For this post, I'm going to write something a little different here. I'm going to share a personal story about my trip to Italy last month and what I got out of it. I went to Rome and San Giovanni Rotundo in the middle of October for ten days with my family. We visited many historic locations, such as the Sistine Chapel in Rome and the resting place of San Padre Pio in San Giovanni. Even so, we met San Padre Pio's photographer, Elia Stelluto, who also gave me a few pointers in taking photos. One month after the trip, I got thinking about what contemporary artists can gain from visiting Italy and getting to know its rich history.
      For Part One, I'll start with the Sistine Chapel in Rome first. What stood out for me the most in Rome was the Sistine Chapel ceiling. Painted by Italian painter and sculptor Michelangelo (1475-1564) in 1508 and completed in 1512, the ceiling is highly renowned as a staple of the Renaissance era. Upon observing depth and detail that went into every aspect of the piece, I could not help but be utterly amazed by how one person could have taken the time, skill and patience to create such a colossal work of art. Given both the time it took and the intense level of craftmanship (as Michelangelo was known for), this is one sight you just can't miss visiting. It got me thinking about art in the modern world and how craftmanship has been regarded overall since the early 20th century, specifically with the Dada movement. While I don't dislike all art from the 20th century, nonetheless, it was the time period when high skill level was often mocked, ridiculed and looked down upon as 'outdated'. In addition, I also got thinking back on the rules of stylization, -a topic that comes up often in the art world- when reflecting on the art of the Renaissance era to the rise of Cubism. If artists intend to deconstruct a piece and stylize rather than make it look realistic, it's always important to practice and understand the skills behind drawing from life as well as learning about the craft behind the old masters.  I've mentioned in a previous blog post about stylization according to fine artist, Stan Prokopenko and how learning the basics helps refine our approach to style.
       That said, finally getting to see the Sistine Chapel ceiling in person further extended my appreciation for the high level of craftmanship the likes of Michelangelo was famous for. There are a couple of reasons as to why contemporary artists should observe pieces of the time period and take them to heart. The main reason first and foremost is our historic roots. When the Dada movement emerged, it was a major shift in the art world, but it seems that as the 20th century went on years afterwards, craftmanship was starting to seem like a joke. Aside from the fine attention to detail, even subject matter became increasingly superficial. With the high level of craft, beauty and strong desire to seek deeper meaning in our human existence, the art world accomplished such significance through the classic works. Upon examination of the fine arts, the exploration into the human condition is expansive and the time focused on that craft is as a result, what gives the spectator an immersive amount for self-reflection and evaluation. The artists themselves sought meaning through their craft and viewers can learn a great deal about themselves. 
        The second reason artists will benefit from observing something like the Sistine Chapel ceiling  goes back to the stylization practices. As expert artists say, aspiring artists must know the basics before they can develop a personal style and develop it well. Even so, they are encouraged to learn from the old masters. I'd go another step farther to add on that there is something extra to gain from studying both that will help artists hone, not only their technique, but getting to know their true potential and individuality. As practicing from both life and the old masters goes hand in hand, it was also that the old masters sought their inspirations from life and its greater significance. Although it might seem unrelated at first, it's as classical Greek philosopher, Socrates (470-399 BC) famously stated, "[t]he unexamined life is not worth living". The statement is interpreted to mean that a life without self-reflection is fruitless and therefore, lacks the meaning and potentiality it could have or could have had. The way I see it is if artists want to develop a personal style, something that should say something about the artist as a person in some form or another, those steps are always going to be  crucial to the learning experience, but it's also significant for artists to learn more about themselves as well. Artists could know all the fundamental foundations that are encouraged and necessary to enrich their craft. When comes time to develop a personal style, is should also be encouraged for artists to self-reflect on their lives such as the mistakes they made, the struggles they been through and the things they learned from them as well as individual exploration and what they gained out of it. Sometimes artists start on a path that seems like its the one they truly want to take, but through hardships, challenges and growing stronger because of those experiences prompt change.
        Although tone and style are different, tone being the attitude the author displays in his/her work and style is the format the piece is designed with, both always go hand in hand and compliment each other. So, without experiences, your tone can express one thing an thus, influence the style you are known for. But when new experiences shape you as a person and you grow from them to better yourself, you learn more about your true self, about others around you and garner a better outlook on life because of the obstacles that come and overcoming each one. You then garner a greater appreciation for yourself and others around you that you count your blessings more than take things for granted. It's also important to note that as time brings about change and your outlooks on life change, your taste also changes, too. Art is based also in one's taste and of course, but styles change as attitudes do. In other words, aspiring artist shouldn't just learn from the old masters from a technical standpoint, but on a philosophical one as well. 
