An Artist In Tuscany

Flowers are often a focus of Kat’s work. Bright reds, yellows, purples, and shades of green - all stunning.

Could there be a more perfect place for an artist to live than Tuscany ?  The light is magnificent, the sky a special shade of blue.  The green hills shimmer and flowers appear in waves of color.  There is something in the very air of Tuscany that inspires.  All these magical Tuscan qualities come to life in the brushstrokes on canvas of artist Katerina (Kat) Ring. 

 Originally from California, Kat has lived and studied in many places. All of them have influenced her art – from Coronado Island, to Europe and even a decade of living in Zambia where she was inspired by African wildlife and vistas.  

 Today, Kat lives just outside the Tuscan town of Lucca where she paints local scenes, landscapes, flowers spilling from windows or blooming in fields, and slices of everyday Tuscan life. 

Of course there is Italian magic well beyond the borders of Tuscany, and so Kat often ventures to other areas of Italy, especially to the seaside, capturing the essence of these places in paint.

Lerici, on the Bay of Poets, captured in an oil painting.

 Painting mostly in oils, Kat is an artist “en plein air” – which means you are likely to find her easel set up alongside a rustic building, a sparking bay filled with boats, a field of flowers, an old bridge, or a pretty street.  And she is sure to stop for a field of sunflowers or a tree heavy with ripe figs.  

Kat describes her style like this: She prefers painting-in-place and capturing the sights, scents, light, and feel of a place. Her paintings do not strive to be photographic snapshots. Rather her scenes unfold as she perceives them - the periphery abstract, adding to the total picture but a bit out of focus. Moving toward the central image things become more clear, less abstract, more impressionistic. Finally, there is clarity and detail towards the center as the eye focuses on an object or group of objects.

Windows are always fascinating and this one is captured perfectly.

 Kat’s paintings are compelling for anyone who loves Italy – the use of color, the gorgeous flowers, the windows, the countryside, the sea. They transport the viewer directly into the heart of Italy.  To see more examples of Kat’s work, her portfolio can be found at www.katring.com and on Facebook.

This Tuscan landscape by Kat Ring hangs in my apartment in Italy. It evokes everything I love about the Tuscan countryside

The gallery is open from Sept 1 - Oct 16, lots of lovely works to see.

If you happen to be in Lucca this fall, you’ll find Kat’s “pop up gallery” at the north end of Via Fillungo, near the medieval Porta dei Borghi gate, from September 1st through October 22nd.  Her recent works are on display and she is on hand for questions about the places and scenes in the paintings.

 Contact info: 

Instagram: katringpaints

Website: www. katring.com 

Email: ringkat2@gmail.com

 All images used with permission.

And Then Came Giotto

I am not an art historian; far from it.  I don’t even claim to be a serious student of art.  And yet, it is impossible to live in Italy and not develop a profound appreciation for art. There are museums full of ancient art – Etruscan and Roman – displaying artifacts from those eras, from tiny jewelry pieces to funeral urns, mosaics, and classic statuary.  And though there were also Roman painters, the examples that have survived are relatively few.  In contrast, paintings from the late Medieval (Middle Age) and Renaissance periods fill Italian churches and museums.  The differences between the two eras can be appreciated by even an untrained observer like myself.

Madonna and Child ca. 1300 artist: Duccio. (photo from Wikimedia Commons Public Domain). An example of painting from the Medieval era.

Prior to the Renaissance, Medieval paintings were characterized by religious subjects, often a single figure filling the center of a painting.  The figures were flat and the faces often expressionless.  The human form was not natural looking or sensuous.  These were icons, not neighbors.

Backgrounds and perspective were not very important components of medieval painting.  And all that gold!  Gold shows up everywhere in Italian art of the middle ages.  In backgrounds, in halos, in elaborate detailing.  Imagine how that gold appeared – as the richness of God, the divine light – and also, perhaps, an symbol of the wealth of the patron or church who commissioned the work.

In contrast, paintings from the Renaissance era (1400 – 1600 AD) make wonderful use of perspective and often place subjects in natural settings.  The figures are realistic, their human-ness evident.  The clothing drapes and swirls, the faces show a full range of emotions.  The subjects are still largely religious, though portraits were also painted, usually for wealthy patrons (think of Da Vinci’s Mona Lisa, painted in 1503).  The names of Renaissance artists are familiar: Donatello, Da Vinci, Michelangelo, and Raphael being perhaps the most widely known artists from the 1400’s.

