Showing posts with label art. Show all posts
Showing posts with label art. Show all posts

Fashion and Contemporary Art

Fashion аnd art alwауs are іn close relationship, аnd contemporary art іѕ not an exception. What iѕ more, with thе popularization of contemporary art, the world of fashion beсame an art too. Luis Casablanca Migueles, а lecturer frоm the department of Drawing at thе University of Granada іn Spain, а country whіch іѕ оne оf thе fashion capitals оf the world, has carried оut а research project thаt analyses fashion аs an artistic discipline; he considers fashion aѕ "a plural phenomenon, оne оf the mоst important contemporary artistic disciplines."

Now аlmоst аll popular and еvеn famous luxury fashion brands collaborate with painters, illustrators, photographers аnd other artists from аny movement іn order tо create nеw collections, make staggering and catchy adverts, update theіr catwalks or develop thе concept of а fashion show to make іt аll unforgettable.

Fashion has always bееn influenced bу art. Thus French fashion designer, Paul Poiret, who waѕ the Picasso of the twentieth-century`s fashion world, employed artists and purchased their works, whiсh wаs reflected in his models. Under thе impact оf art Lucien Vogel, the publisher of Jardin des Modes and La Gazette du Bon Ton, hired photographer Edward Steichen in 1911, in order tо promote fashion aѕ a fine art. And aren`t tubular dresses with square low necks аnd rounded cloche hats an echo оf Cubism? In 1930, the late-futurist painter Lucio Venna drafted sketches for the advertisement оf Ferragamo' shoes. Gianni Versace usеd the works of Alighiero Boetti and Roy Liechtenstein in launching hіѕ collections.

These cases аrе bу nо means isolated examples. If anythіng thе connection hаs only grown with the years. The Prada Foundation is gоing tо build a 17,000 square meter museum іn Milan, tо exhibit artworks related to thе existing Prada collection, cinema, design and architecture. The Trussardi Foundation set up а temporary exhibition at thе Piazza del Duomo, in Milan, whеrе thеre werе shown videos аnd films оf the mоst up-and-coming artists all оvеr thе world. Louis Vuitton launched а collection of bags togethеr with thе famous Takashi Murakami, in whіch thе blush colors оf Murakami's bright and crazy characters brought new life to the classic design. There arе further examples, tоo numerous to mention, that illustrate thе tight-knit connection betwеen the art and fashion worlds

Clothes are an important factor оf human life, likе an extra, changing skin that wе wear at all times. Because оf this, іt іs natural thаt we would wаnt оur appearance to show оur individuality, and іt is bесаuse of thiѕ that art goes tо the assistance of fashion. Even іf yоu're not lооkіng at thе top luxury fashion brands, art wіll ѕtіll influence yоur choices, frоm Burton snowboard designs tо Jeremy Scott Adidas Originals.

Book Review: History of Beauty


There is no singular definition of beauty. Through history, the concept of what is considered beautiful has evolved and that changing ideal has been documented by artists, poets and authors. In my quest to understand the concept of beauty, I read the book "History of Beauty" by Umberto Eco.

This monumental tome seeks to answer the questions: What is beauty? What is art? What is taste and fashion? Umberto Eco explores the changing concept of beauty in Western civilization from the ancient Greeks to the present time through extracts from literature, poetry and philosophy as well as paintings, sculptures and photographs.

