Da Vinci's famous masterpiece, copied alongside the original!

Leonardo da Vinci's Mona Lisa — probably the most famous painting in the world, right? It's also one of the most copied paintings in the world, with dozens if not hundreds of replicas created over the centuries. Everyone recognizes it, many love it: "iconic" is certainly a good descriptor of its impact.

Now, we have even more to learn about this masterpiece. Just this month, the Prado Museum in Spain unveiled an amazing discovery: what is believed to be the earliest copy of da Vinci's famous piece, most likely painted right alongside the master in his own studio. The Art Newspaper reported the findings, and the news took the art world by storm.

For years, the Prado had in its collection what appeared to be a pretty standard Mona Lisa copy — in fact, some thought it was a pretty poor copy, as the background was a swath of black paint, instead of the dream-like landscape seen in the original. It turns out this black background had been added later, possibly during the 18th century, for reasons unknown, as discovered when the copy was scanned and underdrawings shockingly similar to those of the original were uncovered.

The Prado and the Louvre in Paris (where the original Mona Lisa resides behind layers of glass and security) have determined, based on various factors including panel composition, age, and the fact that the underdrawing of the copy changed and developed in a similar fashion to that of the original, that this copy was most likely painted concurrently with the original: side by side with Leonardo, probably by one of his more respected apprentices.

Now that the layers of black paint have been painstakingly removed from the copy, we can see the ethereal landscape background — and since the copy has been restored and cleaned, we have a much clearer view of the Mona Lisa herself. As da Vinci's original is priceless and irreplaceable, chances are it will never be cleaned; meaning its layers of cracked and darkened varnish will forever cloud our view. Since the copy is no longer so occluded, we can see Mona Lisa perhaps more as she was: a lovely lady much younger than the original makes her appear. Other details, such as the spindles on her chair, the delicate, semi-transparent veil around her shoulders — and yes, even her eyebrows — are far more visible in this copy and can tell art historians much about the original that was thought lost to time.

Next month, the Prado copy will travel to the Louvre for an upcoming da Vinci show, and the two paintings will be reunited after 500 years apart.

(And speaking of the Mona Lisa, here at Jerry's Artarama we're pretty tickled about this new discovery. We ourselves, with help from you, just completed our own copy of the Mona Lisa, as featured on our 2012 catalog cover. While not painted alongside Leonardo, this version of the Mona Lisa was painted by you, our customers and contest entrants, and compiled by PictureMosaics.com into the mosaic masterpiece replica that is our thanks to you for your continued support. Who would have known that the timing would be so appropriate?)

So what are your thoughts on this newest discovery in the art world? Is the Prado Mona Lisa copy a star or a sham? Which version do you prefer, and why? Let us know in the comments below!

Prove It! Part 2

In this segment of Prove It Part 2! Mikey G answers the question...how does the Beauport large format outdoor easel stand up to high winds coming from different angles? We received many questions and comments in Part 1 (Beauport Easel Prove it - Part 1) "It would be nice to see a more realistic side blowing of the canvas on easel. Of course it would seem more stable with wind front on. Or what about wind from behind the easel, coming at you?" Asked Ruth Collins. Well... we did just that and set out to see if the Beauport Easel could handle wind for any direction and Prove It!. Watch part 2 as the Beauport Easel gets hit with wind from all directions.

Will the Beauport Easel stand up to the many conditions it claims it can.? Will it stand up the wind test? Is it sturdy? Will it hold the large canvas size canvas it claims? Mikey G finds out and so can you!

Please enjoy the this Prove It Part 2 video and please supply your comments below

Link to the: Beauport Outdoor Easel

Do you own one? What has been your experience? Place comments below, thanks!

Budding young artist takes the art world by storm!