            When in Rome (no pun intended), if you visit the Vatican, definitely make a trip to the Sistine Chapel. As you browse all the way to the end of the chapel, give yourself permission to ponder the time, skill, practice, craftmanship and thought that went into such a marvel. If you're an aspiring artist, definitely keep the lessons your instructor encourages you to study in mind as well as making room for reflection. I'll discuss my visit to San Giovanni Rotundo in Part Two after the Christmas and Holiday season. Until then, keep exploring beyond your boundaries!  

     I’ll admit, I’m not a big fan of early 20th century art, but from Cubism to the Dada movement to Surrealism, no one can deny the art of the time had a major influence in the art world going forward and into the 21st century. Throughout those years, the definition of what constitutes as art became immensely loose as artists in the late 19th and early 20th century were drifting away from the classical art to the absurd, often being subversive in their pieces. Before World War I, from the Neo-Impressionist works of Georges Seurat and Paul Signac to the Post-Impressionism of Vincent Van Gogh to the Fauvism works of Henri Matisse, leading up to the works of Pablo Picasso, the craftsmanship of the classical art was slowly starting to decline in favor of more free-flowing types of art styles and movements.
    Taking place after the first World War began, the Dada movement originated as a reactionary response to, not only the war itself, but to traditional values in art and modern capitalist society as well. The Dada movement as defined according to manraytrust.com, is “[a] European artistic movement (1916-1923) that flouted conventional aesthetic and cultural values by producing works marked by nonsense, travesty, and incongruity”. With that definition of Dadaism in mind, the movement steered away from the complexities, beauty and logical to the carefree and put forth that anything, - just anything - can be considered ‘art’. Alongside Marcel Duchamp (who infamously signed and dated a urinal, which he titled, Fountain (1917) to emphasize the anything-can-be-art/anti-art mentality), Pablo Picasso and Man Ray were also  prominent figures in the movement. After WWI and the start of the 1920’s, the Dada movement was phased out by Surrealism, which evolved from Dadaism and continued to display similar traits and mindsets. While practices of Surrealism also consisted the anti-art mentality of Dadaism, it distinguished itself from the previous movement by putting more emphasis on dreams and the unconscious mind. Amongst the major figures in the Surrealist movement were Andre Breton, Salvador Dali, Max Ernst and Rene Magritte. Breton was a Surrealist writer and poet and was known as the founder of the movement. Dali was a painter, illustrator and sculptor. Ernst was also known for his paintings and sculptures and Magritte was also a painter. While the main figures of the Surrealist movement were, no doubt influential, the works of Man Ray set fourth new, innovative ways to depict such absurdities and illusions to the art movement, not only through photography, but via the art of photogram (camera-less photography). 
    Although the art of photogram had existed decades prior to Man Ray’s time, Man Ray used the medium to his advantage to display his signature dream-like illusions. Referred to as rayographs, Man Ray’s subjects consisted of everyday items and would utilize his composition in rather peculiar and imaginative ways. Take for example, a pair of scissors, a nail filer and a strip of film and those ordinary objects would be arranged to depict a surreal, image that looked like it was derived from a dream. 
    Other photographic techniques Man Ray was known for was the thick black lining of the people he photographed. At first glance, it appeared that he used ink on the images, when in reality, he created this technique via solarization. In a translated interview from the documentary, The Adventure of Photography from Kultur Video, Man Ray stated it was “a method of re exposing a print to light during the development stage to produce unearthly pictures of people with mysterious halos” and that it was “a matter of luck” at first. Eventually it became a repeated process and after several experiments, he refined the technique that it became old hat. 
    While the Surrealist movement may have been primarily a literary one, and paintings and sculptures were also other predominant forms of media used to depict this bizarre art style, the influence of Man Ray’s photography is important to note when delving into the history of the movement. As other artists of the period were known for their roles in influencing Surrealism through such art forms, Man Ray was a main driving force for photography in which he brought something truly unique to the table. With his outlandish approaches to camera less photography and his quirky techniques he developed using the camera, there’s no denying Man Ray was also of a creative and innovative mind in his medium. Whether the viewer deems it art or ‘anti-art’, the craftsmanship behind Man Ray’s works merits its place in art history.