Arttour International Magazine May 2013 - Florence Design Week Special Issue

ARTTOUR INTERNATIONAL SPECIAL ISSUE

! e u s s I l a i c Spe 3 1 0 2 y a M All

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this is n o e c n e r lo F about

Hello Readers!

We are in the midst of a whirlwind of excitement – at the very crux of a wonderful time in the art world, and ArtTour International Magazine is at the forefront.

ATIM has made incredible leaps and bounds since the first issue was published in December of 2011. Since then, my journey with this magazine in this brief space of intervening months has been monumental and thrilling!

When we first published the magazine in 2011, it was distributed to 1,500 readers and artistic sponsors; no one had any idea how vast the readership would become, nor how sweeping the range of contributors would grow to be. Now, after such an amazing voyage, so many dreams are coming true! We now are read by over 2 million readers in over 60 countries! We present this special edition of ATIM in conjunction with one of the most esteemed and highly-anticipated events of the year in the art world: the illustrious Florence Design Week, a magnificent honor for both the magazine and its crew of hard-working artists and enthusiasts.

This edition is fittingly all about Florence – what better locale in the entire world to be involved with when considering a magazine catering to the arts? Every article within this edition is related to the rich cultural and artistic hub that is Florence, and we have provided readers with an arsenal of knowledge pertaining to this incredible city: a guide to the most breath-taking and important locations within Florence, as well as a map that charts the events taking place throughout the city during this phenomenal week of artistic endeavors. ATIM is excited beyond words to be involved with this experience, and we will be broadcasting our coverage of the event, along with our own “Crossing People” International Exhibition, live on our YouTube channel, ATIM WEBTV; we encourage any and all readers to tune in and find out what all of the buzz around this week is truly about!

We are also pleased to announce the unveiling of our “Top 60 Masters of Contemporary Art 2013 Catalogue,” which showcases the crème-de-la-crème of modern artists. This awaited publication is available in concurrence with this very special edition of ATIM, and we urge you to take a look and delve into the worlds of some of today’s most inspiring and talented creators.

Enjoy this incredible edition and bask in the beauty of Florence’s divine artistry; be inspired by the works of some of the world’s most profound artists, in one of the world’s most gorgeous cities. Thank you for your dedication to ATIM, and for helping so many of our dreams be achieved.

Cody La Vada Managing Editor, Resident Writer May 2013.

Published by Arttour International Publications Inc. 601 W. 174th Street New York, NY 10033 Š Copyright 2012 Arttour International Magazine. All copyrights are reserved by the authors. The copyrights of all published artwork are retained by the artists. Reproduction of any published material without the written permission of the magazine's publisher is prohibited by law.

ARTTOUR INTERNATIONAL SPECIAL ISSUE

Florence A poem by Watie W. Swanzy Oh, well I love thee, Florence! All thy towers As seen from Colli's height are nought to me But bright minarets of enchanted bowers, Truly love and beauty reign over thee.

Thy gentle people, whose mild, dark eyes beam Every kindly on the stranger within Thy gates, are lovers of beauty, and such Sweet, child-like ways possess, fear not the truth To speak. Thy love of innocent sport well We know. Have we not seen thy flow'ry day Of carnival, when the perfumed missiles fly, Until, from St. Mineato's height, sounds The curfew that warns of approaching night. Â Whatever of evil thy dukes have wrought Is mended somewhat by their love of art; For where they saw true genius struggling forth They gave a helping hand, and so have left Within thy walls treasures of ancient lore; Along thy streets, on pedestal, in niche, Or beneath the fountain's fast-falling spray, Monuments sublime. But the most I pri Thy long-arched corridors, where Angelo And Raphael do speak to us by saints And angels, and Mary, mother of God, Upon whose brow purity sits enthroned.

So did those delineators old seek True inspiration from the Holy Book.

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CONTRIBUTORS EDITOR IN CHIEF/ART DIRECTOR: Viviana Puello Viviana Puello is the founder & Art Director of the ATIM and also the creator of the ATIM TV Channel and the "ART 2 HEART" Interviews.

She directs the operations together with Executive Director Alan Grimandi and with the help of our fantastic team. Viviana is the person who supervises the content of our magazine to make sure we meet our standards. She also directs all marketing strategies with the help of our publicists, marketing managers, advertisers and social media managers.

Contact via email vp@arttourinternational.com.

Phone (800) 807-1167 Ext 107

EXECUTIVE DIRECTOR / VIDEO GRAPHIC DIRECTOR Alan Grimandi As our Executive Director, Alan is the person to approve all negotiations with partners and collaborators. Alan makes sure everything looks fantastic and keeps on top of the latest technology for our videos to make sure they look professional and with the best quality. Responsible for ATIM TV Alan travels with our video team to produce our "Art 2 Heart" Interviews to artists and personalities and for all our event coverage.

Contact grimandi@arttourinternational.com Phone (800) 807-1167 Ext 108 MANAGING EDITOR / WRITER: Cody LaVada Performance artist, writer & designer from Upstate New York.

Inspired by the dark side of life, Cody’s unique creations are often a macabre amalgam of fashion, passion & theatricality, interwoven with intensely-personal experiences, such as body modification & mental illness. Cody's amazing articles include some of our reader's favorites like the "Yayoi Kusama, Between a Dot and an Art Place" and "The Phantom Phenomenon".

GRAPHIC DESIGN DEPARTMENT Humberto José Orozco Web Developer, Graphic Designer.

Beto as we call him is the brain behind the ATIM website! He makes sure it is up to date, it looks phenomenal and gets lots of exposure. He also does a lot of our fantastic graphic design for the magazine and marketing department. He's being with ATIM from day one. His company Humberto Orozco Publishing handles Web Designs for lots of important clients.

You can contact him at orozco@outlook.com

PHOTOGRAPHY Marco Zanotti Photographer.

Marco is the person behind the wonderful images in all of our events! Marco is part of our team and travels with us for important events when we want the best of the best.

You can see his portfolio at www.behance.net/ marcozanotti and you may contact him at marcozanotti.fe@gmail.com CONTRIBUTING WRITER: Nicholas Hess - Pennsylvania - USA. Nicholas Hess is a graduate of the University of Pittsburgh in Pennsylvania, where he received his B.A. in English writing and communications, as well as minors in Italian and theatre arts.

CONTRIBUTING WRITER: Alessio Santiago Policarpo Florence, Italy. Alessio Santiago Policarpo graduated in History of Art at University of Florence, with a thesis on Renaissance painter Sodoma, but has an overall interest in history of painting from XVth to XXthe century He is fond of foreign languages, and he speaks French, Spanish and English fluently. Email: alex7985@msn.com.

CONTRIBUTING WRITER: Yadi Roman - New York - USA. Yadi Roman is a film maker and writer of highly personal films. Many of her works reflect on her experiences with psychological disorders of spiritual journey and issues related to time and space in cinema.

Published by Arttour International Publications Inc. 601 W. 174th Street New York, NY 10033 © Copyright 2012 Arttour International Magazine. All copyrights are reserved by the authors. The copyrights of all published artwork are retained by the artists. Reproduction of any published material without the written permission of the magazine's publisher is prohibited by law.

CAREERS We have the best, and most creative talent in the media industry — a team of young creators who produce our world-class content, design our state of the art magazine and produce amazing videos for our ATIM WEB T.V. using the latest technologies. If you are interested in getting involved with ATIM, working with us or becoming our partner please contact info@arttourinternational.com

Published by Arttour International Publications Inc. 601 W. 174th Street S 4C New York, NY 10033 © Copyright 2012 Arttour International Magazine. All copyrights are reserved by the authors. The copyrights of all published artwork are retained by the artists. Reproduction of any published material without the written permission of the magazine's publisher is prohibited by law.

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! e u s s I l a i c Spe 3 1 0 2 y a M CONTENTS FIRENZE LANDMARKS!

by Viviana Puello Page 9 OPA: THE “OPERA di SANTA MARIA DEL FIORE” A Heritage of Commitment

by Grimandi Page 19 FLORENCE DESIGN WEEK 2013 Captivating & Intriguing

by Alessio Santiago Policarpo

by Viviana Puello Page 32 SHUFFLING THROUGH FLORENCE

by Nicholas Hess Page 25 Vivid Arts Network “Crossing People” International Exhibition Art for Florence at the Florence Design Week 2013

by Coddy LaVada - New York Page 43

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Y! DA .COM O AL YT OP TION C R NA OU TER Y R IN DE UR OR TTO .AR WW

W

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LANDMARKS!

by Viviana Puello, Florence Between the beautiful hills of Tuscany, in the plains of the River Arno, lies one of the world’s foremost cultural centers of gravity - a vortex of artistic energy and genius - the hometown of men who have profoundly influenced the course of human history in the arts, literature and philosophy. Florence is famous thanks to its history and importance during the Middle Ages and Renaissance, and is often considered to be “the cradle of Italian and European Renaissance”.

