6 inspiring artist studios from the greats to inspire creativity, exploration and solitude…
Photo source and dialogue by Elise Valdorcia The desire to create stirs within each of us, the question is what gift(s) were we born with, and how do we take it from seed to bloom and share it with others? Photo source and dialogue by Elise Valdorcia Elise said, "My greenhouse-style studio is conducive to creating all kinds of artwork, in all formats. It is an inspiring workplace where materials take form and gather movement, guided by shadows and emotion. The past meets the contemporary, poetry and dreams are made real, and works are crafted. My studio is a beating heart that brings sculptors from quattrocentro Florence back to life." Photo source and dialogue by Elise Valdorcia Each Saturday I like to use my blog to platform an artist that I admire. Today it is Elise! Photo source and dialogue by Elise Valdorcia "Sculpted wood, baroque and contemporary lines, gold leaf, glass, sheet metal, and paper mâché—they all meet here, and the adventure can be colorful or extremely minimalist." Adds Elise about what she used to create her beautiful art. Photo source and dialogue by Elise Valdorcia Photos source and dialogue by Elise Valdorcia Technique from our ancestors Elise creates paper mâché sculptures using a time-honored technique. Paper mâché first appeared in the Far East in the 8th century and made its way to Europe in the 16th century. In Italy, paper mâché earned recognition as a noble and poetic art form. Photo source and dialogue by Elise Valdorcia “I regretted not leaving Carrare marble for paper mâché more often, this divine material that always went beyond it in nobility and finesse.” From the memoirs Benvenuto Cellini, sculptor and goldsmith, 1500-1571 Photo source and dialogue by Elise Valdorcia Follow this link to locate where Elise offers her art for purchase. Galleries & Stores in France and abroad Photo source and dialogue by Elise Valdorcia More about Elise: Each piece is unique "From my workshop, the Elise Valdorcia Studio in Provence, I take each piece from idea to drawing to creation. I make mirrors, light fixtures, small tables, and other household objects, harmoniously mixing styles and eras. I am an artist and decorator, specialized in antiquing objects (using polychromy or gold leaf). My passion for my work comes through in my paper mâché creations. Laurent makes wooden sculptures, creating unique pieces from 18th- and 19th-century wood. He also practises marquetry, having...
There’s something undeniably romantic about an artist’s studio. They’re always filled with light, and paper covered in scribbles and sketches. We’re instinctively drawn to thes
There’s something undeniably romantic about an artist’s studio. They’re always filled with light, and paper covered in scribbles and sketches. We’re instinctively drawn to thes
Joan Miro's taboret and studio
There’s something undeniably romantic about an artist’s studio. They’re always filled with light, and paper covered in scribbles and sketches. We’re instinctively drawn to thes
Artists' work spaces inevitably reflect their hard work and passion. Join us as we reflect on 6 of our favourite artist studios.
Artists in their studios. (Photos by Joe Fig/specific photo credit) Let's talk about studio spaces again. Specifically, let's talk about the studio spaces at left. I tend towards the chaos and plunder of the upper image. Throughout college, although I had to be relatively neat because I shared studio space with other students, I pretty much wore my creative inclinations everywhere I went. There was no mistaking my academic major. My daily outfit consisted of a gray rag wool sweater (which, at one point, turned the sudsy water in my mother's washer a light brown because it was so dirty), some sort of T-shirt, jeans covered with acrylic smudges, and a pair of disintegrating, paint-covered construction boots sewn together with gleaming fishing wire in places where it had become necessary. Once, someone even stopped me in the dining hall to ask if I knew that I had paint all over my right ear lobe (not in my hair, but only because my hair at the time was buzzed short). Paint on the ear lobe likely happened because I used to keep the smaller paint brush I wasn't using--but might soon need--behind my ear like a pencil. So, yes, throughout college, I was pretty much an ambulatory mess. But at the time, painting was such a part of my identity, I didn't care if I looked like a reprobate. To me, dressing like that meant that I could always sneak into the studio and work whenever I wanted. And because I had keys, I often did. I remember my junior and senior years of college being some of the happiest times of my life because my creativity was encouraged, especially by Sandy. (Sandy sometimes created in the studio while I was there, and often, after he made gestural paintings, he'd let the acrylic dry and then use the sink's vegetable sprayer to wash away the paint that had not congealed. This made haunting residual shapes, leaving the contour of puddled pigment. If you click on his name above, it will take you to a gallery of his paintings. "Approaching Storm," "The Gift", and "Center Holds," all pictured on the site, are paintings he started while I was still a student at Juniata. Each is dated to the late 90s and early 00s, so he likely worked on them more after I graduated in 1997. In fact, "The Gift" may have previously been called "Origin of the Milky Way", but I can't be 100% sure of that. I just remember associating the painting with the birth of star systems.) Part of Francis Bacon's Reece Mews Studio. Moved for display to Hugh Lane Gallery, Dublin c. 2005. (Photo credit) Anyway, a few years ago, right around the time I moved to Pittsburgh...so, end of 2005, maybe...I reviewed a book for Library Journal that discussed the movement of Francis Bacon's Reece Mews studio into a Dublin Gallery, called Hugh Lane. It was a gargantuan task...more like an excavation, since the curators