Or, Why I Generally Avoid 19th
Century Subjects
Tempietto dell'Acquedotto del Nottolini, Afternoon |
I admit, I have a conflict: I
generally avoid anything to do with the nineteenth century when I’m painting in
Italy, but my paintings are heavily influenced by the plein air painters of the
nineteenth century. A problem? First, to clarify: 1. The reason I avoid
nineteenth century subjects is my training and conviction that what you spend time
looking at, drawing, and painting, works its way into your head and shapes your
taste (or call it what you will)—and I think the nineteenth century is when
architecture lost its way (actually, maybe beginning in the late eighteenth
century, but that’s also why I don’t listen to music after Mozart); 2. nineteenth century
plein air painters really perfected what was, until then, a rather improvisational
way of working out of doors--and, of course, their subjects were almost never nineteenth
century buildings.
So, saying that, maybe it isn’t so
conflicted: I paint in a way influenced by some nineteenth century painters
(like Corot), but I am not so interested in the architecture of the time, which probably accords with the painters of the time (apart from the
Impressionists, but they’re not within the same tradition). All that to justify
painting the tempietto at the terminus of Lorenzo Nottolini’s 1820’s aqueduct
in Lucca. I made the exception for a variety of reasons (of course), but its
overgrown context, scale and austerity give it a Piranesian quality that I hope
comes through in the painting.
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