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ARTTOUR INTERNATIONAL SPECIAL ISSUE

FIRENZE

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The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile.

The three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major attraction to tourists visiting the region of Tuscany.

The basilica is one of Italy's largest churches, and until development of new structural materials in the modern era, the dome was the largest in the world. It remains the largest brick dome ever constructed.

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The Basilica of Santa Maria del Fiore is the main church of Florence, Italy. The Duomo, as it is ordinarily called, was begun in 1296 in the Gothic style designed by Arnolfo di Cambio. It was completed structurally in 1436 with the dome engineered by Filippo Brunelleschi. The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris. Its name ("Saint Mary of www.arttourinternational.com

the Flower") refers to the symbol of Florence – the lily. Santa Maria del Fiore Cathedral is the fourth largest church in Europe with a length of 153 m (501.97 ft) and a height of 116 m (380.58 ft).

Although Arnolfo di Cambio designed the church in 1296, construction on the dome did not start until the beginning of the 15th century. With Cambio deceased, none of the architects at that time had any idea how to construct such an enormous structure, since the use of buttresses was forbidden in Florence and mortar took several days to set.

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ARTTOUR INTERNATIONAL SPECIAL ISSUE Baptistery of St. John: The octagonal Baptistery stands across from the Duomo cathedral and the Giotto bell tower (Campanile di Giotto). It is one of the oldest buildings in the city, built between 1059 and 1128. The architecture is in Florentine Romanesque style.

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However, Filippo Brunelleschi, an architect who lost an earlier bid to design the adjacent Baptistery doors, won a competition to build the dome, in which he outbid Lorenzo Ghiberti, the same artist that he had lost to before.

Filippo also invented machines to hoist bricks needed for the dome up to the workers and was able to construct the entire dome without using centering.

Using over four million bricks, Brunelleschi and his workers completed the dome in 1436. In addition, Filippo won a second commission to build the lantern www.arttourinternational.com

atop the dome, though he died in 1446 before the lantern's completion. It is said that the lantern supposedly contained holy relics.

Standing adjacent the Basilica of Santa Maria del Fiore and the Baptistery of St. John, Giotto's Bell Tower is one of the showpieces of the Florentine Gothic architecture with its design by Giotto, its rich sculptural decorations and the polychrome marble encrustations. The tower was built between 1334 and 1359; initially under the watch of Giotto di Bondone and later by his successors. One of the tallest structures May 2013

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in Florence, the Campanile accompanied the Santa Maria del Fiore, providing an impressive view of the city of Florence and beyond. The Campanile housed up to seven separate bells at one point, though in 1476 the upper levels of the Campanile were emptied for renovation. Each windowed floor of the Campanile was spaced a distinct distance from the former, so as to give the impression from the ground that all are equally spaced.

In front of the Florence Cathedral, the Museo dell'Opera del Duomo is dedicated to the conservation of the Dom e and other art works. It stores great masterpieces by Michelangelo, Donatello, Lorenzo Ghiberti, Luca della Robbia, Arnolfo di Cambio and many others.

Keep strolling and you will find The Ponte Vecchio, a Medieval stone closed-spandrel segmental arch bridge which was the primary crossing of the Arno River within the walls of Florence during the Renaissance. It is noted for still having shops built along it, as was once a common practice. Butchers initially occupied the shops; the present tenants are jewelers, art dealers and souvenir sellers. The Ponte Vecchio's two neighbouring bridges are the Ponte Santa Trinita and the Ponte alle Grazie. The bridge spans the Arno at its narrowest point where it is believed that a bridge was first built in Roman times, when the via Cassia crossed the river at this point. The Roman piers were of stone, the superstructures of wood. The bridge first appears in a document of 996.

After being destroyed by a flood in 1117 it was reconstructed in stone but swept away entirely again in 1333, except for two of its central piers, as noted by Giovanni Villani in his Nuova Cronica. It was rebuilt in 1345; Giorgio Vasari recorded the events and attributed the design to Taddeo Gaddi. Besides Giotto, Gaddi is one of the few artistic names of the trecento that is still known over two hundred years later.

Modern historians present Neri di Fioravanti as a possible candidate. Sheltered in a little loggia at the central opening of the bridge is a weathered dedication stone, which once read “Nel trentatrè dopo il mille-trecento, il ponte cadde, per diluvio dell' acque: poi dieci anni, come al Comun piacque, rifatto fu con questo adornamento.” The Torre dei Mannelli was built at the southeast corner of the bridge to defend it.

The bridge consists of three segmental arches: the main arch has a span of 30 meters (98 ft), the two side arches each span 27 meters (88 ft). The rise of the arches is between 3.5 and 4.4 meters (11½ to 14½ feet), and the span-to-rise ratio 5:1. www.arttourinternational.com

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The Ponte Vecchio has always hosted shops and merchants who displayed their goods on tables before their premises, with the authorization of the Bargello (a sort of a lord-mayor, a magistrate and police authority). The back shops (retrobotteghe) that may be seen from the river, were added in the seventeenth century.

Another destination not to miss in Florence is the Palazzo Pitti, in English sometimes called the Pitti Palace. It is a vast mainly-Renaissance palace in Florence, Italy that is situated on the south side of the River Arno, a short distance from the Ponte Vecchio.

The core of the present palazzo dates from 1458 and was originally the town residence of Luca Pitti, an ambitious Florentine banker.

The palace was bought by the Medici family in 1549 and became the chief residence of the ruling families of the Grand Duchy of Tuscany. It grew as a great treasure house as later generations amassed paintings, plates, jewelry and luxurious possessions.

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In the late 18th century, the palazzo was used as a power base by Napoleon, and later served for a brief period as the principal royal palace of the newly-united Italy. The palace and its contents were donated to the Italian people by King Victor Emmanuel III in 1919, and its doors were opened to the public as one of Florence's largest art galleries. Today, it houses several minor collections in addition to those of the Medici family, and is fully open to the public.

Those who prefer to remain outdoors and enjoy the wonderful Tuscan sun must visit the Boboli Gardens. The Gardens, behind the Pitti Palace, the main seat of the Medici grand nobles of Tuscany at Florence, are some of the first and most familiar formal 16th century Italian gardens. The mid-16th century garden style incorporated www.arttourinternational.com

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longer axial developments, wide gravel avenues, a considerable amount of stonework, the lavish employment of statuary and fountains, and a proliferation of detail, coordinated in semi-private and public spaces that were informed by classical accents: grottos, nympheums, garden temples and the like. The openness of the garden, with an expansive view of the city, was unconventional for its time. The gardens were very lavish, considering no access was allowed outside the immediate Medici family, and no entertainment or parties ever took place in the gardens.

The Boboli Gardens were laid out for Eleonora di Toledo, the wife of Cosimo I de' Medici.

The first stage was scarcely begun by Niccolò Tribolo before he died in 1550, and was then continued by Bartolomeo Ammanati with contributions in planning from Giorgio Vasari (who laid out the grottos) and in sculpture by Bernardo Buontalenti. The elaborate architecture of the grotto in the courtyard that separates the palace from its garden is by Buontalenti.

The Piazza della Signoria is a city square in central Florence, an L-shaped square which stands adjacent to the imposing Palazzo Vecchio. It was named after the Palazzo della Signoria, also called Palazzo Vecchio. It is the focal point of the origin and history of the Florentine Republic and still maintains its reputation as the political hub of the city. It is the meeting place of Florentines as well as the numerous tourists, located near Ponte Vecchi, Piazza del Duomo and gateway to Uffizi Gallery.

The Palazzo Vecchio is the town hall of Florence, Italy. This massive, Romanesque, crenellated fortress-palace is among the most impressive town halls of Tuscany, if not the world.

Overlooking the Piazza della Signoria with its copy of Michelangelo's David statue as well the gallery of statues in the adjacent Loggia dei Lanzi, it is one of the most significant public places in Italy. Originally called the Palazzo della Signoria, after the Signoria of Florence, the ruling body of the Republic of Florence, it was also given several other names: Palazzo del Popolo, Palazzo dei Priori, and Palazzo Ducale, in accordance with the varying use of the palace during its long history. The building acquired its current name when the Medici duke's residence was moved across the Arno to the Palazzo Pitti.

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Auditore house – Giovanni, Federico and Petruccio – were counted amongst its numbers in 1476, as they were silenced in part of the Templar plot to seize the city; betrayed by Uberto Alberti, a former friend of the noble family. Later, in 1498, the mob execution of Girolamo Savonarola also took place in the plaza.