An unfinished Da Vinci portrait painted between 1500 - 1505. La Scapigliata (the word scapigliata refers to her disheveled hair) hangs in the National Museum in Parma, Italy. The difference between this Renaissance painting and earlier Medieval ones is pretty clear!

And in between the two periods, the Medieval and the Renaissance, came Giotto di Bondone (1267-1337). Giotto was that rare artist who was appreciated, even famous, during his lifetime. He even merited a mention by his contemporary Dante in The Divine Comedy. 

 Giotto revolutionized Italian art, creating life-like figures and placing them in more natural settings. Giotto’s figures show a full range of emotions through their facial expressions. No flat, lifeless saints and madonnas here!   Giotto’s scenes are populated by people who look like the neighbors down the street (at least what the neighbors would have looked like in 1300).  His men are placed in realistic poses and settings, his ladies have (gasp!) breasts over which their garments drape. His angels fly, his flames flicker.  And while the saints still have halos of gold, their clothing is colorful and the background is the most heavenly blue. 

Panel # 34. Weeping over the Body of Christ. Scovegni Chapel.

Sadly, much of Giotto’s work has been destroyed, by time and by fire.  Of the works that remain, the Scrovegni Chapel in Padova is Giotto’s capolavoro (masterpiece). A chance to see the frescoes there was the main reason for my trip to Padova last fall. The church is small and intimate, built as a private chapel for the Scrovegni Family.  The frescoes are in wonderful condition, the figures beautiful, and the colors spectacular.

Panel #35. The Resurrection

The frescoes wrap around the chapel, in a three-tiered series of panels, telling stories from the life of Joachim and Anne, Mary, and Christ. The scenes are full of life, there is movement and emotion, the figures pull you in to their story. Through it all Giotto proves to be not just an accomplished artist but a master storyteller as well.

Panels #8 (Presentation of the Virgin), 21 (Baptism of Jesus), and 33 Crucifixion (top to bottom)

The far end of the chapel has the largest scene - the Last Judgement. It is stunning in both its beauty and its brutality. 

To the left, heaven. To the right, a hell that is terrifying!

 Look closely and you will find Enrico Scrovegni, offering up the chapel in atonement for the sin of usary (the Scrovegni family were money lenders). This is no doubt an attempt to avoid Giotto’s graphic depiction of hell.

 Aside from bible tales, the allegories of Virtues and Vices are fascinating. Simplistic in design and color compared with the rest of the frescoes, without much adornment, the contrasting figures are as relevant and thought-provoking today as when painted in the early 1300’s.  Pictured below (left to right): Hope, Envy, Justice, Despair.

The Scrovegni chapel is simply astonishing (my photos can’t capture its majesty).  One does not have to be an art historian, a religious scholar, or even a believer, to appreciate Giotto’s artistic brilliance and the power of these frescoes.  And for anyone with an interest in art, or simply in beauty, the Scrovegni Chapel in Padova is an experience not to be missed.

Detail from panel #33. The Crucifixion

 Even the smallest decorations - such as these quatrefoils - have incredible detail and depth. I could spend hours here looking at everything from the largest scene to the smallest detail. I think I’ll need to go back to Padova before too long.

Note: The Scrovegni Chapel is open to the public with advanced reservation tickets only. Before entering the chapel itself there is a short video (with subtitles in English) which gives a good history of the chapel. Admission is limited to about 25 people at a time with a time limit in the chapel of 15 minutes per group. A short time, but well worth it and sufficient to see this small space (especially after some pre-visit reading).

Everyday Art in Italy

Italy offers endless opportunities to enjoy art. Here, art is everywhere. Ancient and modern art works fill museums large and small, famous or obscure. Art lives in the great cathedrals and surprises us in small chapels. Sculptures grace many piazzas and small ones fill tiny niches along village streets. Gardens and roadside shrines are decorated with graceful sculpture and artistic fountains.

If the definition of art is expanded to include architecture (as I believe it should be), then Italy truly surrounds us with art in the graceful form of buildings, the curlicue iron work of balconies, the moorish arch of windows, and the decorative brick work along medieval streets. These all help to paint the picture of Italy and fill our senses with artistic beauty.

Sand sculpture - the detail and expression delights, even if only for a short while.

