The ancient technique of tempera in the works of Gemma Leys

Gemma Leys



Gemma Leys
"Enough of your breasts to my heart, My wings are enough for your freedom. Now, from my lips under the sky itself, A vault over your dawn will spread. " The lines of the Chilean poet Pablo Neruda meet us on the main page of the site and, of course, in the paintings of the artist Gemma Leyz.

Gemma was born in Holland in 1951, and now lives and works in Spain, drawing inspiration from her poetic passion. Her paintings are warmed by the golden Spanish sun and are permeated with sensual romance. Rose, the flower of love, is Gemma Laz's favorite image. Amazing transparency, which she achieves, using the old technique of tempera, brings to her paintings a special poetry. Flowers and old manuscripts in her paintings are not coincidentally near - one image will deliver something that only the other person symbolically hints at. Gemma skillfully uses the art of calligraphy, decorating manuscripts in his paintings with excerpts from the poems of Pablo Neruda.

Julie Bender: soldering iron thinner pencil

Burning on wood, as an art form, is known to mankind since ancient Egyptian times. They were also successfully used in some African tribes. People have long fascinated and inspired the power of fire. Pyrography, in the meaning of the word itself, is defined as a way of drawing fire on wood or skin. Julia Bender (Julie Bender) chose this method as a way of expressing her gratitude to the world of wildlife.

As early as the end of the XIX century, architect Alfred Smart invented a method of intermediate heating, which allowed creating halftones and ultra-thin lines. But only Julia Bender was able to clearly demonstrate with her skill how much they can thin out. All her works are perceived as drawings, the smallest details of which build reflections in the eyes of animals. Of course, the modern pyrographic tool has become much more perfect. Today it does not look like an ordinary soldering iron, and a special device adjusts the temperature so precisely that the palette of halftones and shades becomes almost inexhaustible.

Julia Bender managed to create her own style in pyrography. And it's not just the microscopic details of the image. The artist is able to emphasize objects with the help of rays of light and uses super-thin shading. You need to have inhuman zeal and patience to create such a picture, but it is best to find pleasure in such a painstaking work. Julia Bender excellently worked out both options. The best proof of this are her pictures.

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Jos de Mey: pictures full of secret meaning

Most of all, this Flemish artist became famous for a thorough and realistic depiction of non-existent structures. He is also honored and remembered by all his students, whom he taught for forty years the art of color and design. The artist did not become five years ago, he left because of a long, debilitating illness. But the wonderful works created by him, remained.

Most of his paintings depict an owl - tiny or very large. Jos de Mey (Jos de Mey) called her "alter ego". In Holland, this bird is a symbol of knowledge and, at the same time, denotes a stupid person. And also someone who wants to seem stupid. The best example is Till Eulenspiegel, the hero of the Flemish legends. In it the most organically combined and intelligent, and stupid. To all of the above, it is worth adding that the "alternative self" psychologists call the presence of the second person in the same person, his other essence, the person inside the person.

Each of the paintings of Jose de May has a very long name. It gives an explanation to the image or, more often, makes the work even more mysterious. Now, when the artist is no longer with us, there is no explanation, and the names are understandable only to people whose native language is Dutch. Because the names of paintings is an untranslatable play on words. The same semantic indexes are also contained in the artist's signatures under the paintings. In fact, this is his name or autograph. But the fact is that there will not be two identical ones. They are deliberately left on different subjects that have a secret meaning. I would like to hope that future generations will always manage to find and understand it.


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Eduard Abzhinov and a large, seen at a small distance

Eduard Abzhinov, from his childhood, liked to immerse himself in the paintings of great masters - he was very surprised by his parents who had nothing to do with art. But he was drawn by this painted, mysterious world, and the more he got to know him, the more he wanted to understand his structure, essence, laws and rules. Already graduating from school, he decided to become an illustrator, and five years later received a diploma of art and graphic department of the Kuban University.

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At the beginning of the century, Eduard Abzhinov moved to live in Moscow, where he worked for a long time according to his newly acquired profession - in the publishing houses of magazines and books. Life suddenly made a turn when, four years later, he received an order for painting the walls of the apartment house. He created picturesque paintings on a hyperbolized scale and suddenly saw all modern art from a completely different angle. The pictures began to be created with lightning speed under his hands, literally poured, as if from a cornucopia. At the same time, he began his own teaching activities, but on a small scale - he began to give lessons in painting in one of the capital's studios.

His painting, however, like someone else's, Eduard Abzhinov perceives as a mystery, and not always it can and should be solved. In general, it is blasphemy to divide art into component parts, in this he is sure. Without any of its components, the picture can not exist, any of its constituent part of a single whole: it flows from the other, depends on the third and creates the fourth. This is especially true for the stories created by this artist: he sees the world in the unidentified domain. Therefore, he always remains in the stage of perpetual experiment.