Galleria dell' Academia. The Gallery is particularly famous for its sculptures by Michelangelo: the Prisoners, the St. Matthew and especially, the statue of David which was transferred here, to the specially-designed tribune, from Piazza della Signoria in 1873.

In the adjacent rooms, which were part of two former convents, important works of art were collected in the 19th century from the Academy of Design, the Academy of Fine Arts and from suppressed convents.

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Michelangelo sculptures - the four unfinished Prisoners and St. Matthew - and a collection of Gothic and Renaissance paintings that were once in the Medici collections. Among the other works housed in the Galleria are Giambologna's original plaster copy of the Rape of the Sabines (original marble one located in the Loggia dei Lanzi in Piazza della Signoria), Botticelli's Madonna and Child and Madonna of the Sea, and a few works by Perugino, Filippino Lippi, Pontormo, Domenico Ghirlandaio and Bronzino. There is also an extensive collection of plaster models from the 18th century as well as early 13th century religious works by Giovanni di Milano, the Orcagna brothers,Taddeo Gaddi and others that were followers of Giotto. Recently, the treasured collection of musical instruments from the "Luigi Cherubini" Conservatory of Music has been added to the collection, enhancing the museum's holdings.

In 1784, the Grand Duke of Tuscany, Pietro Leopoldo, converted the friary of San Matteo and the convent of San Niccolò di Cafaggio to house the Gallery so students in the adjoining Accademia delle Belle Arti (Fine Arts Academy) could study the greatest works of the past. It served as a former hospital in the 14th century, and now as the Academy of Fine Arts it houses mostly religious paintings by major artists working in and around Florence between the mid-13th and the late-16th centuries. The collection is especially important for its gold-ground paintings. In the first floor rooms is a sequence of splendid late-gothic polyptychs, complete in all their parts. There is also a collection of sculptures in plaster by the 19th-century sculptors Lorenzo Bartolini and Luigi Pampaloni, besides a section of Russian icons.

Recently the Gallery has been further enriched by the important collection of old musical instruments from the Cherubini Conservatory, the Department of Michelangelo's David at the Accademia Gallery.

Musical Instruments.

One cannot walk about Florence without taking the time to acknowledge the masterpiece that has made Today, it is visited by most people who want to see Florence a worldwide landmark. Michelangelo's Michelangelo's David. Undoubtedly the world's most David arrived in 1873, moved here from the Piazza famous sculpture, the museum also houses five other della Signoria in order to better conserve it. A copy of

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the statue still stands in Piazza della Signoria where it formerly was displayed. Despite the familiarity of the statue's image, the sheer size of the marble statue comes as a surprise to many. Commissioned by the Opera del Duomo in 1501, the work was deliberately designed to symbolize the virtues of Republican Florence and freedom from foreign and papal domination. Recently, it has come to symbolize the ultimate spirit of the artistic and intellectual ambitions of the Renaissance.

The 16-foot high block of marble was transformed in 3 years into the work of art that was to establish, along with the Pietà displayed at the Vatican, Michelangelo's reputation as the foremost sculptor of his day. David was always intended as an outdoor sculpture which explains some of the extraordinary physical distortions evident in the statue, such as the overly large hands and head. Even the eyes are made to be looked at from below; when examined from statue eye level, in fact, the two eyes are found to be looking in different directions.

unique artworks and masterpieces conserved within its walls (the majority from the Renaissance period), is located in the heart of Florence. The Uffizi Gallery hosts works of art by great Italian artists such as Botticelli, Giotto, Cimabue, Michelangelo, Leonardo da Vinci and Raffaello, just to name a few of the most famous. Its large collection has works from all centuries but a large part dates back to the periods between the 12th and 17th centuries.

The Uffizi Gallery is a must-see destination for anyone visiting Florence and Tuscany, and it welcomes over a million visitors each year. The Uffizi, together with the Vatican Museums in Rome, are the top two most-visited museums in Italy by guests from all across the world, and the long lines at the museum’s entrance are almost as famous as the masterpieces within.

There are many other historically and artistically rich places to visit in the city; you will have to visit to find out! The city itself is a magnificent masterpiece.

One of the oldest and most famous art museums of the Western world given the rich amount of

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Published by Arttour International Publications Inc. 601 W. 174th Street S 4C New York, NY 10033

© Copyright 2012 Arttour International Magazine.

All copyrights are reserved by the authors. The copyrights of all published artwork are retained by the artists. Reproduction of any published material without the written permission of the magazine's publisher is prohibited by law.

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OPA: THE “OPERA DI SANTA MARIA DEL FIORE” A Heritage of Commitment

By Grimandi

SINCE 1296, THE ORGANIZATION OPA, “OPERA DI SANTA MARIA DEL FIORE” FOUNDED BY THE FLORENTINE REPUBLIC TO SUPERVISE THE CONSTRUCTION OF THE CATHEDRAL, HAS BEEN IN CHARGE OF THE RESTORATION AND CONSERVATION OF THE WORKS OF ART IN THE CATHEDRAL OF SANTA MARIA DEL FIORE. THE MEMBERS OF “OPA” NOT ONLY MANAGED THE CONSTRUCTION OF THIS MAGNIFICENT WORLD RENOWNED CATHEDRAL BUT ARE STILL COMMITTED TO THE FULFILLMENT OF THEIR DUTIES NEARLY 800 YEARS AFTER IT WAS BUILT. www.arttourinternational.com Photography

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PHOTO OF THE CANTORIA BY DONATELLO. A work of Donatello carved for the Cathedral of Santa Maria del Fiore in Florence and now preserved in the Museum Opera del Duomo. Considered a masterpiece of the early Florentine Renaissance, was sculpted between 1433 and 1438.

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The workers of the ancient church of Santa Reparata, became the first elected officials to administer the funds allocated by the city for the New Cathedral in Florence’s largest construction project. Later In 1331, by appointment of the Florentine Republic the corporation of the Arte della Lana assumed exclusive control of the “Opera di Santa Maria del Fiore”.

The workers elected among the member of the Arte della Lana, were responsible for choosing the artists, administering funds and the managing the complex. The “Opera di Santa Maria del Fiore” had therefore an important role in the artistic choices for the new basilica, with fundamental implications on the development of Florentine art; and often the Peninsula. The successful results of the work by this organization are evident not only in the realization of the complex of the Cathedral and the Campanile ; but also in the production of all works associated with it: sculptures, paintings, www.arttourinternational.com

furniture and liturgical objects, partly preserved today in the Museum of Santa Maria di Fiore.

The great architect and sculptor Arnolfo di Cambio did the first draft of the new Cathedral. The plant paid tribute to the city of "Florence". Arnolfo and his aides had created the sculptures of the façade as well. Removed from the cathedral in 1587 and now mostly exhibited in the Museum Opera del Duomo, the sculptures of Arnolfo make full account of the master’s artistic career.

After a long stagnation of the work, which was followed by the death of Arnolfo, The City of Florence entrusted the management to Giottoin 1334, who had reached the peak of his fame. He designed the Campanile and oversaw the construction with the help of Andrea Pisano, who was appointed to continue work after the death of his master since 1337.

Despite the alterations of Pisano and those of the third master builder, Francesco Talenti; the Campanille resulted in a

harmonious structure. Andrea Pisano and his collaborators Maso di Banco and Alberto Arnoldi, decorated the base with a series of panels that represent the creation of man and his earthly journey towards redemption.

Francesco Talenti who was also in charge of the Cathedral following the final draft of the "masters and painters," expanded the original plan, so as to create a classical building of unmatched precedence.

Completed structurally in 1436 with the dome engineered by Filippo Brunelleschi. The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white; elaborated with a 19th century Gothic Revival façade by Emilio De Fabris.

According to a very classic taste Brunelleschi also designed the semicircular temples for the outside of the dome and the lantern on the top: works that were completed after his death in 1446.

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ARTTOUR INTERNATIONAL SPECIAL ISSUE RIGHT: PHOTO OF THE BASILICA DI SANTA MARIA DEL FIORE The Duomo, as it is ordinarily called, was begun in 1296 in the Gothic style to the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered

by Filippo Brunelleschi. The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th century Gothic Revival façade by Emilio De Fabris.

At the beginning of the sixteenth century OPA commissioned the last important sculpture works. In 1501 Michelangelo was commissioned to design the statue of King David. Completed in 1503, the work was judged to be of such value, not only aesthetically but also conceptually, to be located in Piazza della Signoria in front of the Palazzo dei Priori, a symbol of the Florentine Republic.

