The Still-Life Comes of Age
The Lyman-Eyer Gallery is pleased to present a new artist to the gallery for your perusal. Phillip Gabrielli oil on canvas and linen paintings are stunning and my be viewed at http://www.lymaneyerart.com/. Gabrielli paints with the skill seen in the work of the old masters and the insight found in the most provoking of contemporary artists. In his paintings, he pays homage to art history, acknowledging the process of studying traditional masterpieces as a contemporary painter.
In many of Gabrielli's paintings, he represents works of other artists within his own still life. This other work of art thus becomes an object in his painting and therefore interacts with the other elements in that painting, creating an active dialogue between the concepts of art, the elements that make up a work of art and the work of art as an object. His use of humor and wit is also apparent in the inclusion of odd juxtapositions, such as an apple on the shelf echoing the round forms of a nude in the "painting within the painting" that hangs on the wall of the piece. Thus, the "actual" objects in the still life seem to react to or comment on the work of art represented in the painting, sometimes in surprising ways
In all of his work, Gabrielli marshals a precise yet subtle control which is absolutely necessary for such realism to succeed. The images seem to have been poured onto the linen in one motion; his use of rich color and powerful shadow seem at once both fantastically poetic and true to life. In this way, Gabrielli's paintings also reflect classical masterpieces by incorporating the discipline, technique and invention necessary to create great works of art, regardless of the content.
In a new series of small figure paintings, Gabrielli seems to have embarked on a project that might be termed "retrograde". But he is really just focusing on what has always been at the heart of his kind of realist painting: transubstantiation; that is, trying to make the substance of paint transform into the image of what is represented. in this case, paint into flesh. The subject of the male nude was dictated by a life-long interest in anatomical studies and life drawing and by the availability and generosity of a spectacular model, Sean Phillip. He is thirty years old, phenomenally good-looking, very at ease with his own body and, most importantly, has the exact same proportions as the statue of Hermes at Olympia. What Praxiteles created as the apogee of the Classical period in ancient Greece, Sean Phillip carries with him in his own flesh. In this new series, Gabrielli is trying to turn paint into the image of that flesh.
Gabrielli earned a BA in Art History at Harvard, an MFA in Painting at the Boston Museum School and spent years studying and working in Italy, principally in Rome, Siena and Verona. He has shown his work in galleries in Boston, New York, Boca Raton and San Francisco. He currently lives and works in an old, remodeled hay barn in the Catskills of New York. He returns to Italy often, or as often as he can work up the courage to face the exchange rate.
In many of Gabrielli's paintings, he represents works of other artists within his own still life. This other work of art thus becomes an object in his painting and therefore interacts with the other elements in that painting, creating an active dialogue between the concepts of art, the elements that make up a work of art and the work of art as an object. His use of humor and wit is also apparent in the inclusion of odd juxtapositions, such as an apple on the shelf echoing the round forms of a nude in the "painting within the painting" that hangs on the wall of the piece. Thus, the "actual" objects in the still life seem to react to or comment on the work of art represented in the painting, sometimes in surprising ways
In all of his work, Gabrielli marshals a precise yet subtle control which is absolutely necessary for such realism to succeed. The images seem to have been poured onto the linen in one motion; his use of rich color and powerful shadow seem at once both fantastically poetic and true to life. In this way, Gabrielli's paintings also reflect classical masterpieces by incorporating the discipline, technique and invention necessary to create great works of art, regardless of the content.
In a new series of small figure paintings, Gabrielli seems to have embarked on a project that might be termed "retrograde". But he is really just focusing on what has always been at the heart of his kind of realist painting: transubstantiation; that is, trying to make the substance of paint transform into the image of what is represented. in this case, paint into flesh. The subject of the male nude was dictated by a life-long interest in anatomical studies and life drawing and by the availability and generosity of a spectacular model, Sean Phillip. He is thirty years old, phenomenally good-looking, very at ease with his own body and, most importantly, has the exact same proportions as the statue of Hermes at Olympia. What Praxiteles created as the apogee of the Classical period in ancient Greece, Sean Phillip carries with him in his own flesh. In this new series, Gabrielli is trying to turn paint into the image of that flesh.
Gabrielli earned a BA in Art History at Harvard, an MFA in Painting at the Boston Museum School and spent years studying and working in Italy, principally in Rome, Siena and Verona. He has shown his work in galleries in Boston, New York, Boca Raton and San Francisco. He currently lives and works in an old, remodeled hay barn in the Catskills of New York. He returns to Italy often, or as often as he can work up the courage to face the exchange rate.
posted by Lyman-Eyer Gallery @ 7:38 AM
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