July 13th, 2024

Happy Saturday! I hope ya’ll had a great week. I’ve been mentally preparing myself for August 1st when my company is introducing mandatory hybrid work after exclusively working from home for the past four years. I’ve rebuilt my life and schedule around the convenience of working from home, so this will be a tough adjustment for me. But, I’m trying to turn it into something good and hey, at least I have an excuse to get another keyboard to use in the office 😆 I’m a big mechanical keyboard nerd and I haven’t expanded the collection at all this year so it seems like a good time. I’m just trying to stay positive amongst the terrible attempts to spin it as something great and “good for the office culture”. If you are in or have worked in a corporate environment, you know what I’m talking about haha.

This week we’re taking a deep dive into an Italian American artist with a wonderfully chaotic style. Hope you enjoy.

Artist Spotlight - Joseph Stella (1877-1946)

Career

Joseph Stella was born on June 13, 1877, in Muro Lucano, a small town in southern Italy. He was the second of five children in a devoutly Catholic family. Stella’s early education was steeped in the classical traditions of the Old World, which greatly influenced his later work. At the age of nineteen, he immigrated to the United States, settling in New York City in 1896. Initially, he intended to study medicine, but his passion for art soon led him to the New York School of Art, where he studied under the tutelage of William Merritt Chase.

During this period, he initially focused on realist subjects, reflecting the influence of his mentor Chase and the gritty reality of urban life. He was particularly interested in immigrant life and the bustling energy of New York City, which he depicted in a series of drawings and illustrations for various publications.

Stella's career took a significant turn when he traveled back to Europe in 1909. This period was transformative, exposing him to the avant-garde movements that were sweeping through the continent. In Paris, he encountered the works of the Futurists, a group of Italian artists who celebrated the dynamism and speed of modern technology. This exposure had a profound impact on Stella, igniting a fascination with the possibilities of abstraction and modernity.

Upon his return to New York, his work underwent a dramatic transformation. He became a leading figure in the American Modernist movement, and his style evolved to incorporate the bold, dynamic lines and vibrant colors characteristic of Futurism. One of his most famous works from this period is "Battle of Lights, Coney Island, Mardi Gras" (1913-14), a riotous explosion of color and movement that captures the frenetic energy of the famous amusement park. This painting was part of the influential Armory Show of 1913, which introduced European avant-garde art to an American audience and marked a turning point in Stella’s career.

Another landmark piece from this era is his "Brooklyn Bridge" series, started in the late 1910s. These works showcase Stella's fascination with the grandeur and complexity of the modern industrial landscape. The Brooklyn Bridge, with its soaring arches and intricate web of cables, became a symbol of the new age, embodying both the beauty and the mechanized power of the 20th century.

As Stella matured, his work continued to evolve. In the 1920s and 1930s, he began to incorporate more natural and spiritual themes into his art. This period saw a return to more figurative work, influenced by his renewed interest in Renaissance art and Byzantine mosaics. One notable example is "Tree of My Life" (1919), a symbolic and lush depiction that blends modernist techniques with more traditional, narrative content.

His later years were marked by frequent travels. He made several trips to Italy, which reignited his love for his homeland’s rich artistic heritage. This nostalgia is evident in his later works, which often reflect a harmonious blend of his modernist inclinations with the classical and religious themes of his youth.

Despite his success, life was not without struggle. The Great Depression affected the art market significantly, and Stella faced financial difficulties. Nevertheless, he continued to work and exhibit his art, maintaining his innovative spirit until his death.

Joseph Stella passed away on November 5, 1946, in New York City. His legacy as a pioneering figure in American modernism endures, with his works held in major collections around the world. Stella's journey from a small Italian village to the forefront of the American avant-garde is a testament to his enduring vision and the transformative power of art.

Contributions to the Art World

Stella was one of the first American artists to fully embrace the principles of modernism, integrating influences from European avant-garde movements like Futurism and Cubism into his work. His early exposure to these movements during his time in Europe, especially his contact with the Futurists in Paris, enabled him to bring a fresh, dynamic perspective to the American art scene. His painting "Battle of Lights, Coney Island, Mardi Gras" (1913-14) is often cited as one of the earliest examples of American modernist painting, capturing the frenetic energy and chaos of modern life in a bold, abstract style.

He played a crucial role in the landmark 1913 Armory Show in New York City, which was instrumental in introducing European modernism to American audiences. His participation in this exhibition helped to challenge and expand the boundaries of what was considered acceptable in art at the time. The show marked a significant turning point in American art, opening the door for future generations of modernist artists.

Stella's willingness to experiment with different styles and media influenced many contemporary and future artists. His work demonstrated the importance of cross-cultural and cross-disciplinary influences in the development of a vibrant, innovative art scene. Artists such as Charles Demuth, Georgia O'Keeffe, and Marsden Hartley drew inspiration from Stella's bold use of color, line, and composition.

Style

Stella's process for creating his iconic urban landscapes, such as the Brooklyn Bridge series, involved extensive preliminary studies and sketches. He meticulously planned his compositions, often visiting the sites multiple times to capture different perspectives and details. His use of perspective and geometric forms was influenced by both the architectural structures he depicted and the abstract principles of Cubism and Futurism. The resulting works are characterized by their intricate, almost kaleidoscopic arrangement of lines and forms, creating a sense of awe and complexity.

Throughout his career, drawing remained a fundamental part of his creative process. His early training in illustration and his continuous practice of drawing allowed him to explore and refine his ideas before committing them to larger works. His sketches often reveal the meticulous planning and thought process behind his complex compositions. These preparatory drawings are valuable insights into his method, showing how he balanced spontaneity with precision.

Stella was a well-read and cultured individual, fluent in multiple languages and deeply engaged with literature and philosophy. These intellectual pursuits informed his creative process, as he often drew upon literary and philosophical themes in his art. His writings, which include essays and critiques, reveal a thoughtful and reflective artist who saw his work as part of a broader cultural and intellectual dialogue.

Influences and Lessons

Stella's friendship with Marcel Duchamp, a leading figure in the Dada movement and a pioneer of conceptual art, heavily influenced his artistic thinking. Duchamp's radical ideas about art and his willingness to challenge conventional boundaries encouraged Stella to experiment with different styles and media.

He employed a synthesis of diverse influences—from traditional Italian art to the cutting-edge movements of his time into his work. This eclectic approach enriched his art, making it unique and multifaceted. Art does not exist in a vacuum. Engaging with broader cultural, social, and intellectual movements can provide valuable context and inspiration for artistic work.

Style Representation

Collectors Corner - Terri Moon & Santiago

Final Thoughts

It’s time for my favorite plot of the week! I’m working on some code based designs and this one really turned out well. I’m not entirely pleased with the top portion though, either the lines were a little too close together or my pen is a tad too thick for the intricate lines. As far as a fun experiment though, it definitely landed.

I have some Piet Mondrian inspired art in the works though and I’m excited to share that soon.

As always, if you enjoyed this edition I would really appreciate if you shared it. Just hit the share button below. And if you’re not following me on X yet, I’d love to follow you back. I’m also on Warpcast!

On that note, I’ll leave you with a quote that reminds me to stay consistent with little steps every day:

Enjoy your weekend, friend!

P.S. If you have feedback I’d love to hear it! A reply to this email goes directly to me.

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