Among the many wonderful Italian painters of the early Renaissance, Fra Angelico is one of my favorites. Though he painted his share of gilded, regal looking saints and angels, Fra Angelico's work also speaks of a more humble outlook. Even the smallest of nature's flora and fauna in his work are lovingly painted. And the humanity of his figures is striking.
The influence of Fra Angelico echoes down the centuries, and reaches serious painters even today. One thing that captivates me is the depth and volume of his work. I am intrigued by the "cross sections" of structures, in which we look through arches and doorways to the happenings within. This use of architecture is an important element in the workings of his paintings.
We can learn many lessons from Fra Angelico. I'm showing here how two different artists have interpreted some of his work recently. I love how the painter Chris Liberti has interpreted "The Annunciation". Liberti used the architecture of Fra Angelico's original work (above), yet adapted it as a framework for a contemporary vision. Liberti's interpretation (below) is a visual feast--completely his own, and at the same time completely comprehensive of the original. I love the way Liberti's shapes and colors are so ephemeral, and so intertwined. His painting is simply full of wonder.
I am also taken with a recent collage by Olivia Hiester, based on another work of Fra Angelico. With perfectly chosen shapes of color, Hiester evokes all the emotion and movement of the original painting. In fact, I think that the collage's simplification enhances, rather than detracts, from the power of the original. Hiester's cutouts recreate the fabrics' drape and fold to convey perfectly the volume and dimension of the figures. There is a solidity here that feels very earthly, despite the heavenly halos. Olivia's work and the original fresco are below. Both lovely.
I have read that the great artist Mark Rothko was especially impressed by Fra Angelico's frescoes at the Convent of San Marco in Florence, Italy. Rothko was so taken by the "inner light" of the frescoes that he is said to have developed a special chalk mixture that he could use on canvas, in order to achieve a similar luminosity. I conclude with Rothko's painting, said to spring from this experience. Long live Fra Angelico!
No comments:
Post a Comment