hissier

Maître Lefumat passed in 2010, a loss felt keenly by everyone at Versailles, and indeed the entire decorative painting community.
Daniel Sievert retired at the end of 2011 after 52 years of dedicated service and splendid work.
The torch has been passed to Laurent, restaurateur en bois doré et peintre en décors.

Laurent also teaches traditional gilding at the Ecole d'Art Murals de Versailles, and he has a blog where he posts inspiring pictures of the work he is doing:   dorure-versailles.blogspot.com 

apprentices working in the studio   photo: Lynne Rutter
Laurent's beautifully rendered faux bois doors and faux marbre supports

After our studio visit Ziska and I toured the Palace to see some of the work of Daniel and Laurent, and  Maîtres Lefumat and Grandvoinet,  and all those that came before them. 

 

Detail of one of 24 carved limewood and gilt frames, circa  1687 (recently restored)  in the Cotelle Gallery of the Grand Trianon, Versailles.  

further reading:

Art et Techniques de la Dorure à Versailles - Gilding at Versailles 
by Laurent Hissier and Daniel Sievert  

L'Art du Faux Marbre
by Pierre Lefumat
published by Editions Vial with both French and English text
available from Pierre Finkelstein at fauxbrushes.com



Excerpts from Gilding at Versailles use with permission. 
photos by Lynne Rutter unless otherwise noted



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