The seventeen chapters documenting the history of beauty include:
1. The Aesthetic Ideal in Ancient Greece
2. Apollonian and Dionysiac
3. Beauty as Proportion and Harmony
4. Light and Color in the Middle Ages
5. The Beauty of Monsters
6. From the Pastourelle to the Donna Angelicata
7. Magic Beauty between the Fifteenth and Sixteenth Centuries
8. Ladies and Heroes
9. From Grace to Disquieting Beauty
10. Reason and Beauty
11. The Sublime
12. Romantic Beauty
13. The Religion of Beauty
14. The New Object
15. The Beauty of Machines
16. From Abstract Forms to the Depths of Material
17. The Beauty and the Media

One of the most fascinating parts of the book are the comparative tables which visually illustrate and summarize how the concept of beauty has evolved through art over time. For example on the comparative table for "Clothed Venus", the ideal woman is presented from the seventh century BC in the form of a sculpture called Auxerre Kore (Musee de Louvre) and moves through each century to 1960 with Anita Ekberg in La Dolce Vita. Included on this table are some of my favourite artworks such as:
Raphael's La Donna Velata (1514, Galleria Palatina, Palazzo Pitti)
Francois Bouchers Madame de Pompadour (1756, Alte Pinakothek Museum)
Egon Schieles Seated Woman with Brent Knee, (1917, Narodni Galerie)

Other comparative tables include: Nude Venus, Nude Adonis, Clothed Adonis, Face and Hair of Venus, Face and Hair of Adonis, Madonna, Jesus, Kings, and Queens.

One of the most surprising things that I gleened from reading this book is that ugliness is a requirement for beauty. It is in fact the contrast between the two that allows us to recognize beauty. "William of Auvergne said that variety increases the Beauty of the universe, and thus even the things that strike us as unpleasant are necessary to the universal order, including monsters." (page 148)

This is a scholarly book that presents a comprehensive analysis of the ideals of beauty as presented through art and literature. Richly illustrated and written in elegant prose, it should be read by every serious student of art and fashion.


"A beautiful thing is something that would make us happy if it were ours, but remains beautiful even if it belongs to someone else." (page 10)

Title: History of Beauty
Edited by: Umberto Eco
Translated by: Alastair McEwen
Publisher: Rizzoli, New York (2004)
Category: Non-fiction, art
Number of Pages: 438

1966

Details of orange paper dress ensemble from 1966, copyright Ingrid Mida 2009
Mixed media (Paper, ribbon, thread)



Details from blue paper dress ensemble from 1966 copyright Ingrid Mida 2009
Mixed media (Paper, ribbon, thread)


Unlike the prevailing view in the contemporary art world, I believe that art does not need to be provocative or ugly to have meaning. Earlier this spring, I created an artwork (for a prestigious competition) in which I wrestled with my soul over whether or not I could produce shocking and ugly work. After many sleepless nights, beauty won out. I knew then that I would not be one of the chosen. I've tried to make peace with that and decided to share selections from that submission.

This is my artist statement from the work which is called "1966".

Our choice of clothing conveys unspoken messages about our self-image and our place in society. My artwork, which uses paper as a medium to represent the ephemeral nature of fashion trends, examines the meaning inherent in women's clothing.

With the birth of the feminist movement in the 1960s, women began to question their traditional roles as wives and mothers. Fashion mirrored the social and cultural upheaval of that decade and women were freed from the constraints of highly structured clothing.

In 1966, the year that the phrase "women's liberation" first appeared in print, the disposable paper dress was created as a marketing tool. These cheap and sexy dresses were an instant hit and symbolic of the new levels of liberty women were achieving in the workplace and at home. Bikinis, representative of new sexual freedoms, often came in ensembles with matching dress, hat, and shoes, and were sometimes even worn as bridal wear.

This work called "1966" celebrates a pivotal year in our recent history in which there was a convergence of the women's movement with fashion.

Launch Gallery

Launch Gallery in Toronto asked me to fill their sculpture vitrine with my mixed media pieces for the balance of the summer. Here is an up close look at some of my work on display for sale there.

18th Century Hats by Ingrid Mida copyright 2009 (Fabric, embroidery thread and beads)

Blue Ballgown by Ingrid Mida copyright 2009 (Paper, ribbon and thread)


Red Ballgown, copyright Ingrid Mida 2009 (Paper, ribbon and thread)

Sculpture Vitrine at Launch Gallery

Somehow it seems that everything looks better under glass. A while back, I actually had a customer who wanted to buy the blue paper ballgown and I refused to sell it because I could not figure out how to mount/display it. I should have asked if she had a glass cabinet! Now I'm thinking that it would look beautiful under a bell jar.