Michelangelo was commissioned soon after the entire cycle of the twelve Apostles. The sculpture’s, impressively expressive power, was left unfinished and is now in the Accademia Museum. www.arttourinternational.com

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Michelangelo left for Rome, the completion of the sculptures of the apostles was entrusted during the second decade of the sixteenth century to Jacopo Sansovino, Andrea Ferrucci, Baccio Bandinelli and Benedetto da Rovezzano.

OPA, like all institutions of Florence during this century, began to lose their autonomy to be subject to the control of the Grand Duke. The association had therefore a more marginal role in the choices for the latest large decorative works of the cathedral.

However, it oversaw the construction of the choir and the high altar by the hand of Baccio

Bandinelli (1547-1572) and the decoration of the dome begun by Giorgio Vasari and was completed in 1579 by Federico Zuccari.

Artists from the city prepared designs for the new facade during the glimpse of the sixteenth century and in the following (now at the Museum), but the new facade was built only in 1887 and designed by Emilio De Fabris.

In Via dello Studio, only a few steps from Piazza del Duomo, lies a place that knows the past and where one can still breathe the air of the old Florentine workshop.

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ARTTOUR INTERNATIONAL SPECIAL ISSUE SCULPTORS AT WORK In Via dello Studio, only a few steps from Piazza del Duomo, lies a place that knows the past and where one can still breathe the air of the old Florentine workshop. Today, with the same love and commitment, the shop is dedicated to the preservation and conservation of this priceless heritage of the past Photography by Arttour Intnernational Magazine © Copyright 2012 All Rights Reserved

By-passers peering through the glass door can see a large room "decorated" with machines that are common to all modern workshop - drill, circular saw hand tools forged in steel, a few of which are centuries old: chisels, hammers and marble drills equal in all respects to those used by Renaissance artists.

This lab is nothing but the modern location of the shop of the Opera del Duomo.

The old headquarters was located in a room behind the cathedral and was later transferred to the adjacent building, now the Museum of the Opera. The sculptors worked there at one point under a large roof that has now disappeared.

The last and definite move of location to the present site of the firm occurred in the midnineteenth century.

The main purpose of the www.arttourinternational.com

workshop at the time was to handle the architectural and sculptural decoration of the cathedral and Campanille.

Today, with the same love and commitment, the shop is dedicated to the preservation and conservation of this priceless heritage of the past.

We went there for the first time and had the opportunity to interview Mr. Paolo Bianchini, Surveyor Responsible of the Technical Department of OPA. Mr. Bianchini what can you tell us about OPA, what is OPA’s mission?

The important thing for us is to make the public aware that there is life going on around these monuments. The experience and tradition of the Opera del Duomo is that the work for maintenance intervention has never been stopped.

This allows to not put a limit on the restoration. Generally, restoration, for economic and organizational reasons, is a singular intervention.

Often there are interventions of monuments that are not restored for years, or who have never been restored and are left to themselves for years until the monument absolutely needs it.

The experience of the Opera del Duomo is different however, is an experience of a continuous action repeated over time, so that maintenance and restoration blend, you don’t know where maintenance ends and where restoration begins.

Also, having a staff dedicated to these buildings, means that this staff knows the buildings very well, they check the weather condition, monitor each building, know where and when to intervene. "The work of the OPA never ends."

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How many restorers work at your lab?

like the old masters used to do?

At OPA there are about 20 workers, ten of which are restorers.

I am totally able to manage an intervention of restoration. From the design to the construction of scaffolding, the electrical part, to the restoration. The operator has the ability to do whatever is needed and intervene as necessary. With time, the professionalism has grown; our restorers are now able to use all the tools that technology provides us at this time. The Opera of the Duomo was born only with a sculptural point of view but with time it has evolved and become one of the most important rarities also from a conservative point of view and is now an institution that is able to support its employees and offer them all the best instruments that are currently available for restoration.

Our restorers are born at the Opera del Duomo, learn and are trained at the Opera del Duomo and die at the Opera del Duomo. It 'a passing of the torch from father to son that continues over time. The majority of Interventions are more on the facades because of degradation due to the leaching action of rain, the erosion due to wind and gases creating the process of sulfation . A marble or stone element has a life that is established by the nature of that particular element, not all the marbles are the same, there are softer marbles and marbles which are more crystalline, therefore more durable and this factor is also dictated by the exposure and processing element to which has been subject to.

Most of the sculptures or works of art were the result of change over time. So what you see now, and think are originals, are in fact elements that have already been the

So they are very well trained, due they pass this on to the next generations

result of one or more substitutions.

One of the prerogatives which the Opera del Duomo has, with this professionalism that has been handed down from father to son, is the ability of giving the restorer the knowledge to recognize the original pieces from the non-originals, with time when the new worker comes and the hands change, he is able to even date a piece just by looking at it.

Which is the relation between the Museum of the Opera di Santa Maria del Fiore and OPA’S Restoration labs?

The Museum of the Opera del Duomo, on the northeast side of the Piazza del Duomo, contains works of art from the sacred complex of the Duomo, the Baptisterio and Giotto's Campanile, with a core of important Gothic and Renaissance statuary. Cont. next page.

BELOW: WORKER AT OPA’S RESTORATION LAB. Photography by Arttour Intnernational Magazine © Copyright 2012 All Rights Reserved

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The Museum of the Opera del Duomo was born in the 1800's from the need to find a room for two works, that of Luca della Robbia and the one of Donatello in order to collect the works that were no longer able to endure the inclement weather. The works were alos replaced due to change in taste during the ages as well as the changing needs of the cult. Before the birth of the Museum of the Opera del Duomo, which opened its doors in 1891, the works used to be sold, re-used or stored in other museums.

Over time, the museum's collection has grown and will continue to do so; eventually the time will arise to preserve a historic, artistic and cultural element, that is, to place it in a secure location where it can last longer over time, the museum will welcome these elements. It is a living museum that collects the art works necessary for elaboration, which, if needed, are taken by the workers; used on the re-construction sites and then returned and stored at the museum. All those times that a cultural relic is needed or a particular piece needs to be used for a ceremony; that piece is taken, used and then placed in the museum.

This way one can enjoy the beauty of the art, which is in that piece without being locked in a closet.

How do you feel about doing work of conservation on

these relics that at this time are patrimony of the humanity, cultural heritage of the world?

The 'organization was founded in 1296 when the building was born, it has never ceased their activities.

I represent the one who was before me Arnolfo di Cambio and Brunelleschi and my employees are the sculptors and stonemasons of the time. We try to ad an element of humility when do our work, we need to understand that we are laying our hands in things that are bigger than us and that we want to preserve as much as possible the work that was done before us.

How long have you been working at OPA?I have worked for 25 years at the Opera del Duomo, and I have had my hands in 70% of the entire complex of works: I did the Lanterna of the dome, the Loggia di Baccio d'Agnolo, and three sides of the Campanile.

The greatest satisfaction over a job is when people say "it appears that you have not done anything" ... that means I did my job well because if I left a trail it would probably be a mistake.

Info: www.operaduomo.firenze.it

LEFT: LASER TECHNOLOGY USED TO CLEAN A remarkable and unique tool for architectural restoration and conservation. Cleaning with laser light has proven to be the most gentle and effective method for restoring the beauty of historic architectural treasures including sculptures, bronze statues, ornate terracotta as well as entire building façades. Laser cleaning removes harmful and unsightly deposits without chemicals, abrasives, water, dust or residues that can permanently damage historic surfaces.

The state-of-the-art technical equipment with which the workshop is furnished enables a full range of conservation and restoration activities Photography by Arttour Intnernational Magazine © Copyright 2012 All Rights Reserved

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Shuffling through Florence

by Nicholas Hess Pennsylvania Photography by Nicholas Hess. Arttour International Magazine Š Copyright 2012 All Rights Reserved

Photography by Nicholas Hess. Arttour International Magazine © Copyright 2012 All Rights Reserved

“As the birthplace of the Italian Renaissance, Florence holds a special place in the timeline of history. With a distinction for creating some of the w o r l d ’s m o s t n o t a b l e architects, authors, sculptors and painters, it is no wonder the city holds a bevy of surprises not readily found within the doors of an institution.”

Shuffling through the over passed vicoli and hidden side streets of many Italian cities leads the innately curious to gems oft not found within the yellowed pages of some guide book. A simple gaze skyward can reveal intricately carved stone forms protruding from a villa’s façade — arms and fingers extended as if casually www.arttourinternational.com

noting the next great masterpiece just across la strada. An innocently outstretched palm can caress the weathered surface of a babbling fontana, resting upon its edge and, in essence, becoming a part of the greater work. Nowhere is this feeling of outdoor art more prevalent than in romantic, Florence, Italy. A Tuscan town literally bursting at the seams with architectural antiquities, this little big place hosts a myriad of treasures. You just have to look up every now and again to spot them.

