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Clemente Francesco
Francesco Clemente
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This catalogue of recent works by renowned Italian painter Francesco Clemente proves that his oeuvre has only grown richer and more complex over the years. The sumptuous, transcendent works presented here are driven in particular by Clemente's instincts about the use of color - in some he limits himself to warm oranges and greens, creating a soft, sensuous atmosphere that reflects his lifelong love of India and tantrism. In other works here, however - namely the "grisaille self-portraits" - there is an emphasis on black that recalls classic Western painters like Titian and Rembrandt, and points to darker and more intimate areas of the self. It is through this meeting and mixture of the aesthetic languages and prophecies of East and West that Clemente has produced his best work, and the work in this monograph testifies to the pleasures of art that ignores boundaries in its investigation into the psychological and spiritual essence of life.
Francesco Clemente, who enlivened the New York art scene in the 1980s along with a handful of other image-conscious Italians, including Sandra Chia, is said to be a reclusive artist who guards his privacy, but this richly informative book makes that assertion difficult to believe. Clemente himself has always offered a good deal of autobiography to his viewers, with works that have explored his own visage (and other parts) with relentless interest and introspection. And now comes Francesco Clemente, filled with intimate pictures shot by his friend Luca Babini in Clemente studios from New York to New Mexico to Naples. Packed to bursting, the photographs show Clemente working away, with wife, kids, and dogs in tow. With its pictorial richness--paint-spattered floors, trampled rags, stacked canvases, raw-edged, unstretched paintings stapled to huge walls, encrusted studio shoes, and scores of photographs of works in progress--this book will be devoured by other artists, who will turn the pages in a lather of envy, not necessarily for Clemente's fame and success, but for the huge windows and high ceilings of his various work spaces. Clemente is a fecund artist, and there are many wonderful shots of his art--whole walls and tables full of it--that make a succinct statement correlating productivity and achievement. Clemente has contributed a kind of prose poem for the first part of the book, in which he discusses being a painter, and there is also a rambling essay by art writer Rene Ricard on artists' studios from ancient Egypt to the Renaissance. But the pictures are the point of this book, and they handsomely reward the reader's attention. They constitute an invitation to spend time--years, in fact--with a painter whose inventiveness, ambition, and style have made him one of the most successful of his time. --Peggy Moorman
Clemente
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Francesco Clemente has, since the 1980s, been a leading artist in the international revival of expressionist figure painting and sculpture. Clemente's subjects--rooted in both the physical and the surreal, spiritual worlds--create a vast body of work that appeals to diverse audiences. Clemente draws upon a pan-historic web of impulses, mediating among the myriad cultures of the ancient Mediterranean, Byzantium, Europe, India and America. Stylistically his work recalls the Italian Renaissance, Indian miniatures, European Romanticism, Abstract Expressionism and Pop Art. Clemente's widespread cultural interests and nomadic lifestyle--New York is his home but he spends part of each year in Italy, India and the New Mexico desert--have deeply affected his art. This lavishly produced catalogue accompanies the first major survey devoted to the painter.
This finely wrought, lush, 500-page volume does justice to the wide-ranging oeuvre of one of the most open-minded, ambitious, and productive artists of the late 20th century. The catalog of an exhibition at New York's Guggenheim Museum in the fall of 1999, it contains a wide range of writings, including Robert Creeley's haunting poetry, a thorough chronology, and half a dozen essays, including the introductory "Once You Begin the Journey You Never Return," by the Guggenheim's Lisa Dennison. In accordance with Clemente's paintings and drawings, the book touches on themes from Indian mysticism, prayer, the body's pores and orifices, family bonds, and a number of metaphysical and physical concerns, being and nothingness among them. In the essay "Rooms," Francesco Pellizzi draws a long thread through cave painting, Meister Eckhart's sermons on the soul, Renaissance Rome, and Clemente's wall paintings to arrive at "the transmodern sense of a shifting place of origin; every step, every station, is the first and last in this vortex, a maelstrom animated by an eros that is enveloping and inevitable but also, in the end, joyous...." Clemente's art, which lays bare his obsessions with sex, self, and spirituality and explores them with a constantly surprising range of intense color and formal invention, stands in bracing, deeply pleasurable opposition to the desiccated, design-bound, theory-driven work that has dominated so much art of the last 25 years. Art historian James Elkins has described making graduate students copy, stroke for stroke, works by Monet and other painters, to give them a feel for "What Painting Is" (as he titled his recent book). Clemente raises the stakes a notch, demonstrating what painting might be, if we were to allow ourselves to be drenched in its myriad possibilities. --Peggy Moorman
