Tag: oil on panel

Alex Roulette

Alex Roulette, “Unknown Lights”, 2010, Oil on Panel, 114.3 x 91.4 cm, Private Collection

At the core of Alex Roulette’s photo-realistic painting practice is an exploration of the process of male coming-of-age in contemporary American society. Emotionally, his work is intended to oscillate between an uneasy psychological isolation and the promise of adventure waiting at the horizon. Rooted firmly in both personal history and established cultural paradigms, he strives to present an honest and poignant tableau of adolescent transformation.

Consciously emulating the cinematographic mode, Roulette’s compositions could be stills from the ‘buddy films’ with which the artist identifies. In particular, he is concerned with the journeys from dystopia toward an imagined utopia that the male characters of such films undertake.

This past year, Alex Roulette had a solo exhibition called Fabricated Realism at the George Billis Gallery in New York in which this  2010 painting was shown. His work continues to have great aesthetic appeal and in 2010, Alex played more with unusual light sources and effects in his work. Sun flares, reflections, snowflakes and other natural and fabricated lighting replaces the strong shadows prevalent in his 2007-2008 work.

Andrea Solario

Andrea Solario, “Salome Receives the Head of Saint John the Baptist”, Oil on Panel, 1506-07, Metropolitan Museum of Art, New York City

Andrea Solari (also Solario) (1460–1524) was an Italian Renaissance painter of the Milanese school.  He was one of the most important followers of Leonardo da Vinci, and brother of Cristoforo Solari, who gave him his first training whilst employed extensively on work at the Milan cathedral, and at the Certosa di Pavia. In 1490 he accompanied his brother to Venice, where he seems to have been strongly influenced by Antonello da Messina, who was then active in the city.

Salome, Herod’s daughter, has danced so beautifully that he swears to give her whatever she would like; even up to half the kingdom. Instead she asks for the head of an innocent man. It is a story about valuing life; and Herod’s family did not value it at all. Solario captures the lack of emotion in Salome’s face. At the gruesome sight in front of her she is emotionless, at best curious, but in no way remorseful that she has ended a life on a whim.