Launch Gallery
410 Adelaide Street West, Toronto
Adelaide and Spadina 416-504-7910
Hours: Monday - Friday 12- 6 pm or by appointment

Galerie Myrna Myers

It can be intimidating to walk in some galleries, especially in Paris, but that is not the case at Galerie Myrna Myers. Myrna and her husband are the friendliest gallery owners I've ever met and are happy to share their extensive knowledge about Oriental textiles, ceramics and works of art with visitors to their chic gallery in the 7th arrondisement of Paris.

Myrna talked at length about the items in her gallery, describing the main differences between Chinese, Japanese and Tibetan robes and other textiles that she collects and sells. While all the textiles were incredibly beautiful, I was most interested in the Japanese kimonos. I once made a series of miniature kimonos and I've been reluctant to display or sell them because I did not understand the symbolism inherent in their decoration. Myrna assured me that almost every type of object was portrayed on fabric used in kimonos. I especially liked her description of the kimono as "poems to wear".

I was struck by Myrna's incredible passion for Oriental textiles, especially the story of how she turned her passion into a career. Her extensive collection of Chinese textiles resulted in a book called "Silks for Thrones and Altars", co-authored with John E. Vollmer, a curator of textiles at the Royal Ontario Museum.


Myrna inscribed the book for me and encouraged me to "keep working on my Japanese inspirations". I have so much inspiration and so little time. If only there were 30 hours in a day and/or I had an apprentice!!!!

Galerie Myrna Myers
11 rue de Beaune
Paris 75007
01 42 61 11 08
mmyersgal@aol.com

Musee Picasso

The news of the theft of a Pablo Picasso sketchbook from the Musee Picasso yesterday sent shivers down my spine. Although I don't specifically recall seeing the sketchbook with a red cover valued at $12.4 million during my visit, it was shocking nonetheless, especially since no alarms were set off in the museum and there were no signs of a break-in. This magnificent collection of Picasso's work is housed in a former mansion located in the Marais district of Paris and its out of the way location means that it is usually not crowded. (Could that be one of the reasons the thieves targeted this museum?)

The entire museum is devoted to the works of Picasso and includes more than 250 paintings, 180 sculptures and 1,500 drawings. The pieces were acquired by France upon the death of the prolific artist in lieu of death duties. I'd hazard a guess that no other museum in the world can rival this collection of Picasso works.

There is a charming cafe in the garden where you can feast your eyes on this amusing goat sculpture.

I've been a long time admirer of Picasso's work. The energy, creativity and genius that he demonstrated in his lifetime is unparalleled.

Photo credits: Ingrid Mida

Musee Picasso
5 Rue de Thorigny
01 42 71 25 21
Metro: St-Sebastien.

Paper Dresses and Accessories

Zara, Paper Dress and Accessories, Mixed Media, mounted in 8x10 shadow box
copyright Ingrid Mida 2009

Gabriela, Paper Dress and Accessories, Mixed Media, mounted in 8x10 shadow box,
copyright Ingrid Mida 2009


Daisy, Paper Dress and Accessories, Mixed Media, mounted in 8x10 shadow box,
copyright Ingrid Mida 2009

These whimsical miniature paper dresses and accessories are meant to evoke a feeling of nostalgia for the 1960s when paper dresses were all the rage. I hope they bring some sunshine and delight to your day.

If you'd like to read more about paper dresses and their place in fashion history, please see my posts from February 8, 2009 and February 9, 2009.