Saint Sebastian: Or A Splendid Readiness For Death
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The cultural-historical starting point of Saint Sebastian: Or a Splendid Readiness For Death is found in Gabriele D'Annunzio's Martyrdom of Saint Sebastian: A Mystery in Five Acts, a musical play on which D'Annunzio collaborated with Debussy and in which the role of Saint Sebastian was taken by D'Annunzio's lover, the dancer Ida Rubenstein, whose transvestism in the role brought denunciations from the Church. But that is another story. Nevertheless, our Saint Sebastian is similarly arranged into five thematic focal points: Sebastian as the "exemplary sufferer" (Susan Sontag); as multifarious icon of the history of civilization; as saint, who attracts misfortune upon himself in order to avert it from others; as fetish of erotic subcultures; and as vamp and dandy, whose beauty only blossoms in its full splendor when caught in the throes of excruciating agony. A sixth thematic point sneaks in here, and Saint Sebastian is brought up to date as the great "ecstatician" of art history. Oh, and the art. Contemporary artists whose work is explored through the lens of Saint Sebastian include Ron Athey, Louise Bourgeois, Chris Burden, Francesco Clemente, Bavo Defurne, Kirby Dick & Bob Flanagan, Cerith Wyn Evans, Eikoh Hosoe, Derek Jarman, Adi Nes, Luigi Ontani, Catherine Opie, Ana Maria Pacheco, Pier Paolo Pasolini, Paul Schrader, Kishin Shinoyama, Fiona Tan, Wolfgang Tillmans, Joel-Peter Witkin, and David Wojnarowicz.
Francesco Clemente: Made in India
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Francesco Clemente (born 1952) first visited India in 1973, and was immediately enchanted by its chaotic blend of modernity and antiquity. In the country's larger cities like New Delhi and Madras, Hindu iconography joins in the larger visual cacophony of advertisement posters and hoardings found on temple exteriors, wayside shrines, cinema houses, shops, restaurants, buses and taxis, proliferating in an irreverent bombardment of spirituality and commerce. Nine years later, Clemente would acquire a home in India, dividing his time between New York, Italy and Madras. The artist's iconography reaches deep into Indian religious art and its extraordinary presence in urban visual culture, and his art is profoundly characterized by this resource, as well as by other spiritual traditions flourishing in India, such as Theosophy. Francesco Clemente: Made in India is the artist's love letter to the country. It compiles hundreds of drawings, collages and notebooks made over the past few decades, revealing Clemente's ever-active, image-hungry eye and conveying the great wealth of the vast iconographic archive upon which his work draws. Also included is a 1992 conversation between Clemente and poets Allen Ginsberg and Peter Orlovsky, expanding on the influence of Indian culture upon western art and literature in recent decades.
Francesco Clemente: Works 1971-1979
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Francesco Clemente: Three Worlds
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Clemente Francesco News
Clemente siblings: good taste times four - Los Angeles Times
Los Angeles Times, CA - May 23, 2009
Los Angeles TimesClemente siblings: good taste times fourIn the case of siblings Chiara, Nina, Pietro and Andrea Clemente, a famously stylish crew based (mostly) in LA, there's no doubt that growing up in an art incubator of a family had more than a little to do with it. Their father, Francesco, a noted
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La Vida LA: New York Takes LA in 'Our City Dreams' - BlackBook Magazine
BlackBook Magazine, NY - May 11, 2009
La Vida LA: New York Takes LA in 'Our City Dreams'I left a little over a year ago, and there I was Friday night, in a theater, watching a movie, written and directed by a New Yorker (Chiara Clemente, the daughter of a famous painter Francesco Clemente) which was about five female New York-based
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Slide Show - New Yorker
New Yorker, United States - May 11, 2009
New YorkerSlide ShowThe May 18, 2009, issue of the magazine features Salman Rushdie's short story “In the South,” with drawings by the artist Francesco Clemente. Here is the series of drawings inspired by “In the South”; they will be exhibited at the Museo d'Arte
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Displaying a Taste for the Moderns - New York Times
New York Times, United States - May 23, 2009
New York TimesDisplaying a Taste for the ModernsToday, at 62, he is still on the lookout for works to add to his 1000-piece-plus collection of modern and contemporary art, which includes artists like Jeff Koons, Jean-Michel Basquiat, Francesco Clemente, Donald Baechler and John Currin.
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2009 racing has begun - Rowing World Cup - WorldRowing.com
WorldRowing.com, Switzerland - May 17, 1845
WorldRowing.com2009 racing has begun - Rowing World CupHeat Three opened with Shaun Keeling and Ramon Di Clemente of South Africa in the lead. The Beijing Olympic finalists looked together and in control as they moved out to a boat length lead over France's Germain Chardin and Dorian Mortelette.
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