artist on the spotlight
The idea to approach Vittorio Canta for an interview occurred when we were curating USEUM’s Futurism exhibition. While browsing USEUM to find appropriate artworks for Futurism, we came across Vittorio Canta’s artworks Circus Minimum, Horse Power and Lance’s Triumph could not help but remind us of Marinetti as well as the work of other futurist artists and their commitment to depict the beauty of modern life – speed, technology, movement and dynamism.
There is an air of mystery surrounding the identity of the girl. Α theory wants the girl to be Vermeer’s eldest daughter Maria, and another wide spread conjecture claims that she was his maid. The second scenario inspired both a novel and a movie, in which the girl was a servant with whom Vermeer had a relationship. She was painted wearing one of his wife‘s pearl earrings...
“And if you, as you say, are moved only by the color relationships, then you miss the point”, Mark Rothko.
Mark Rothko was one of the avant-garde artists of the New York School, an American abstract expressionist painter with Russian-Jewish origin who used color as his main means of painting. Like most of the artists after the Second World War, he turned to introspection and sought individual expression in subtractive art.
In the 21st century the term environmental art has become a key feature in the creative world, producing a unique platform to showcase the state of nature to a diverse audience. Artists since the 18th century have had a deep fascination and an appreciation for nature and its creatures, now they have a desire to face current social issues and push change through thought-provoking art.
Jacques Louis David (30 August 1748 – 29 December 1825) is one of the most famous French neoclassic painters and perhaps the most important one. Alongside his astounding work, he was a leading member of the Jacobins (the revolutionary political movement of the French Revolution) and closely connected to Napoléon Bonaparte who appointed him First Painter to the Imperial Court.
The soft colored Louis XVI style room, the elegant light pink evening gown and the classic pose add to the graceful result. Although the painting seems still and the pose conventional, the lady is actually moving while trying to fit one of her gloves, giving the impression that Lévy was there only to capture this moment.