Hailed as the "Pint-Size Picasso," four year old prodigy painter Aelita Andre began her forays into the world of art at the amazing age of 9 months old, had her first exhibition when she was 2, has produced over 200 paintings and now has a solo exhibition at Agora Gallery in New York City. Earning as much as $25,000 per painting sold, young Aelita seems poised to be the next star of the art world!

Aelita’s parents, Nikka Kalishnikova and Michael Andre, are both artists themselves, and are happy to support and encourage their child’s talents. Art critics the world over have touted her style as abstract expressionism, accidentalism, or surrealism. Aelita uses acrylic paints on canvas with abandon, and accents her pieces with found objects such as twigs, toys, and even paintbrushes themselves, creating three-dimensional effects and interesting textures.

Aelita’s current exhibition at the Agora Gallery is open until this Saturday, June 25th, if you are in the area and would like to see her art for yourself.

What do you think about young Aelita’s artistic masterpieces? Does she show a true understanding and control over her paintings? Do you believe that any child, given the proper resources and encouragement, could create works just as impressive?

Art, in any form, has been proven to be a powerful imaginative stimulant, and can help children learn to express themselves as well as providing beneficial, therapeutic effects. If you’re interested in encouraging your own child’s creativity, Jerry’s offers a wide selection of kids’ art supplies that are non-toxic, safe, and fun to use! Your children may or may not be the art world’s next painting prodigies — but chances are they will be happier, more open, and more expressive once they have experienced the freedom of art!

When I was in school, I got in ruts just like anyone else.  Sometimes you are just frustrated or uninspired.  But one of the great things about school is that you have teachers and classmates to inspire you.  I have written before about how different it is to paint after college.  You do

 not have deadlines to meet unless they are your own and you do not have teachers to impress or class critiques.  It is easy to become stagnant.  And that is where I was in my art.

After a few years of painting my "Creeper" series, I moved onto a series inspired by Bettie Page.  After a couple of paintings, I just was not into it and it was evident in my work.  I felt like my technique was slipping and I was no longer challenging myself in either execution or concept.

About two weeks ago I got to go to the Portrait Society of America's annual Art of the Portrait Conference in Atlanta.  One of the best ways to learn is by watching; and there was plenty of talent to watch and learn from throughout the weekend.  The face-off competition on the first night had 15 of the top portrait artists painting from live models for only 2 hours.  There were fantastic demos from artists such as Rose Frantzen and Jeremy Lipking.

One of the best experiences I had was at a place called Fat Matt's Rib Shack.  We went there for drinks the first night and a blues singer named Eddie

was performing and he was amazing.  He is 82 and has been performing since he was 14.  Alexey Steele asked if he would be willing to meet him there in the morning and model.  He agreed.  We saw him the next day when Jeremy and Alexey painted this genuinely sweet and talented man.  It is great to watch Alexey paint because he is equally concerned with catching the likeness of the person as well as their essence.  After meeting Eddie, I can say that he definitely achieved both.

So after three intense days of demos and fun, what did I bring back to the studio?

Well, for about five days…nothing.  I was on a high about what a great time I had, really disappointed about not still being there, and getting back in the groove of work.  But then I was ready.  The motivation and inspiration that I had been longing for was back.  Every night when I get off work I have been in my studio for 4-5 hours working on my newest painting, a 6'x6' oil on canvas.

Even though I have continued to paint the figure since school, I found myself attacking this painting in a completely different way.  I am by no means painting the same as the artists I watched, but I see differently.  My process has changed.  I have kept some of my own methods and I have added new ones.  There's more than one way to skin a cat and there's more than one way to paint a figure.  Changing the formula keeps it interesting and puts you in the mindset of innovation which is where failure and huge successes occur.  And that is definitely the place that I want to be.

Newest Piece in Progress... 72" x 72"

This is an article bound to bring opinions to the surface and ignite that perpetual  dialogue of "what is Art?" Read the article in its entirety before coming to any conclusions about the artists or the actual art piece and ask yourself where you stand.  Would this happen in the US? Has it happened in the US?

