Tag Archives: Lorenzetti

Not so Naif Art

One of the ongoing problems I have with exhibiting in public is the number of people who comment by saying “Oh! it’s naive work”. This is frustrating as they often have no idea what they are talking about and are missing the deliberate, subtle games the works play.

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Rousseau – Classic Naive Art

Naive art

So for those of you who profess to be Naive Art experts, here is a lesson on the established rules of Naif Art  and why my work defies or subverts these conventions.

Naïve art is simple, unaffected and unsophisticated – usually specifically refers to art made by artists who have had no formal training in an art school or academy“(taken from the Tate Gallery website).

The last part of the statement is the easiest to dismiss as I spent four years at art college and have a honours degree in the subject. Hardly a case of no formal training. I have studied, researched and practised the art of perspective, colour theory and composition since the age of five and have a complex understanding of the subject.

Naïve art is characterised by childlike simplicity of execution and vision.

MartiniDetail

Simone Martini town

As I live on the Umbrian/ Tuscan border in Italy I am surrounded by examples of High Byzantine, Gothic International and Early Renaissance works. These periods are characterised by a rediscovery of realism, perspective and naturalistic painting.

When depicting buildings, vegetation and landscapes the likes of Giotto, Martini and the Lorenzetti brothers played around in a simplistic way. Using these artists as inspiration my work demonstrates the same principles of draftsmanship in my renderings of the Italian countryside.

 

neal-winfield-gubbio

Winfield – Gubbio

Breaking art rules

This requires a good knowledge of oblique projection, aerial perspective and an ability to interpret the Medieval mindset and style. You need to practice in order to look at a modern scene and visualise it as it would have been seen 700 years ago.

As a one-eyed and colour blind artist I naturally see things from a particular viewpoint. My world is flattened out, like a postcard and has colours that are incredibly muted. Therefore, I explore different ways of deliberately painting three dimensions in flat images. I choose to ignore linear perspective but give depth through overlap, size difference, aerial perspective and tonality.

MedievalDetail

Cannan – San Gimignano

Colour blind art

The tenants of Naive art state that colours are unrefined. Whilst my paintings are incredibly bright there is a logic to be had here. Now people with colour vision deficiency (CVD) have certain colours “washed out” from their vision. Knowing this and trying to give CVD viewers a better experience I deliberately use luminous hues and occasionally confuse colours.

For us, red/green, orange/green, pink/grey and the mystical purple are all colours we commonly mix up and we have to take great care when painting with them. Luckily they write the names of the colours on the tubes. Although, if I see a pink sky, why should I paint it grey just because that is the supposed colour.

watercolor Assisi

Winfield – Assisi

Colourful art

Despite what you might think of colour deficiency we do have some benefits and the sky, especially dawn, dusk and storm clouds give us wonderful experiences. The paintings often reproduce the types of dramatic skies I see with their pinks, purples and pale oranges. Don’t ask us about the two colour rainbow though, very lame, we’re not impressed with them.

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Winfield – IKEA Library

Behind the painting

The  composition uses the principles of golden mean proportions, where ratios and position are carefully calculated to give pleasing relationships. Hey! If it’s good enough for Mother Nature and Vermeer, it’s okay with me.

There are strong diagonals and the vanishing points are all placed so as to draw the eye to particular points. If you divide the pictures up into thirds or fifths you’ll see that certain landmarks and features are placed at these junctures.

If these works should be called anything then Gothic Nouveau, Bosso Nova Byzantine or Faux Early Renaissance would be more appropriate. However, it would be naive to think of them purely as Naif Art.

The International Gothic – A Break from Tradition

The International Gothic or Late Gothic art period covers the 13th – 14th centuries and came during a time of religious upheaval and political change. The Christian church was witnessing the growth of Protestantism with its new fangled ideas and the establishment of City States. These too had their own, personal, political agendas and particular allegiances. Very much like the world of today.

lorenzetti_street2The growth of the merchant class provided a challenge to the financial muscle of the church and Europe’s royalty.

These nouveau riche still wanted art on a more personal level but art that reflected their view of the world. It wasn’t  burdened by outdated dictate and accurately reflected the people of the times. The church’s ideals on how and what art should depict was being intellectually challenged. People wanted frescoes and paintings that illustrated real life. Therefore there was an increase in naturalistic imagery and the showing of everyday life.

Gothic art

Annunciation of Death of the Virgin_Siena,Museo dell opera del DuomoThe artists during this period spent their time rediscovering the ancient ways of showing nature. Perspective, foliage and realistic depiction were once again on the menu. Here current artists played their part in trying to understand how the Greeks and Romans set about doing this.

Suddenly it was possible to paint trees, water, buildings and furniture. Painters could populate their worlds with people and animals, fields and hills. But how?  It is interesting to see the artists development of perspective. Each creating strange views with multiple vanishing points, rooms with weird angles and impossible furniture scattered throughout the pictures.

Social painting

©Photo. R.M.N. / R.-G. OjŽdaThese strange, other worlds, with their experiments at three dimensions provide a unique viewpoint into life during the Late Medieval period. They show the lives of the ordinary people in the fields alongside royalty.

You can see palaces, castles and cathedrals but also simple houses, barns and sheds. As much as you can see wars and battles there are farmers sowing crops and peasants tending sheep.

Artistic licence 

Giotto di Bondone, Simone Martini, the Lorenzetti brothers in Italy and  Conrad von Soest in Germany and the Limbourg brothers from France all played their part in developing the distinctive style of the International Gothic.

This break with the traditions of the Byzantine paved the way for what would become the greatest advances in art with the arrival of the Renaissance. The steps started by the International Gothic would flourish during the next period and set new standards in artistic representation.  However, I still find the exploration of the 13th and 14th centuries some of the most compelling works on view.

 

The Morra Valley – Storm Clouds Gathering

Lugnano, Morra

The Morra Valley with Lugnano
Watercolour and ink 36cm x 16cm (For Sale)

This time I’ve slightly adapted the series, painting the landscape and not just the hill towns. I was also inspired by Ambrogio Lorenzetti’s painting “The Allegory of Good and Bad Government”, a fresco on the walls of the Palazzo Pubblico in Siena.

Lorenzetti

The Allegory of Good and Bad Government

It was painted in 1338/39 and is probably one of the first large scale landscapes produced. What struck me about the fresco was the navy blue almost black sky he’d painted and although in the photo it looks more pink, it is in fact a deep blue.

Morra Valley drawing

Lungnano Sketch

(Update) having seen the picture in another light I’ve realised it is pink. Not to worry though as this is the exact colour I see when there are heavy, dark storm clouds gathering. So, all is not lost as this illustrates another of the challenges I face when painting.  Plus it looks quite funky, as do storm clouds.

The landscape also features a very stylised hill shapes and basic building shapes, which I also emulated in the work. I liked the simplicity of the elements and think I’ve managed to create a homage to Lorenzetti’s piece. Most of all I like the strange colour combinations.

If you like this then you can buy prints here…….. 🙂