Museums, galleries and exhibition halls may all be valued locations to spy priceless works by revered masters. But it can sometimes be what is found outside the walls of these collected spaces that is just as awe-inspiring.

As the birthplace of the Italian Renaissance, Florence holds a special place in the timeline of history. With a distinction for

creating some of the world’s most notable architects, authors, sculptors and painters, it is no wonder the city holds a bevy of surprises not readily found within the doors of an institution. A brief stroll down Via del Corso, Borgo San Lorenzo or Via dei Conti can all leave even the most basic of art connoisseurs seeing, and understanding, the amphitheater of alfresco design there is contained within Florence.

Taking a walk to the city’s highest point, the church of San Miniato al Monte, can bring the avid tourist unparalleled experiences. Passing by palazzi and chiese respectively, there is a sense of wonderment and joy in discovering something so open and free to all those who pass by. Yet it’s as if the moment were merely shared by one as each new finding allows for individual reflection.

And as weary legs climb alongside

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ARTTOUR INTERNATIONAL SPECIAL ISSUE Photography by Nicholas Hess. Arttour International Magazine © Copyright 2012

“Colors of a burnt sunset blur the distant city into one perfect picture.That picture, the true-life version so many before have tried to capture in paint and sculpture, is both surreal and magnificent — its colors bleeding out to find no real end to their canvas.” century old works assimilated into Florence’s fabric of society — plus the occasional wooden crate advertising fresh cuts of lavender — darting eyes pick up on the city’s main elements of time and nature. Acting as Florence’s medium for creation, these two tools have transformed the already picturesque into altered forms that only serve to enhance what’s already in place.

An oxidized bronze cast of the notorious David stands guard atop Piazzale Michelangelo, streaked in shades of green after years of the heaven’s falling tears.

A closer look, though, can reveal what almost resembles the brushstrokes of an artist. As if a painting hung in some great gilded frame, the work sits in plain view for all those passing to www.arttourinternational.com

see. Yet after each fleeting year, the cast will continue its neverending transformation into something no one can ever tell. A beauty beheld by all, but looked at differently by each, it will persist in being art in the greatest of sense.

A winding paved road leads away from the previous scene, with snapshots of Florence’s landscape peeking from behind patches of leafy foliage.

Flowering wisteria clouds the view, as colors of a burnt sunset blur the distant city into one perfect picture.

That picture, the true-life version so many before have tried to capture in paint and sculpture, is both surreal and magnificent — its colors bleeding out to find no real end to their canvas. A

pleasure to behold, the everyday creations that surround us, no matter what the city may be in, are truly a wonder worth turning an inquisitive head toward.

Reaching the final resting spot of Cimitero delle Porte Sante, directly in front of the church of San Miniato, one feels small in the scope of it all. Taking in the elaborately carved cemetery markers, some reclining in the ease of passing hours and others in fits and folds of anguish, the true masterpieces of Florence become revealed. However, one figure in particular, a young woman clutching the ends of a long cape and embracing four small children, truly displays the Cont. Next page.

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ARTTOUR INTERNATIONAL SPECIAL ISSUE Photography by Nicholas Hess. Arttour International Magazine Š Copyright 2012 All Rights Reserved

emotion of these public pieces of art. Her face, marked with the hard, dark lines of time, takes on a new persona, standing tall as a testament to changing beauty. Not studied or kept hidden at the end of a long, dimly lit corridor, she’s left to fend for herself, all the while remaining a work worthy of any pair of eyes to steal a moment of her time. This then is the essence of open-air art, what any observer can take and skew into an uninformed loveliness. Missing the four corners of a place that may state what constitutes real genius, pieces left to their own devices become what they will.

Relished by all who are fortunate to break stride and stare, they are appreciated and then merely left to dance in the wind.

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Thanking our contributors, artists, editors and writers for a very successful 2012!

Nicholas Hess Contributing Writer from Pennsylvania, USA Nicholas Hess is a graduate of the University of Pittsburgh in Pennsylvania, where he received his B.A. in English writing and communications, as well as minors in Italian and theatre arts. A native of Oil City, Pennsylvania, he has a penchant for travel and finds inspiration in each new place he is fortunate to discover.

A lover of eras gone by, Nicholas specializes in sharing the facts with a strong story as his backdrop. He hopes to soon find work with a travel or arts oriented magazine when he finally decides to fly away home.

Contact: nicholas.a.hess@gmail.comÂ

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Morton Lancaster Wood Sensations!

Fine Craftsmanship, Beautiful Woods.

Every sculpture is made from a single peace of wood.

Publications: International Contemporary Masters Vol.6 by World Wide Art Books, 2012

Rocking Horse, Cherry Wood, 11” Height

WWW.MORTONLANCASTERJR.COM www.artavita.com ContactEmail: mlancasterjr@gmail.com

Florence A poem by Samuel Taylor Coleridge The brightness of the world, O thou once free, And always fair, rare land of courtesy!

O Florence! with the Tuscan fields and hills, And famous Arno, fed with all their rills; Thou brightest star of star-bright Italy!

Rich, ornate, populous, all treasures thine, The golden corn, the olive, and the vine.

Fair cities, gallant mansions, castles old, And forests, where beside his leafy hold The sullen boar hath heard the distant horn, And whets his tusks against the gnarled thorn; Palladian palace with its storied halls; Fountains, where Love lies listening to their falls; Gardens, where flings the bridge its airy span, Ami Nature makes her happy home with man; Where many a gorgeous flower is duly fed With its own rill, on its own spangled bed, And wreathes the marble urn, or leans its head, A mimic mourner, that with veil withdrawn Weeps liquid gems, the presents of the dawn; Thine all delights, and every muse is thine; And more than all, the embrace; and intertwine Of all with all in gay and twinkling dance!

Mid gods of Greece and warriors of romance, See! Boccace sits, unfolding on his knees The new-found roll of old Maeonides; But from his mantle's fold, and near the heart, Peers Ovid's holy book of Love's sweet smart!

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ARTTOUR INTERNATIONAL SPECIAL ISSUE ARTTOUR INTERNATIONAL APRIL 2013 Photography courtesy of Florence Design Week 2013 © Copyrights. All rights reserved.

FLORENCE DESIGN WEEK Florence design week is a display of show cases designed to further develop and save the historical, cultural heritage of the city through Botero, Fernando “Ex - of hundreds international, unique exhibitions. voto” 1970, Oil on canvas 240 x 192 cm.

The showcase takes in the historical center of the city of Florence, and in the area of Le Murate, a fifteenth century walled-in complex, that also served as a prison for a century, until recovered by well known architect Renzo Piano.

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Photography courtesy of Florence Design Week 2013 Š Copyrights. All rights reserved.

Captivating & Intriguing

By Alessio Santiago Policarpo - Florence, Italy One of the most captivating and intriguing events in the Florentine cultural scene is no doubt Florence Design Week, that closed its third edition last year with an excellent increase in presence (+15%), amounting to 30,152 visitors. This year the fourth edition will take place from May 22nd to 26th, when an even greater success is expected.

This event is dedicated to exhibiting items and works by the most brilliant interior designers, artists, architects, graphics and stylists from all around the world.

All their creations are characterized by a very high quality, due to an authentic

artistic inspiration aimed at c o m b i n i n g f u n c t i o n a l i t y, modernity and elegance. Besides being the right occasion to discover refined and esthetically attractive items and inventions, this festival holds its status as a springboard to young talents always in the front line with cutting edge, innovative and original solutions.

As the uncontested capital of beauty and history, Florence provides the best international tendencies in contemporary art, design and fashion with the ideal background to meet and interact with each other, giving life to superb exhibitions.

On this occasion we met Marta Mandolini, an expert specializing in art and design p s ych o l o g y, c o - fo u n d e r o f Florence Design Week and event curator for this festival. She accepted to answer our questions.

Q. The last edition’s t h e m e wa s C o n n e c t i n g Time, implying the idea of a l i n k b e t we e n p a s t a n d future. What will the 2013 edition be about? On which criteria did you base your selection? In which way will the underlying theme find reflection in the works being shown to the audience?

Cont. Next page

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ARTTOUR INTERNATIONAL SPECIAL ISSUE ARTTOUR INTERNATIONAL APRIL 2013 Photography courtesy of Florence Design Week 2013 © Copyrights. All rights reserved.

Photography courtesy of Florence Design Week 2013 © Copyrights. All rights reserved.

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A. This year the theme is Crossing People. People come together and get in touch with each other’s experiences and wishes through a twine of events where different styles intermingle to shape a new design culture. That is more or less what accounts for the “peak” of this edition. The theme was picked up quite spontaneously.