Is this political? A marketing ploy? Self indulgence? Enlightment or Ho hum?  Art or Hogwash? Are these really artists? Did the award committee accomplish its mission?
 
Controversial art

A giant penis spray-painted on a bridge has won an art prize.
By Sergey Chernov
The St. Petersburg Times
Published: April 13, 2011 (Issue # 1651)

The controversial “Dick Taken Prisoner by the FSB” — a 65-meter penis painted on Liteiny bridge to face the FSB (former KGB) headquarters in St. Petersburg when the bridge was raised — won the Culture Ministry-backed Innovation prize at a glitzy ceremony in Moscow on Thursday.

The night of the ceremony, the key members of the radical art collective Voina, which was responsible for the art stunt, wrote a petition in defense of a recently imprisoned anarchist, ate some stolen food and were bitten by bedbugs at a secret anarchist hideout in St. Petersburg.

The 400,000-ruble ($14,288) award was given to them after weeks of a tug-of-war between culture bureaucrats, who at one point canceled Voina’s nomination, and art experts on the jury, who threatened to walk out if the art group were excluded from the competition.

“The award is our carte blanche,” said Oleg Vorotnikov, whom the group describes as its ideologist.

“Now we’ll take the mission entrusted to us by the state with full responsibility and continue to bash cops with the Liteiny Dick in a big way. As laureates of a state award, we’re allowed to do just anything!”

On Tuesday, national state bodies reacted to the award. The Public Chamber issued a statement describing giving the award to Voina as a “slap in the face of common sense and those citizens who consider the image on the Liteiny Bridge in St. Petersburg to be banal hooliganism” and accusing the Culture Ministry of “inappropriate and unprofessional behavior.”

The Culture Ministry responded that it was against nominating Voina’s artwork from the very start and that it viewed it as “hooliganish, provocative and unworthy, from both an artistic and moral point of view,” but chose not to interfere with the work of the jury, Interfax reported.

Vorotnikov, his artist wife Natalya Sokol, their toddler son Kasper and Leonid Nikolayev, the group’s “president,” do not use cell phones or even Skype in order not to be traced by counter-extremism Center E operatives. Its agents, they say, followed the artists and attacked them after a press conference they held upon the release on bail of Vorotnikov and Nikolayev, who spent three months in jail on charges of criminal mischief for another art stunt.

That offense — overturning police cars as part of a stunt titled “Palace Coup” — is complicated by accusations that their goal was to incite hatred of the police “as a social group,” and could be punished by up to seven years in prison.

Voina (War) was formed by Vorotnikov and Sokol, who were then philosophy students at Moscow State University and installation and photo artists, in 2007.

“We came to Moscow from the provinces, graduated from university and looked around: What’s happening? What’s about to happen?” Vorotnikov said.

“But it looked like nothing was happening or about to happen. Pus and vomit. We don’t want to live our lives like this.”

Vorotnikov compared Voina to Renaissance men.

“What’s the phenomenon of the Renaissance? The monks left their classrooms and cells and went out into the real world. Throughout the Middle Ages, they accumulated knowledge within monasteries and became scholars, far more educated than the aristocracy. Then they stopped hiding, went outside and impressed the world with their intellectual brilliance and many talents.

“As for us, we have gone out from art into the public sphere, into the environment of social troubles and political struggle.”

Voina’s daring and uncompromising activities have been compared to the impact once produced by punk rock.

“Punk has influenced me a lot, even if I was an A-grader in humanitarian disciplines in school (but didn’t care about math or sciences),” Vorotnikov said.

“I mean I wasn’t a punk, but I got very excited about punk, so the parallel is relevant. The only difference is that punk was about self-destruction to show that there was no future. With us it’s just the opposite, we believe that there is a future, that the future is with us and we’re creating this future for you right now.”

