Leonardo da Vinci | Del massimo difetto de' pittori..

Trattato della Pittura - Parte seconda | Capitoli 79-105

Il Testo Integrale

Indice

79. Ordine del disegnare.

80. Del ritrarre di naturale.

81. Del ritrarre una qualunque cosa.

82. Come deve essere alto il lume da ritrarre di naturale.

83. Quali lumi si debbono eleggere per ritrarre le figure de' corpi.

84. Delle qualità del lume per ritrarre rilievi naturali o finti.

85. Del ritrarre i nudi.

Leonardo da Vinci | Dell'imitare pittori

Trattato della Pittura - Parte seconda | Capitoli 54-78

Il Testo Integrale

Indice

54. Del giudizio del pittore.

55. Discorso de' precetti del pittore.

56. Precetto del pittore.

57. Precetti del pittore.

58. Dell'essere universale nelle sue opere.

59. Precetto.

60. Precetti del pittore.

61. Precetto intorno al disegno dello schizzare storie e figure.

62. Dell'operatore della pittura e suoi precetti.

63. Modo d'aumentare e destare l'ingegno a varie invenzioni.

64. Dello studiare insino quando ti desti, o innanzi tu ti dormenti nel letto allo scuro.

Gabriel Mark Lipper | Figurative painter

Gabriel Mark Lipper: "I love to paint. I’ve been blessed by timing. To be alive right now for this chapter in arts history is a phenomenal gift. Classicism, once pronounced “dead” is reemerging with a new contemporary vitality. The gifts of modernism: color, form, and abstraction, are now being seamlessly integrated with the craftsmanship and techniques of the past".

Gabriel Lipper’s work addresses the growing schism between Self and Other. Many of his paintings appear plastic both in surface and in content.

His emphasis on technique and application of oil paint serve as a classical anchor for his otherwise often vacuous contemporary subjects.

This dualism is borne out of an obsession with craftsmanship and a visceral response to the cannibalistic decadence of the new millennium.

Eugenè Burnand (1850-1921) | Naturalist painter

Eugène Burnand was a prolific Swiss painter and illustrator from Moudon, Switzerland.

Born of prosperous parents who taught him to appreciate art and the countryside, he first trained as an architect but quickly realised his vocation was painting.

He studied art in Geneva and Paris then settled in Versailles.

In the course of his life he travelled widely and lived at various times in Florence, Montpellier, Seppey (Moudon) and Neuchâtel.

Claudio Bravo Camus | Hyperrealist painter

Claudio Bravo Camus (November 8, 1936 – June 4, 2011) was a Chilean hyperrealist painter.

He was greatly influenced by Renaissance and Baroque artists, as well as Surrealist painters such as Salvador Dalí.

He lived and worked in Tangier, Morocco, beginning in 1972. Bravo also lived in Chile, New York and Spain.

He was known mainly for his paintings of still lifes, portraits and packages, but he had also done drawings, lithographs, engraving and figural bronze sculptures.

Claudio Bravo Camus was born in Valparaíso, Chile.

Edward Willis Redfield | Impressionist painter

Among the New Hope impressionists painters, Edward Willis Redfield (1869-1965) was the most decorated, winning more awards than any American artist except John Singer Sargent.

Primarily a landscape painter, Redfield was acclaimed as the most "American" artist of the New Hope school because of his vigor and individualism. Redfield favored the technique of painting En Plein Air, that is, outdoors amidst nature.

Alejandro Decinti, 1973

Chilean-Italian painter Alejandro DeCinti is a painter born in Santiago de Chile.

He obtained his Bachelor's degree in Fine Arts from the University of Chile. Since 2001 he is based in Spain.

He was awarded with the Scholarship for Academic Excellence in the 1991 admission process to Chilean universities.

First prize in the Arte en Vivo competition in 1994 and the Fundación Arte y Autores Contemporáneos postgraduate scholarship in 2001.

Chilean Art History and Sitemap

Chilean art refers to all kinds of visual art developed in Chile, or by Chileans, from the arrival of the Spanish conquerors to the modern day. It also includes the native pre-Columbian pictorial expression on modern Chilean territory.

Pre-Columbian art

Ceramics were the greatest artistic contribution of the northern peoples. These examples of Diaguita ceramics show this people's fascination with geometric figures.

Prehistoric painting in Chile, also called pre-Columbian Chilean painting, refers to any type of painting or painting technique used to represent objects or people during the period before the Spanish conquest.

Developed prior to the existence of written sources, study of this period is based on the material remains and vestiges of the cultures that developed.

Mario Irarràzabal | La Mano del Desierto / The Hand of the Desert, 1992