25 februari 2020

Gabriëlle van de Laak

Atelier. (uit: Eigen Huis & Interieur)

(bron: Gabriëlle van de Laak)

Gabriëlle van de Laak in her studio in Heerewaarden, 2019. (bron: CaRo)

> Gabriëlle van de Laak

24 februari 2020

Monica Bonvicini #4

Monica Bonvicini in her studio, Wedding, Berlin. (bron: Collectors Agenda, foto's: Franziska Rieder)

> Monica Bonvicini

Monica Bonvicini #3

Monica Bonvicini in her studio, Wedding, Berlin, 2019. (bron: Freunde von Freunden, foto's: Aimee Shirley)

> Monica Bonvicini

Frederic Leighton #6

Frederic Leighton in his studio working on Cymon and Iphigenia. (bron: British Art Studies)

Frederic Leighton: Cymon and Iphigenia, 1884. (collectie: Art Gallery of New South Wales, Sydney, Australia)

(bron: Twitter | Leighton House Museum)

Frederic Leighton #5

Frederic Leighton’s Studio (detail of west wall), Leighton House Museum, Royal Borough of Kensington and Chelsea.

"A Door to Nowhere

Upstairs at Leighton House, in the artist’s studio, is a door to nowhere. This oversized aperture was created in 1868 to facilitate the passage of large canvases out of the studio—the processional paintings on which Frederic Leighton (1830–1896) staked his reputation as an ambitious artist.
Four years before Leighton created Cymon and Iphigenia in his Holland Park studio, the function of the door in its west wall had been obviated by the construction of his orientalist interior, the Arab Hall, between 1877 and 1879. The protrusion of this domed structure, sited to the west of the studio, blocked the transit of artworks through the opening. Later, when prints of Leighton’s paintings Solitude (exhibition 1890) and The Bath of Psyche (1890) were hung on that door frame, it became an aestheticized threshold.

The Arab Hall west wall, Leighton House Museum, Royal Borough of Kensington and Chelsea.

The Arab Hall, east wall, Leighton House Museum, Royal Borough of Kensington and Chelsea.
(bron: British Art Studies)

Frederic Leighton #4

Frederic Leighton's home and studio, 12 (2) Holland Park Road, London. (bron: bd) Now Leighton House Museum.

The building was the London home of painter Frederic Leighton, 1st Baron Leighton (1830–1896), who commissioned the architect and designer George Aitchison to build him a combined home and studio noted for its incorporation of tiles and other elements purchased in the Near East to build a magnificent Qa'a (room). The resulting building, completed 1866–95, on the privately owned Ilchester Estate.
Aitchison designed the first part of the house (2 Holland Park Road, later renumbered as 12) in 1864, although Leighton was not granted a lease on the land until April 1866. Building commenced shortly afterwards, and the house, which cost £4500 equivalent to £445,717 in 2019, was ready for occupation by the end of the year. The building is of red Suffolk bricks with Caen Stone dressings in a restrained Classical style.

The architect extended the building over 30 years; the first phase was only three windows wide. The main room was the first floor studio, facing north, originally 45 by 25 feet, with a large central window to provide plenty of light for painting. There was also a gallery at the east end, and a separate staircase for use by models. The house was extended to the east in 1869–70. Additionally, a major extension was made in 1877–79: the two-storey "Arab Hall," built to house Leighton's collection of tiles collected during visits to the Middle East.
In 1889 an additional winter studio was added to the building. The final addition by Aitchison was the top-lit picture gallery in 1895.
(bron: WikipediA)

The Studio, with various works by Leighton and his collection. (bron: londongraduart)

Frederic Leighton’s Studio. From Magazine of Art, January 1896. (uit: Leighton’s House: Art In and Beyond the Studio, bron: academia)

(Eerder gebruikt in de post van 13 december 2013. (hk))

(bron: Royal Borough of Kensington and Chelsea, locationshub)

The north-facing window in the Studio, with various works and collected items of Leighton’s. (bron: londongraduart)

Frederic Leighton’s Studio. From F. G. Dumas, Modern Artists, 1884. (uit: Leighton’s House: Art In and Beyond the Studio, bron: academia)

(bron: Royal Borough of Kensington and Chelsea, locationshub)

The studio, as one would expect, was arranged like the rest of the house in consciousness of the public gaze. As is often emphasized, it served as the venue of an annual ‘music’ and other receptions for Leighton’s extended circle, as well as being open for special viewings, an annual ‘Show Sunday’ and tours for London’s poor. That is, it served a sizeable, if relatively limited, public that was given access to such events.
At 58 × 25 feet, Leighton’s studio was one of the largest in the neighbourhood. Modified and expanded in stages across his career, its architectural design and scale were, in the public eye, understood to have been conceived with exacting attention to functionality. While scholars have emphasized the grandeur of Leighton’s studio (its physical expansion appearing ‘to match his artistic elevation’), and its beautiful presentation, less attention has been paid to the visible traces of artistic work. But if Leighton was rarely seen in the act of painting, depictions of the studio, sometimes with the artist within it, indicate that the procedures of art making were everywhere present.
(uit: Leighton’s House: Art In and Beyond the Studio, bron: academia)

The Studio, with a copy of G.F. Watt’s famous Clytie sculpture. (bron: londongraduart)

The Studio of Frederic Leighton, in The Building News, 22 December 1876. (bron: British Art Studies)

(bron: Arte de Ximena)

22 februari 2020

Johannes Brus #2

Johannes Brus in zijn atelier, Essen. Stills uit de video "Der Nashorntempel - Erinnerungsort im Wandel". (bron video: YouTube)

Johannes Brus

Atelier van Johannes Brus, 2017-2019. (bron: Picuki)

Atelier van Johannes Brus. (bron: Galerie Judith Andreae)

Atelier van Johannes Brus, 2018. (bron: Bernhard Bramlage Architekten)