Or rather, it was the natural evolution of the experience from last year, when visitors gathered with the protagonists of Florence Design Week 2012. They scattered during the day and met again at night, even for a happy hour, sharing their experiences and doing network. Along with new collaborations and contacts – some of which of international bearing the event produced a fruitful style contamination.

Florence offers a magnificent setting in May, which gives its distinctive character to a Festival that, far from being impersonal and cold, is perceived as a 360 experience: a mix of business, culture and entertainment.

The involved designers and artists are

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Q. Which prestigious locations in Florence will be the framework of this Festival? Which kind of relation and interplay do you want to create between historic places and works on exhibition?

A. Among the illustrious and culturally relevant locations where the Festival will take place a special mention is deserved for National Central Library, Bardini Museum, Bombicci Guicciardini Strozzi Palace, Murate Compound, the National Archive, Minerva Grand Hotel, Borghese Palace, Oblate Library and Palagio di Parte Guelfa, where the Florence Design Week inauguration will occur.

Spot by spot, the effect at stake will be determined both by the content of each intervention and the theme on display in each location. Design is aimed at expressing the national culture of each designer and artist. Art proves therefore to be a vehicle of awareness, in the extreme thirst for contemporary culture shown by a town which, beyond its past, is bound to yield day after day a significant contribution to contemporaneity.

Q. We know that Palazzo Borghese as well as Hotel Minerva will host interesting exhibitions. Do you feel like quenching our curiosity with some previews?

Photography courtesy of Florence Design Week 2013 Š Copyrights.

All rights reserved.

invited to freely interpret the relevant theme transposing it into outfits and works while taking part to related activities as far as it goes: exhibitions, conferences, workshops, happy hours, buffets and etc.

A. Well, that will be a surprise! I just can say that is not without reason that we have chosen these locations: Palazzo Borghese is an ancient aristocratic residence, dating back to the XVth century. In the XIXth century it became the first casino in Florence, and thereafter an elegant private club, which is still Cont. Next page

Information: www.florencedesignweek.com/

Photography courtesy of Florence Design Week 2013 Š Copyrights. All rights reserved.

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ARTTOUR INTERNATIONAL SPECIAL ISSUE

Photography courtesy of Florence Design Week 2013 © Copyrights. All rights reserved.

there. Competing with a historical context of such a rank is both a challenge and It’s really a competition and honor for contemporary artists to compete with a historical context like that.

The second location, Grand Hotel Minerva, overlooks Santa Maria Novella Square, and it is a concrete example of marriage of art and design. In fact inside the hotel it’s possible to discover interventions of reorganization due to famous architects Scarpa and Detti. It’s possible to enjoy one sculpture and some lithographs by Emilio Scarpa too.

Q. Marta, as a Cofounder of the Florence Design Week, can you list for us the strong points of this event, and, looking at the future, can you tell us what your plans are about?

A. Thanks to an event entirely dedicated to design and contemporary art, our strongest point is the capability of livening up the town with a twist of contemporaneity, attracting lots of international hosts and stimulating the creative scene in Florence. First of all, I wish to highlight how far this festival, with the help of its supporters, contributes in building up a reliable and concrete network in constant expansion,

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which is gaining in strength and innovation for each year that goes by.

This event didn’t proceed from a hierarchical schema: its development went from bottom up, fulfilling the genuine wish to give rise to a contemporary Florence – a town likely to become unmistakable to everyone all over the world because of a living profile which is expected to last far beyond the limits of the festival.

In short, Marta described us her vision on art and design, which she explains as an intertwining of styles, customs, innovations, generations, speeches and cultures. She further maintains that exhibiting in the background of Florence Design Week is synonymous with being involved in an international event with the right numbers to generate a dialogue between subjects from different sectors: artists, architects, artistic directors, buyers, designers, managers and business men. These are all good reasons to take part in this wonderful event.

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FLORENCE DESIGN WEEK 2013, MAY 20th to 26th in a selection of prestigious and active locations in Florence. Professionals from all over the world, companies, universities, buyers, art directors, enthusiasts, artists will gather in Florence. In the heart of the city, in the most beautiful days of the year, for an all-around experience of Life Style, Pleasure, Art de Vivre in the name of the business and conviviality.

Crossing People, the them of the Festival, will be expressed through meetings, open to the large international audience. The creations of designers and artists will be involved.

People Cross an unusual Florence, aware of its historical heritage and the value of its present, to be immersed in a route where in the National Central Library and then Bombicci Palazzo Guicciardini Strozzi Design combines the special value of places.

People Cross through new scenarios of sustainability and innovation, in a series of interactive experiences at the Complesso della Murate, where workshops, speed dinners, cultural shows and entertainment will alternate between sustainable business, and digital culture in collaboration with FabLab and ToscanaIN.

People Cross during the meeting “Chromo Sapiens, the Evolution of Color in Architecture and Design” at the Archivio di Stato, which in addition to conference will host an exhibition of the original models of architecture from the collection of the ‘900’s and innovative work of young international designers, from May 21st to May 25th.

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People Cross the distances between, Italy, Brazil, Russia (Lungarno Collection), the United States, Taiwan, Spain, England, Denmark, China, to gather in the various areas of the Festival where Design reveals itself as an expression of deep culture in to fertilize new meaningful collaborations.

People Cross the concept of design to meet the large landscapes of International Contemporary Art at the elegant Palazzo Borghese and Grand Hotel Minerva, in strong collaboration with the partner magazine Arttour International, in collaboration with Vivid Arts Network.

People Cross in Art.Co Contemporary Craft, in collaboration with CNA Florence for a second experience of reflection and action on “Made in Italy” handcraft, for “Made Deluxe”, the encounter between the art of light and contemporary jewelry”

“Florence Design Week 2013 Crossing People” will be this and much more!

Contact Info: www.florencedesignweek.com See us in action! To view the live broadcast of this exhibition, log on to ATIM WEB TV (https://www.youtube.com/ user/ArtTourIntMAGAZINE) on May 28th 2013.

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May 2013

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ATIM’S TOP 60 MASTERS OF CONTEMPORARY ART 2013 It’s here, now!

We here at ATIM are ecstatic to introduce to the public a highlyanticipated and ground-breaking new publication – a testament to our dedication and involvement with some of the most talented and inspiring artists operating in the world today; this publication is our Top 60 Masters of Contemporary Art 2013 catalogue!

We have had the privilege of working with such an incredible array of magnificent artists since our very first issue. Masters such as Fernando Botero, Fabian Perez, Rafael Espitia, Chris Dellorco and Belarmino Miranda Montoya have helped this magazine to look like a masterpiece in itself, featuring works by these incredible artists on the covers as well as within, so that even mere glances through the pages transport you into a colorful world of delicate artistic brilliance, rendered from the imaginations of these wonderful creators. These artists, and so many more, have given their time and energy to provide us with interviews, art, and glimpses into their processes which our readers have greatly adored – and for that, we at ATIM have decided to at last pay tribute to such generosity and talent.

The purpose of this catalogue is to honor the artists who have contributed over the years and taken part in previous issues to help make ATIM what it truly is. Without such amazing contributors, who knows where we would be?

On top of our amazing past contributors, as if their involvement alone was not enough for this publication, this catalogue also includes a myriad of talented artists specifically chosen by us from over 5,500 artistic submissions. These selected artists demonstrate the outstanding quality and incredible zeal that sets ATIM contributors apart from others – the dedication, drive and fascinating technique that astound our readers. If you are a collector, curator or gallery owner, these artists that we have carefully selected are artists that you might want to keep an eye on – who knows where the future will lead them?

This edition is especially unique in its design aspects; whereas most magazines are collaborative efforts among the crew of the publication alone, this edition has been designed with meticulous feedback and involvement from each artist who is contributing, in regards to how their specific page should look and be laid out – an unorthodox method, but yet another reason why ATIM values its astounding artists and is so loved by the public. From the front cover reminiscent of the style of the classical masters by Michael Dumas with his work “Influx”, to the back cover which leans more towards modernism in the photography “Emerge” by Suzanne Duncan, and throughout the interior which was organized overall by ATIM’s Graphic Designer Alan Grimandi, this special edition catalogue is brimming with the creations of some of the world’s most awe-inspiring artists – an eclectic mixture that is sure to be enjoyed by everyone!

A video presentation and a behind-the-scenes expose will be featured on the ATIM Web TV channel to show our readers the immense amounts of work and dedication that it takes to complete such an endeavor as the compilation of this catalogue. Stay tuned and watch for the video on June 25th, 2013!

Cody La Vada, May 2013 Managing Editor & Resident Writer

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A note from the curator!

No words can describe the privilege, honor and absolute joy of being in touch with so many wonderful creators! I believe artists to be divine creatures, worth all of our respect.