Both the “Palace Coup” stunt, referring to the murder of Tsar Paul I in the Mikhailovsky Castle, and the “Dick Taken Prisoner by the FSB” that was drawn near the notorious Bolshoi Dom (Big House) that was built in the 1930s to house the FSB headquarters and was a symbol of fear during the Stalin era of repressions and through to the current day, were inextricably linked to St. Petersburg.

Voina originally moved to the city after Nikolayev started to experience problems with the state security services following a political stunt in Moscow, up to the point where his mother witnessed him being seized near the entrance to his home. According to Vorotnikov, Nikolayev had a bag pulled over his head, and was pushed into a car and told he was being taken “to a forest to be liquidated.”

Vorotnikov said the art group came to St. Petersburg to participate in the banned May 31 Strategy 31 rally last year in defense of the right of assembly, and ended up staying in the city for months, having decided to make a “new career in a new town.”

“Every Voina stunt is concrete,” Vorotnikov said.

“They are born from the surrounding reality. St. Petersburg is the best city for activism that I’ve been to, and I was happy to be put in prison in the city, which is the cradle of three revolutions. The prison gave me a permanent residence here — now I’m a Petersburger.”

Vorotnikov sees Voina’s lifestyle, which includes refusing to work and living on food stolen from supermarkets, as part of the group’s art.

“Our principal position is that art doesn’t finish anywhere, because a work of art is an expansive act in its nature; it includes things, it doesn’t exclude them,” he said.

“You can’t separate works of art and hooliganism. There’s no border between them. Works of art easily include hooliganism.

“I can’t say what drives culture forward more effectively — drunk hooligans or uptight housewives. My view is an avant-garde one: We’ll build culture together.”

The decision of the jury — comprised of leading contemporary art experts — to award the prize to Voina caused backlash from a local culture official.

Speaking at the City Hall-sponsored Sergei Kuryokhin Awards ceremony in the city on Friday, the St. Petersburg culture committee chairman Anton Gubankov used the opportunity to denounce Voina.

“This is real art, while Voina is a crappy publicity stunt,” Gubankov was quoted by Fontanka.ru as saying during the ceremony.

“It’s not what Gubankov should be thinking about — his attitude to Voina, I mean,” said Vorotnikov.

“He should be thinking about where he will run away to from the people when his bosses betray him, because the people have been wishing death to officials for centuries, and now the situation has become ripe once again.”

Nikolayev and Vorotnikov were released on bail in late February after paying 300,000 rubles ($10,715) each out of the 4.5 million rubles ($160,735) donated to them by British street artist Banksy, who heard about their imprisonment on the BBC and whom they now describe as an honorary member of Voina.

Now that they are free, they say they intend to spend the Innovation prize and the rest of the money donated by Banksy on helping political prisoners.

“That’s a very important issue to us; we’ll add the Innovation money to Banksy’s millions and put it at the disposal of Russian political prisoners,” Vorotnikov said.

“Now we’re campaigning in support of Taisia Osipova, on whom Center E planted drugs and who has been in prison for five months now with a severe form of diabetes, which contravenes the law. But even that is not seemingly enough for the Center E men; now they’re taking Taisia’s five-year-old daughter Karina away from her. The mechanism of depriving her of parental rights has been put in motion.

“There are quite a few situations like this in Russia. The state makes activists rot in prisons for their political position. An end should be put to such practices!”

The Voina artists have no doubt that the current political regime in Russia will fall, but admit that the problem is bigger than that.

“We’ll get rid of the regime, it’s a little, specific problem of Russia as a whole,” Vorotnikov said.

“But what should be done with philistines who have fallen slavishly in love with the police? We don’t believe that police officers can change for the better — and inside every philistine, there’s an entire police precinct!

“We promote a heroic lifestyle, freedom in everything, a totally uncompromising stance, and the lofty ideals of the first Russian revolutionaries — the Decembrists. There are more than 200 activists in our group. The best part of society is with us forever.”