Wednesday, November 14, 2012

A Recourse on Renaissance Renditions


Luzanquis


Plata y Uvas


...Still life painting has always been the calculated arrangements of the traditionalists. Compositions that artistically spotlight a visual gauge of craft and aesthetic; a lost art muffled in an internet based culture, items that are now foretold, and destined for an inevitable “like” or “bought” pin on an artist owned Pinterest® board. 

Dating back to ancient Egyptian and Greek civilizations, still life paintings are reflective of afterlife necessities or lavish belongings of some elite Bourgeois. The “contemporary” art world has embraced this genre for ages, reveling in its ability to call upon so many aspects of everyday life - kitsch, deadpan, or other.

In Plata y Uva by Luzanquis (a Peruvian painter), the Cimmerian quality engulfs the viewer. The quasi Renaissance era composition evokes a Dürer idiosyncrasy.  Elegantly adorned sterling silver carafes with accented handles flank the pile of mahogany colored hardbound books.  Complementing the darkened wood credenza, these purposefully placed publications acts as a religious altar, amplifying the importance of the bowl of “uvas” or grapes.  Complete with a melted and exhausted dinner candle, this singular element also conjures subtle religious overtones. Motifs are a plenty in Plata y Uva with circles and spheres repeated in the triad of fruits purposely placed in a triangular configuration of stoic allegories; a traditional religious compositional component. Elliptical lips of various kitchenwares and the circular plate reinforces the oval, while linear elements create a dichotomy of visual planes.

©Gabriel Diego Delgado


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