This publication is not a list of artists or a collection of works thrown by accident into the pages of an art book; this publication is a celebration of love – or, better yet, in the words of the Colombian master, Belarmino Miranda: “Solo amor y arte” – “just love and art.”

This is a celebration of years of work and dedication in the lives of a group of individuals that have turned their passion into their careers. Beyond beauty, aesthetics and techniques beyond any illusionary perfection - lies their reality. It is not perfection that causes the meeting between creation and creator, nor our trivial, egotistical pursuit to do better than one another; something amazing happens when the creator gives himself over completely and surrenders to love, the painter becoming one with the canvas, the sculptors fusing with the stone. Art happens when the artist lets the masterpiece reveal itself. And then there is the fusion of the two, with no one leading - just two becoming one, just love and art in a vast universe. That is how masters work and how masterpieces are created, more often than not; the masterpiece outlives the master and remains as a testament to the miracle that once took place, when creation brought to life a creator and when the creator produced what the world considers a precious gift.

“What no eye has seen, what no ear has heard, and what no human mind has conceived . . . !”

Viviana Puello - Florence, May 2013 Curator & Art Director Arttour International Magazine

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State of the Art Design! Published four times a year, ArtTour International Magazine brings articles of exceptional interest on, personalities, trends and events shaping the international art world in a visually stimulating package full of vibrant images in a stunning design.

PUBLISHED BY ARTTOUR INTERNATIONAL PUBLICATIONS 601 W 174TH ST NEW YORK, NY 10033

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ARTTOUR INTERNATIONAL SPECIAL ISSUE “Dynamic”_Acrylic on canvas_80 x 100 cm by Friedhard Meyer at the “Crossing People” International Exhibition. Art for Florence by Vivid Arts Network

Vivid Arts Network “Crossing People” International Exhibition Art for Florence at the Florence Design Week 2013

By Coddy LaVada - New York Vivid Arts Network is pleased to present, in collaboration with ArtTour International Magazine, “Crossing People”- a collective exhibition presented for the “Art for Florence” program during the 2013 Florence Design Week!

This exhibit will display contemporary art at its very best; presenting a wide range of masterpieces in various mediums (such as sculpture, photography, landscape, figurative and abstract painting, surrealist and magic-realist www.arttourinternational.com

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ARTTOUR INTERNATIONAL SPECIAL ISSUE “Time of king” .95x75, Oil on Canvas 2012 by Sergey Roy at the “Crossing People” International Exhibition. Art for Florence by Vivid Arts Network

strain), artists from all over the world will have the chance to have their work seen by vast crowds of art aficionados.

This year, the Grand Hotel Minerva and the Palazzo Borghese in Florence have opened their doors to host one of the largest and most-anticipated events of the year, centered within this veritable hub of creative ingenuity.

Painters, sculptors and photographers alike ventured into the Tuscan territory with the goal of exposing contemporary art in the ancient city of Florence through images, narrative logic, harmonic structure and eloquent rhymes.

The “Crossing People” International Exhibition captures the incredibly inspiring atmosphere of eclectic art and showcases the talent of artists embracing worldliness and, in some cases, www.arttourinternational.com

withdrawing into the mystical purity of introspective discovery. The show brings new breadth and a revitalized sense of wonder to a familiar theme in the art world – that of the discovery of the self and the examination of the enigmatic “human condition.” It is poignantly ironic that this exhibition is being held within the city of the classical masters, as it employs the distinctive touch of modernism for which the Florence Design Week Festival is justly celebrated.

The artists whose works are featured in “Crossing People” explore our universe as well as the human experience and imagination, bringing to light the mysterious facets of humanity and expressing unique insight to the puzzles and problems of existence.

These artists have used their creative instincts and skills to create gorgeous artistic manifestations of their narratives and discoveries that transcend the mediums in which they create and extend outward May 2013

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“Good Old Times” by Claudia Birkheuer” at the “Crossing People” International Exhibition.

Art for Florence by Vivid Arts Network

into the hearts and souls of all who behold their works of genius.

With over 50 works of art on display, including numerous paintings and photographs as well as stained glass, bronze sculptures and textiles, the exhibition is vast in its scope and broad in its diversity.

Arranged loosely, the pieces of art represent a delicate labor of love orchestrated by Viviana Puello, the Curator and Artistic Director of the Vivid Arts Network, along with the Vivid Arts Network’s team of curatorial assistants who have made this monumental event possible.

With such magnificent coordination going into it, and with such outstanding artists involved, it is no wonder that “Crossing People” is itself so highly anticipated - a marvel of a display, a creative circuitry variously visual, aural and kinetic, whose radiating lines yield new sights and visions at every juncture, www.arttourinternational.com

exploding like the synapses of the brain with creative passion and fervor. True to their cause, Vivid Arts Network continues to broaden the public's view in the city of Florence with this staggering display of modern art.

The Vivid Arts Network International Exhibition: “Crossing People” will be on display May 2013, the 20th through the 26th. The exhibition is also available for viewing at the Vivid Arts Network homepage (www.vividartsnetwork.net) in the form of a virtual catalogue that gives viewers the unique ability to peruse the exhibit if they cannot be there in person.

See us in action! To view the live broadcast of this exhibition, log on to ATIM WEB TV (https:// www.youtube.com/user/ArtTourIntMAGAZINE) on May 28th 2013.

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ART FOR

E C N E R FLO

“CROSSING PEOPLE” EXHIBITION CATALOG

Enjoy a wonderful display of art in the next 14 pages.

Sponsord by Vivid Arts Network

WWW.VIVIDARTSNETWORK.NET Sculpture “Hands” by Cheri Mittermaier www.arttourinternational.com

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ADKA http://adka.com A playful, original style, highlighted by bold colors, unique forms and a close attention to movement Perhaps Adka’s most defining hallmark is her use of color, which is applied in two distinct ways.

Background hues seem to dance along the page, infused with both light and movement, while foreground colors are bold, contained within clearly defined forms.

ALDO BASILI www.aldobasili.it As a result of an attentive and long lasting research, he started to create the so called “Photo-Paint”, works which were acclaimed by the public and the critics alike: “Turin’s Fantasies” and “ Venetian Follies” have been his first productions and are still in progress. Basili is actually realizing new series of thematic works of art.Researching and experimenting the creative processes and elaborating the photographic images are the trade mark of his artistic trial and he is recently much involved in planning new activities as well in the editorial field.

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ARMANDO CABBA www.armandocabba.com Armando Cabba is a born and raised Montrealer.

Art found him at the delicate age of 16 after a tumultuous childhood.

He gets his inspiration for painting through urban decay and drawing from personal relationships. His paintings are deeply intimate and exude a realism that makes him unique from the popular illustrative art of today."

ARNOLD GONZALES www.arnoldgonzales.com My paintings represent a blend of personal feelings and memories connected to my family and culture, which inspire me to evoke serenity and capture simplicity. Sometimes I’m moved to create work vibrant with expression and energy.

Yet I always follow the same process, concentrating on keeping the image simple, honest and real. In short, my deepest hope is that viewers will find my art simple, honest and timeless, and that it will bring joy to people’s lives.

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AZIRALILI www.aziralili.netgaleria.eu Aziralili graduated from the University and it opened up more creative juice and selfexpression. What enspire her is the science .

Her paintings are structurally diverse expressions resulting from the repetitions of similar elements.

Aziralili is multiple awardet, her artworks are by Museums , prestigious Gallerys and privat Collectors all over the world .

WENDY COHEN www.wendycohen.net.au Wendy Cohen’s dreamscapes of abstraction takes us to an adventurous journey of visual excitement and fantasy. With her colorful palette and expressive style Cohen’s rich textured paintings are infused with a sense of healing, well-being and spiritual energy. Focusing on the human form, influence by African art, her spontaneous work of feerless brushstrokes and invigorating freedom leads us to embrace the human experience and its full range of emotions.

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CHERI MITTERMAIER www.cherimittermaier.com My work is about the dream world. I get many ideas from my dreams. I want the viewer to determine his or her own interpretation of my work. We all have our own subconscious thoughts, so everyone views my work in his or her own way. Our subconscious thoughts come together for a brief moment while viewing art.

A native of Fort Wayne, Indiana. Graduate of Purdue University, Bachelors degree in Psychology with a concentration in Humanities and Fine Art.

