City-Wide Art V Exhibit – Florence, Italy

In bella Italia, if you want to see art, you most likely will enter a church. That is true of this week in Florence as well. It feels great being accepted into a juried art exhibit and opening night is especially fun. One gets to meet so many other artists and art lovers that might never cross one’s path any other way. Tonight was the reception for the City-Wide Art V mostra in Florence, Italia, the same city that is currently hosting the Biennale Internazionale dell’Arte Contemporanea or the Florence Biennale, now through 9 Dicembre.

Art critic and historian John T. Spike juried the City-Wide exhibit and gave a speech tonight that spoke of how exciting it was for him to see the contemporary art created in Florence. And reminded all of us of the legacy of the art created in Florence throughout history. Indeed.

Pictured in the group shot is John Spike, just right of center. To his left is Keith McBride, organizer of the City-Wide Art exhibit. This event is being held at the St. James Church, Via Bernardo Rucellai, 9, in Florence. My friend Simone told me that this is where David Bowie got married. Check it out soon – it ends this Saturday. See my exhibits page for details.

Oh, and the other photos are some of us just goofing around: Nancy Hines hams it up in front of her lovely drawing of our friend and fellow artist Jason. (Photo published with approval ;-) And artists Kieran and Hélène let me know that they will not hesitate in pulling out the euros for my lovely bronze “Ten.”

Now, I must get some sleep. Much work to do tomorrow. Thank you for reading!

PS Comcast appears to be blocking my borsheimarts.com e-mail addresses as spam. If you have a comcast.net e-mail address and also signed up for my mailing list and somehow are missing these letters, you may need to contact Comcast and ask them how to solve the problem so you get the news you want. Ciao, belli.

Heidelberg Christmas Market – Florence, Italy

It arrived this past Wednesday – the annual Heidelberg Christmas mercato in Piazza Santa Croce in Florence, Italy. This market features 50 wooden huts filled with holiday goodies. Lots of food is available from cheeses, breads, spices, and meats to sausages, pig, kraut, and pretzels with all kinds of toppings. Other gift items are handmade clothes, ornaments, porcelain and ceramics, candels, toys, and hats. Vendors come from Germany, Poland, Austria, France, and other countries.

I miss my friend Sylvia, from Austria, though. She was here last year selling the clove ornaments that I so adore. No one this year has anything like them.

One of the favorite selections among so many of my friends here in Firenze is the gluwein (pronounced 'gloo - vine') or as the Italians call it vin brulé, perhaps best understood as a VERY tasty mulled wine. Oh, the smell is yummy and the effect powerful. I asked a tourist to take this photo recently, documenting us drinking the stuff for lunch: from left to right, my Austrialian artist friend Skye; our Italian friend, photographer and model Sara; and, I hope, one of your favorite sculptors (ha!) on both sides of the Atlantic. ;-)

The night image I took on my way home of the carousel bar out in front of the entire mercato. You can see the façade of the Basilica of Santa Croce, where Michelangelo and other famous Florentines are buried.

Cin Cin (pron. ‘chin chin’)

Shops in Florence Italy

I have to look for a new place to live. Not sure I should give specifics about why since I am in a foreign country and all. I do not feel free to discuss the problem that the friend I am staying with is having, in case it makes things worse for this friend. And few people know that I am here.

Anyway, room hunting has led me to walking around town at hours I would otherwise be working on my art and I am getting to see many shops that are not normally open when I am out and about. The shop in the image here is near the Pitti Palace, I think. Or maybe Santo Spirito, but I think the Pitti.

You may not be able to see, but there is a man working diligently behind a desk way at the back of a long and rather narrow shop. He makes masks and other art objects for decoration. I do not know if all of the paintings in this shop are his, but some fit the theme with the masks and faces. I have been enchanted with many different kinds of shops here and wonder how anyone can pay his rent. Most shops specialize to a degree that I cannot believe there are enough buyers out here to keep things rolling. But, oh, the eye candy!

Locks of Love – Florence, Italy

The Italians are quite the passionate bunch. It shows in many ways – from the care that is put into the preparing a meal to the pure enjoyment of every passeggiata, the evening walk throughout the city’s streets, usually arm in arm. One can see lovers, friends, siblings, and parent and child couples of all ages walking linked and involved in familiar conversations as they people-watch.

Of course, the passion extends to areas of romance. Pictured here are some of the proclamations of a lasting devotion – the locks of love. One can see them in various, sometimes random, places around Italia. Sometimes so many locks are placed in a spot that they are eventually cut off and the process may begin again. This image was taken at the end of the arched walkway that is near the famous Ponte Vecchio in Florence, Italy, along the Arno River.