recovered some 2,000 examples of Bacon's detritus. I'm talking sand, cotton, wool, discarded pastel crayons, and dust. Based on the photographs, Bacon mixed colors directly on the wall, and used that as his palette. The curators also indicated that he apparently applied paint with the plastic lids of his paint tubes because they were encrusted with pigments and discarded in strange places. Moreover, the man held on to corduroy pants and cut them into pieces so that he could press them into his paint to pattern it. Now, this is my kind of painter, although I would eventually find the piles of paper, empty paint tubes, and landslide of junk creatively debilitating. There has to be some kind of order to the chaos. But then again, maybe there was an idiosyncratic kind of order for him. Francis Bacon in his Reece Mews studio. Check out the door...it's covered with paint. Was someone cleaning their brush or fooling around? (photo credit) Anyway, the curators at Hugh Lane put Bacon's studio back together just the way they found it, which had to be an incredible task for those mapping the location of detritus. I wonder how many notebooks were filled with graphed entries like: "yellow ochre paint tube, A-2.5." Ay! In the picture of Bacon's studio above, look at the fantastic 1920s/30s mirror, whose silver is flaking away. I suspect it originally went to a waterfall-style vanity, with the gorgeous curved veneer so characteristic of that period. Around the mirror, Bacon cleaned his paint brushes. How do I know this is "cleaning" and not an attempt mixing paint? Based on the repetition of strokes, it looks like he was trying to modulate the liquidity on the brush, to get the brush the right consistency for the work he was doing. Just a guess...maybe he was actually just fooling around, painting around the mirror...a gesture that began with one color and something he simply continued in the moments he was trying to figure out what to do with the rest of what he was working on. Like taking a Twix break, you know? The same can be said of his studio door. Look at this amazing business he's standing beside. It's a delicious kind of painted mess...like a big, functional Howard Hodgkin painting.
Sanctuary, a new book taking us inside the studios of the Young British Artists
There’s something undeniably romantic about an artist’s studio. They’re always filled with light, and paper covered in scribbles and sketches. We’re instinctively drawn to thes
Whether seeking the rumble of the city or the quiet of the country, artists need a place to work, and their studios tell a lot about the people who work in them.
Joan Miró’s studio in Palma de Mallorca
Get to know Katie O'Hagan, one of the most interesting and compelling people in today's art scene, and learn how to paint contemporary portraits and narratives.
Not many of us ever get to visit an artist’s studio while they’re working. So mostly we have an imaginary idea of what painters actually DO to get the results they get. But every now a…
In this interview that appeared in Issue 16 of Highsnobiety Magazine, we speak with artist Reginald Sylvester II on what it means to figure art out.
David Hockney in his studio
Francis Bacon by Richard Avedon Francis Bacon quote via AKA Pearl of a Girl Francis Bacon in his studio 1959 by Cecil Beaton via Artist and Studio Francis Bacon in his studio via Artist and Studio--wow, what a mess! Francis Bacon self-portrait 1970 Francis Bacon 1972 study for self-portrait Francis Bacon self-portrait via Artist and Studio Francis Bacon 1957 via A Long Time Alone Francis Bacon self- Portrait Francis Bacon self-portrait via Walker Art Gallery Francis Bacon self-portrait Francis Bacon Francis Bacon via A Long Time Alone Francis Bacon self-portrait via Artist and Studio tumblr Irish-born British figurative painter--and bon vivant--known for his emotionally raw, often tortured self-portraits and images. He has said --"I should have been, I don't know, a con-man, a robber or a prostitute. But it was vanity that made me choose painting--painting and chance." Thank goodness for vanity--
For a groundbreaking book, 120 of Britain's most celebrated and emerging talents have granted rare access to their work spaces
Famous abstract artists: Marden, Twombly, Tapies.What would a modern abstract artist be without studio?. Artist studios are probably key for the devolopement of an artist.
The studio and the artist are powerful together. Here we bring together a collection of 125 artists in their studios and workshops.
Credit: In Giacometti’s Studio, by Michael Peppiatt. See also: Saul Steinberg, “Portraits and Landscapes.”
Artist who abandoned kitchen sink realism for a vivid abstract expressionism evocative of bustling city life
But the very next day the staff of Olympic Studios made their own recording. It was the final recording made at this great old studio and its rather wonderful. We doff our hats to them. ….and…
For a groundbreaking book, 120 of Britain's most celebrated and emerging talents have granted rare access to their work spaces
This is a collection of 125 artists in their studios from all over the world -- North America to Britain to Europe, Africa and the Middle East. Brought to you by the Historic Artists’ Homes and Studios program, a program of the National Trust for Historic Preservation.
Condé Nast's longtime editorial director Alexander Liberman was a photographer and an artist himself and shot many of the greatest artists of the 20th century like Matisse, Picasso, Frankenthaler and Brancusi . He compiled them into the classic –and somewhat sexist titled– The Ar
Karel Appel in his studio, 1950-1954. Photo by Dirk de Herder.
RT womensart1: French painter Hélène de Beauvoir who was an international recognised artist and was the younger sister of philosopher Simone #womensart https://t.co/et8Tox4RTZ #womensart
There’s something undeniably romantic about an artist’s studio. They’re always filled with light, and paper covered in scribbles and sketches. We’re instinctively drawn to thes