Fragile Fashion

Eugenia, copyright Ingrid Mida 2009
Mixed Media, 5x7 mounted

Amelie, copyright Ingrid Mida 2009
Mixed media, 5x7 mounted


Henrietta, copyright Ingrid Mida 2009
Mixed Media, 5x7 mounted

These are samples of some of my latest work now on display at Launch Gallery in Toronto. These tiny paper creations (approximately 2-3 inches mounted on a toile de jouey fabric background inside a shadow box) are made of paper, ribbon and beads.

By creating miniature paper clothing, the paper becomes a manifestation of the fragility of fashion and its place in history. In working at this small scale, I am emphasizing the precious quality of these beautiful historical garments.

Launch Gallery
410 Adelaide Street West (one block west of Spadina on north side), Toronto

Opening reception April 16th, 2009 7-10 pm
Hours: 12-5 pm Friday, April 17th to Sunday, April 26th, 2009
Artist in attendance Saturday, April 18th 12-3 pm

Portraits of an Artist

Oscar Wilde once said "Every portrait that is painted with feeling is a portrait of the artist, not the sitter."

I used to paint a lot of portraits and here are a couple of my favourites:


Portrait of a Young Woman, by Ingrid Mida Oil on canvas, 30x90 inches, 2007 (Model Holly in front of her portrait)


The Lacemaker after Vermeer by Ingrid Mida, 2006 Oil on canvas 20x20

Blue Jean Babes (#3 and #1) by Ingrid Mida 2006 Oil on canvas, 30x40

What these works say about me, I'm not sure....

Portraits of Marie Antoinette


Portrait of the Archduchess Marie Antoinette by Martin van Meytens the Younger, 1767-1768 (Schonbrunn Castle, Vienna)

In the many portraits of Marie Antoinette, she is portrayed with smooth, white skin, blonde hair, pretty blue eyes, a high forehead, and an aqualine nose. In the Portrait of the Archduchess Marie Antoinette by Martin van Meytens the Younger shown above, painted before she left for the French court, she seems to be perfection personified.

In spite of this lovely image, it's been said that Marie Antoinette was not considered especially beautiful. Apparently, her "Habsburg jaw and prominent nose were a bit heavy for eighteenth-century taste" (Source: "The Art of Dress" by Aileen Riberio, Yale University Press, 1995). As well, there are few images of MA in profile because she was self-conscious about her aqualine nose.

In the letters between Marie Antoinette and her mother (1770-1780), she makes several references to the portraits being painted of her and that she does not think they have achieved a proper likeness. Here are two extracts from her letters to her mother:

Marie Antoinette to Maria Theresa, 13 August 1773
"I am being painted, right now; it is true that no painter has yet caught the way I look: I would happily give all I own to anyone who could express in a portrait all the joy I would feel in seeing my dear Mama; how hard it is to be able to kiss her only by letter." (page 117).

Marie Antoinette to Marie Theresa, 16 November 1774
"The painters kill me and make me despair. I delayed the courier so as to allow my portrait to be finished; it has just been brought to me; it looks so little like me that I cannot send it. I hope to have a good one next month." (page 155)

(Source: Secrets of Marie Antoinette by Olivier Bernier, 1985)

As an artist, I know how difficult it is to achieve a likeness when painting a portrait. And even if all the features are precisely in place, considerable skill is required to capture the spirit of the sitter and translate that onto canvas. I wonder if the portrait artists mentioned in Marie Antoinette's letters failed to flatter her sufficiently to win her approval or were lacking in sufficient skill to capture her likeness.

After her mother's death, Marie Antoinette sat for several portraits with Elisabeth-Louise Vigee Le Brun. One of her portraits of Queen Marie Antoinette was exhibited at the Salon of 1783 and depicted the Queen wearing a chemise gown causing tremendous controversy. The portrait was withdrawn. To read more about Madame Vigee Le Brun, please refer to my earlier posting on the subject.

Queen Marie-Antoinette by E.L. Vigee-Lebrun, 1783, National Gallery of Art, Washington

I'd hazard a guess that Marie Antoinette would not have liked the contemporary portraits of her painted by Elizabeth Peyton.
 
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