Art or graffiti ? Either way, it certainly captures a certain moment in everyday life in Italy during the pandemic

But there are other, less traditional, forms of art to be found. I think of this as “everyday art”. It changes quickly as street artists and art students, working in paint, chalk, or even sand, lend their decorative talents to city streets, doorways, and just about any surface they can find along buildings and alleyways.

As much as I love the classic pieces to be found in more formal settings, the unexpected works of everyday art really delight me.

A recent form of everyday art found in Lucca graces several of the “garage door” type shutters that are pulled down over the entrances of many businesses. These paintings, done by groups of art students from the Passaglia Institute of Art and by local street artists last summer, are found in the area near the museum dedicated to Puccini in Piazza Cittadella. The series is dedicated to “le donne” (the women) of Puccini’s operas. It’s a fun activity to search these out and determine just which opera they represent. During the day the shops open, the shutters go up, and the paintings disappear. At night, down come the shutters and the works reappear. What fun it is to walk through Lucca early in the morning, before the shops open for the day, and see these works of everyday art.

Another example of everyday art, and one of my favorites, is the street art by Blub. Blub - think of it as the sound of bubbles rising through seawater - paints famous figures from art and history, each in an underwater diving mask. He chooses to remain anonymous, painting in his Florence studio by day and attaching the works under cover of darkness on the outdoor panels (often rusty ones) which enclose gas, electric, and water meters. The painting below, one of my favorites, is just around the corner from my apartment in Lucca. It’s not unusual to see people stop to take a photo !

Blub’s message has been described as “art knows how to swim” but I tend to think of it as saying that when the flood comes, and you are about to drown, put on your diving gear and get a move on.

Blub isn’t the only artist covering utility meter cabinets with his work. On a recent walk through the village of Barga I enjoyed a series of scenes which were also painted on utility boxes.

And this one was found in Lucca’s anfiteatro (the site of the ancient Roman amphitheater). A classic scene on a modern surface.

Street art can also be graffiti painted on the walls of buildings (probably not legal, but still enjoyable) like this one found in Rome in 2019.

It is always a surprise when a new piece of street art appears and each new one makes me smile. Just one more reason that it is delightful to spend time in Italy.

Chalk art in Lucca

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Lucca Biennale Cartasia: Artistic Expression in Paper

Lucca has a long history of paper production, producing household paper goods and cardboard for much of Europe. That history makes Lucca the natural host city for Cartasia, a biennial celebration of art and design in paper. The event premiered in 2004 and has been held every two years since, with a one-year delay in 2020 due to the pandemic.  

 The art of Cartasia ranges from ethereal to whimsical, from statements of social commentary to massive creations with subtle meaning. The exhibit includes visual art, fashion, architecture – all created entirely from various forms of paper.  The last two programs have included a focus on an individual country, this year Japan was selected and an entire room of the indoor exhibit is devoted to Japanese paper art.

“First of All Movement”. Factoria Papel , Claudio Acuña. Displayed in Piazza San Francesco

 After a 2020 marked by so many cancelled events, it’s a joy to have Cartasia return for its 10th edition.  This year’s theme, Paura e Desiderio (Fear and Desire), explores the competing human experiences of fear and desire as interpreted by the various artists.  Also included this year is a retrospective of the first 10 editions of the festival.

“In Between” Paper Atelier (Turker Akman and Deniz Yilmaz Akman). Displayed in Piazza Cittadella

 Although the delicate nature of art made with paper requires a definite “hands-off” viewing experience, the art is not hidden away and hard to access.  In fact, the largest and sturdiest cardboard pieces are displayed outdoors throughout Lucca.  They are built during a month-long stay in Lucca by the artists and then moved to the beautiful piazzas and courtyards of the city to be enjoyed by all. 

“Crossing Borders” Sebastian Blomqvist. Displayed in Piazza Santa Maria

 It’s hard to choose a favorite among the large outdoor pieces, but there is something especially enticing about the work called Hybris, placed high above the street under the Porta dei Borghi at the north end of Via Fillungo.  I can’t pass by without stopping to marvel at its graceful sense of movement.

And who could pass by the expressive face of the dog in “Risky Rewards” by Emma Hardy (below) found under the loggia in Piazza San Michele. Delightful!

Next week I’ll write more about Cartasia, with a look at the indoor exhibits. These include the special section of Japanese paper art and some amazing and creative paper fashions.