Festival dei Popoli – Documentary Film Festival Florence Italy

Last Tuesday night, I was invited for a quick dinner after I finished my drawing for the day. Then my friend Simone took me to the Festival dei Popoli – a documentary film festival – at Cinema Gambrinus, a movie theatre near the Edison (English language) bookstore and Piazza della Repubblica. I was really tired, but rarely turn down an invitation to see the interior of some space in Florence, especially by a local.

Allora, the first film was a depressing view of an Israeli soldier’s term of active duty in the reserves. It had Italian subtitles, which helped me to learn more of this language, and see how common phrases are interpreted, even some naughty ones. Hey, these are soldiers in a war after all. The second film was titled, “King Corn” and chronicled the adventures of two men who found a plot of land in Iowa, USA, to plant corn for a year. It was a comment on how much corn (usually by way of corn syrup) Americans eat.

I do not often see a lot of documentaries; however, I assume this was better done than others. And the message was “preaching to the choir” for me. And in all fairness, I slept through a lot of it, off and on. The snoozing was more about me than about the film though. And what I do remember was that there were many quite beautiful and artistically composed images of the farmland and skies in Iowa. Simone loved the film’s poster, but it was too much yellow for my taste.

The Cinema Gambrinus is not nearly as beautiful as the Odeon Theatre in Florence, but charming in its way. There was a sculpture of three women (Graces?) above the screen and you can see one pink chandelier in the photo above.

I was really charmed by the live classical musicians playing outside of the cinema when we exited about mezzanotte. But the Italians do seem to love the night, even during the week.

Construction of a Painting

I started one of my “Naked Gondolier” series paintings this past Sunday. I am doing it in my spare time, whatever that actually means. Anyway, I used the drawing I did of “Mario” that I showed you recently in a previous blog entry as the step-off point. I like the idea of the light in a figure emerging from darkness.

However, I also wanted to imply the gondola, as well as a bridge. I mean, what else spells out Venice (Venezia) in bella Italia? I am not looking to create details, but I do want to elicit an emotional response to the romance of this city. So, I began my disegno, starting with line and a vague idea of three tonal values. I photographed my beginning and then, in Photoshop, started playing with various lighting effects.

Not happy with any one thing, I decided to just start painting. Sometimes these things have a way of speaking for themselves, you know. Yesterday, I asked the Maestro John Angel if he could give me some pointers. I felt lost because I liked the light under the bridge, but it might not work in this particular painting. I was not sure that I wanted the reflection of the bridge to alter the shape of the dark water on the left. And the list went on. I could see why artists do works in series – it becomes possible then to choose one element for each artwork and play with it. Too many notes being played at once only makes noise, not music.

Allora, I concluded my confession to the Maestro with a, “I think that I am trying to do too much with too little.” Tilting his head slightly and with a pensive hesitation, he responded, “You took the words right out of my mouth. But also, I think you are afraid to lose too much.”

Wow. He just summed up my life.

So, I will add the darks and get back to you.
Thanks for reading.

Sara – A Drawing In Charcoal

Today has been somewhat of a catch-up day. It has been very cold in Firenze. As such, I have begun to organize and archive some of my images. That includes my progress images of current projects, such as my carboncino drawing of a model named Sara.

Here I have posted five images of my drawing of Sara’s head at various stages. I am spending three hours per day with the model, starting on 22 October. And I am moving very slowly since I am trying to learn a lot and not just produce a drawing.

You can see that each day the head has changed. There is something that I like about each one, although (honestly) there is something that I prefer in the first disegno. The problem with her was that the head was too small for the body. Because I am pushing myself, I chose to completely erase the head and observe fresh rather than simply trying to make all of my drawn features larger.

The first four images are of my cartoon. The cartoon tends to be just regular drawing paper and is where the artist creates the design. The less expensive paper gives the artist the freedom to make mistakes and change one’s mind. Once satisfied, the cartoon image is transferred onto the quality, toothed paper that will accept the charcoal medium, as described a bit in a previous blog.

The last image is of charcoal on the Roma paper. I wanted my drawing to fill the paper, so I took my original drawing to a copy shop and had her enlarged a wee bit. Then I used tracing paper to transfer my disegno. This method allows my original to not be harmed, although in this case I did not transfer from my original drawing. Anyway, the charcoal is faint because while I am going over my lines and pushing the charcoal I have drawn on the underside of the tracing paper onto the Roma paper, I am trying not to emboss the Roma paper.