CLAUDIA BIRKEUER www.claudiabirkeuer.de Claudia Birkheuer was born 1955 in Duesseldorf, Germany. She lives and works in ErkrathHochdahl near Duesseldorf. Studied German Literature, Comparative Linguistics and Communication with degree "Master of Arts". After her studies she worked more than ten years as a journalist for press, radio- and tv stations. She works as an artist since 1997. In Germany she was trained at: European Academy of Art, Trier, Free Academy of Art (fadbk), Essen Museum Kunstpalast, Duesseldorf, Art School Neuss Private studies: Painter Albert F端rst

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DURGA www.durgagarcia.com “I strive to make an image that people want to look at closely. My fine art images rarely show identity, have a timeless quality, with often the unexpected.� durga Garcia, A published, International Award winning photographer of fine art images. Having images in Public and Private collections.

A Florida based professional photographer of projects, portraits and art for artists.

EDNA MIRON-WAPNER www.ednamironwapner.com As an artist with specialties in Printmaking, Sumi-e Painting, Calligraphy and Papermaking, Edna Miron-Wapner has exhibited in museums and galleries worldwide.

Born in Tel Aviv, Israel, she lived and studied bilingually in Montreal, Canada and returned to Israel, making Jerusalem her home.

The physical beauty, mystical light and spiritual reverberations of Jerusalem became the inspiration for her artwork.

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FRIEDHARD MEYER www.gallery-friedhard.de 1940! !

1959 ! !

1960 – 1965 1967! !

1971 – 1973 Schweinfurt 2002! ! ! !

2011 2012

born in Nueremberg Graduated High School Study at Technical Uni. Munich Begin of Painting Activities Artistic Education at VHS Design of the Citizen Medal for the Municipality of my town LDX-Gallery, Beijing Art Palm Beach , Florida

JOSEPHINE PITITTO www.josephinepitittoart.com As a result of an attentive and long lasting research, he started to create the so called “Photo-Paint”, works which were acclaimed by the public and the critics alike: “Turin’s Fantasies” and “ Venetian Follies” have been his first productions and are still in progress. Basili is actually realizing new series of thematic works of art.Researching and experimenting the creative processes and elaborating the photographic images are the trade mark of his artistic trial and he is recently much involved in planning new activities as well in the editorial field.

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LEROI JOHNSON www.leroicallwelljohnson.com LeRoi Callwell Johnson of Buffalo, New York has been presenting his artistry for more than 45 years, utilizing his varied thematic tones to craft consistently eye-catching and aesthetically pleasant art forms “ Through oils and acrylics, I fuse abstract themes and subtle commentaries with African influences in order to create, bright, colorful and original paintings.”

MARTHA ROSE GREINER www.martharosedesigns.com Art critics have described her work as “There is an understated incandescence to the images that is both contemporary and classic all at once. Her works related so strongly to the very concept of perception; your style places you in an artistic realm that is somehow dream-like, almost surreal, yet not quite there, as if some ghostly memory from a far-away place; yet somehow entirely familiar a vision that resonates with the viewer long after viewing”.

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MARY LYNNE ATKINSON www.atkinsonartworks.com

Mary Lynne Atkinson, B.A., Wilfrid Laurier University, is known as a landscape artist and portraitist. During 2012, Atkinson exhibited in the SNBA Salon 2012, Carrousel du Louvre, Paris, the Gallery Brenart, Brussels, the Galeria Esart in Barcelona, Spain, Toronto Art Expo, and many regional venues. Her paintings are in national and international collections.

RACHEL SIMONSON www.rachelsimonson.com My current series of works, the Cityscapes, started as an exploration of the technical challenge of combining palladium print photos and oil paint media. This evolved into layering images from various places in the world I have visited to create my own landscapes to reflect an emotional state or feeling. My Cityscapes create an integrated emotional milieu from disparate sources that have meaning to me, but my goal is for others to develop their own synthesis of meaning and emotion from these works.

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PAUL UYEHARA www.pauluyehara.com Paul Uyehara was born in Seattle, Washington.

He studied at Chouinard Art School and Otis Art Institute. Early works include landscapes, still life, portraits, life drawing and sculpting. He then focused on the study of colors, their permutations and impact of one color on or near another in abstract paintings.

ELIZABETH UYEHARA http://www.elizabethuyehara.com Elizabeth Maltbie Uyehara was born in Ohio; was a fine-arts major at Oberlin College and studied at Otis College of Art and Design. The surface textures and light reflections of her canvases change with light sources and time of day and were created to enhance the viewer’s personal experience.

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ROSIE LONGHI-de BOÜARD www.galerielonghidebouard.fr Rosie LONGHI-de BOUARD back the layers of matter on the canvas, and the continued signed articuled in search of on abstract futuristic and dynamic with his work »the colors of my country » with whom he had a degree of reporting in the seventh GB MORONI TROPHY 2012” M.Grazia Frassetto Curator New-Artemisia Gallery Bergamo

RYAN GROOT www.grootart.com Ryan Groot was born in Winnipeg, Manitoba, Canada. Ryan's work has been shown throughout Canada and the United States. Ryan enjoys working in various mediums including acrylic, oil, graphite and ink. Rather than limiting himself to one or two styles, he tries to reflect his experience and feelings through choosing the best medium and style for what he is trying say. His constant inspiration is his beautiful wife and daughters, as well his extended family and friendships

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SAHATARCH PITTARONG www.sahatarch.com My works are a unity of visual language and a story telling. It is a narrative art that is connected extremely contrast point of view in real and surreal, harmony and inconsistence, tradition and innovation, ancient and modernity. Using the visual narrative reveals the invisible within the visible is the key point to generate a profound sense of symbolism and reflects an eternal universal message to stimulate a viewer perception for getting a fascinate experience in their own vision and their mind.

SAHIR KHAN www.sahirkhan.com Sahir is a California grown Illustrator studying Graphic Design at CalArts. Using photomontage and digital painting techniques, his style blends drawing and photography to create detailed illustrations. When Sahir isn't on the grind, you would likely find him with his friends, in search of the next best picnic spot.

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SERGEY ROY www.sergeyroy.com.ua Born:1958. Poltava, Ukraine Education: Kharkiv Art and Design institute (1981-1986) Museums and collection: Jacksonville College (Florida, USA); Khmelnitsckiy National Art Museum (Ukraine); Poltava Art Museum (Ukraine); Modern Art Gallery Poltava (Ukraine); USA, Germany, England, Russia, Ukraine,Poland

SHARON T ROSS www.sharonross.co.uk My figurative works are literal and abstract. They concern dissimulation, and how true feelings can be hidden behind a mask. The masks hide any form of identity. Who is behind the mask? The masks enable the wearer to act more freely. I can relate the concept of the masks to everyday life, as everyone wears a mask of some description to hide their feelings, emotions, they wear a mask in a professional capacity or to interact with different people and family. My work reflects my feelings and emotions on life and I hope that this transmits itself to the viewer. On the other hand, interaction

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SUSANNE HOUSER www.susanne-hauser.com Since 1992: one person and group shows in cities( museums, galeries, international art fairs) like St. Moritz, Cologne, New York, Philadelphia,, Freiburg - Germany; Geneva, Lausanne, Bern, Athen, Glarus and so on.

Spotlights of exhibitons: Swiss Institute, New York; Pentimenti Gallery in Philadelphia, Kunstverein Freiburg, Olympic Museum Lausanne, Olympic Games Athen, Biennale Dublin; Murano Museum in Venice; Art Museum in Glarus

SUZANNE DUNCAN suzanneduncan.net Photographer and creative director Suzanne Duncan has not only worked across the world’s seven continents, but has also had her work published in leading fashion magazines such as Elle, Cosmopolitan and Vogue and is featured in a book called “International Masters of Photography”. She has exhibited in Australia and the USA and is now making her debut in Europe.

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VIRGINIA ARREGUI www.virginiaarregui.com.au My recent work has concentrated on this range of ceramic tile paintings. These paintings have been inspired by the amazing tile murals that I’ve admired throughout Europe. I feel that my work is a modern day version of this old ceramic art.

Creating these artworks takes me away to my favourite places around the world.

WLADIMIR TASOFF www.wicked-vlad.deviantart.com Wladimir Tasoff was born in 1970 in Russia and he currently lives in Ecuador.

He studied art at the Academy of architecture in Volgograd, Russia.

He had 5 solo exhibitions in the Russia and Ecuador and about 25 group participations in different countries as Russia, USA , France, Ireland etc., His works belong to private and public collections in many countries.

Wladimir is an awarded artist and he is a member of the New York Realism Fine art.

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T E R E S A

Y O U N G

PAINTING MEDIA: ACRYLIC ON CANVAS Artist website: http://www.teresa-young.net/

“Seraphic Symphony” Acrylic on Canvas

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HARI

LUALHATI PAINTING MEDIA: OIL ON CANVAS Artist contact: http://harilualhati.yolasite.com email: harilualhati_artist@hotmail.com

“In the Name of Love” Oil on Canvas

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