Five hundred years later Wenner hit the scene and anamorphic — or 3d — street painting was born. "Three-dimensional street painting is my own invention wenner said in an email to the Star. "I created it by studying a type of anamorphism that existed in the 17th century.". Climbing scaffolding to examine baroque frescoes in churches across Italy, wenner noticed the artists had used elongated figures to make their works appear normal when viewed from the ground. "I started creating my particular perspective geometry by adjusting the proportions of the painted forms to accommodate the viewpoints of the spectators standing at the base of the work wenner said. "Unlike traditional anamorphic compositions, such as church ceilings, the viewing angles were very wide, and I started to use a curvilinear fish eye lens to document the compositions." The son of a mathematician and a music teacher, wenner painted his first mural for a santa. Ice cream shop when he was. Wenner now lives in California.
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At the moment i am redoing my website to be more informative and offer giclée prints of drawings and pastels. Elizabeth Haggarty, toronto Star-, if the sidewalk in front of you suddenly opens up to reveal the depths of Hell, you've probably stumbled across the work. Street writing artist, geometry innovator and former nasa employee, wenner has been mastering the art of 3D drawings since 1982 when he abandoned his native california to study renaissance painting in Italy. Covering sidewalks in images of beautiful sirens and marauding monsters for pedestrians to stumble upon wasn't always part of Wenner's plan. "One day, i saw a street painting and asked the artist what he was doing wenner writes about his early days in Rome on his website. "he explained the tradition of street painting in Europe to me, and after viewing my museum drawings asked if I'd like to paint the head of an angel while he went to lunch. Working with the chalks came very naturally, and from that point. I've been street painting wenner explains. Street art has a history in Italy dating back to the 16th century, when vagabond artists called madonnari would draw religious effigies on the streets with the hope that passersby would throw money on them in hope of a miracle or blessing. But back then 2D was the norm.
Working in public areas is an entirely different issue for. If i am not in physical discomfort, i can honestly say that I really enjoy working in public. There is a certain energy i get from the spectators guaranteed that is really enjoyable and conducive to creating. What are you working on now? I am working on creating books and programs that will teach geometry, perspective and illusion as well as classical drawing and painting. I currently have a book out, Asphalt Renaissance, which covers my street painting experiences and the history of the art form by Sterling Publishing in New York. I have also developed a new kind of stereoscopic street painting that premiered in London.
In the beginning the reaction was surprise, wonder and a bit of confusion. Now people approach the image with expectations of what to see. The diffusion of the images has been broad. I sometimes miss the old days for the reaction of the audience. What's the hardest part about working outdoors and doing art in public areas? What's the best part about it? Working outdoors is first not comfortable like it is in the studio. The environment is often too hot or cold, the light may be harsh the or dim, and it can be noisy and distracting. Sometimes it is so pleasant that one feels privileged for the experience, but this is rarely the case.
Much of my current work is done for promotional purposes, and this can influence the designs. Many companies come to me with conceptual briefs based on my past work, but i also have a large cache of new ideas for projects. This is very important for keeping the work fresh. By creating designs for the fun of it, and then shelving them, i can often present a creative solution that is innovative even when there is a very challenging deadline. What are some of the best responses you've seen to your street art? Street painting has always had a fantastic popularity with the public. It is difficult to imagine another art form that would have such a widespread demographic.
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Street painting initially requires a lot of courage. Few artists are immediately comfortable sharing their creative process; it bolton is intimidating to them. What I have found is that the process results in a catharsis. The artist learns that the public does not actually understand the process well enough to be critical, and is truly fascinated by the creative process, even if it is imperfect. It is a great liberation to learn this.
That being said, street painting for tips was initially a survival skill. It was immensely difficult, but the rewards have been proportional to the effort. How long does it take to complete a project? I usually spend about a week and a half on the conceptual part of a project and a week to ten days on the execution. I have a lot of preparation done for a number of possible future projects, and this makes it possible to produce works faster if need. How do you come up with ideas for new installations? Do you work with companies or brands for promotional pieces?
I started creating my particular perspective geometry by adjusting the proportions of the painted forms to accommodate the viewpoints of the spectators standing at the base of the work. Unlike traditional anamorphic compositions, such as church ceilings, the viewing angles were very wide, and I started to use a curvilinear fisheye lens to document the compositions. My own geometry is different from the 17th century works, and I have not published. It combines a logical use of linear perspective with a projection outward from the human eye. Other artists that emulate the three-dimensional pavement works use a more traditional geometry called "quadratura" that does not involve complicated calculations.
They do not understand that my geometry is unique. What's your favorite project that you've completed? Is there a least favorite or one that was most challenging? I think the image "Dies Irae" remains my favorite work because i learned the most from. Now i am working on stereoscopic street paintings, which are a lot of fun. I am happiest when i am trying to solve an interesting problem. When it is solved, i tend to move on to another idea or problem. Do you like crowds gathering to watch you work?
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At the time, it was not a sophisticated art form, and my drawing skills were more than sufficient in order to distinguish myself. Working with the chalks came very naturally, and from that apple point on i've been street painting. The three-dimensional street painting is my own invention. I created it by studying a type of anamorphism that existed in the 17th century. For several decades artists designed large works to be seen from one specific point of view. I was invited to climb the scaffolding in several churches to see he frescos up close during the restorations. i even touched the sistine Chapel ceiling. On some of the baroque ceilings I noticed that the figures were elongated to appear normal from the ground. I was aware that my street paintings were subject to similar viewing circumstances- people looked at the work from an angle rather than straight-on.
I started to paint on the streets of Rome, italy in 1982. I bob was studying in the museums directly from the great master works of art and needed a way to make ends meet. For six months I spent eight hours a day drawing and learning from paintings and sculpture. At first I sold the studies to tourists and museum guards, but it did not cover my expenses. I did not speak italian and had no permission to work in the country. One day, i saw a street painting and asked the artist what he was doing. He explained the tradition of street painting in Europe to me, where it was a traditional form of folk art. After viewing my museum drawings he asked if I'd like to paint the head of an angel while he went to lunch.
We recently stumbled across some trippy art by artist Kurt Wenner. Wenner's specialty is the centuries-old practice of street painting. But what sets him apart from other artists who cover swaths of public space with their work is that Wenner's work. It appears to drop deep beneath the ground into another world-one often filled with characters from Greek mythology or a fairytale. We asked Wenner a few questions about how he creates his larger-than-life installations and what it's like to be an artist working in the midst of a crowd. He's also been kind enough to share some photos of his art with us; check out the full gallery on his website. How did you start doing street art, and how did you develop the 3D style?
Hospodar, exhibits his sidewalk murals of classical compositions — destined to be washed away by time and rain — that might have put Michelangelo to shame (at least the church let him do his indoors). Wenner, who learned perspective and dimension in Italy, is one of an increasingly popular breed of street performers who earn tips for their artistic labors. At least the bills are higher denominations these days, as Wenner is invited the world over to decorate various public spaces. "It is interesting for me to see the way in which the different cultures perceive my work he writes. "In Europe and the United States, the impermanence of street painting is foremost in the public's mind. To eastern minds, the impermanence of street painting is completely natural, even unremarkable. They are most fascinated parts by the drawing style itself, which is very exotic and intriguing to them." "Asphalt Renaissance" is an art book, with startling color photos of the work in situ, often with observers standing around providing context. But it is also a process book. Although Wenner's own comments are sometimes inspiring and the text is enlightening The invention of an entirely new form of perspective was born out of Wenner's need to make an irrefutably original artistic statement within the context of classicism i could have done without the.
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Menu, email Address, thank you! Articles on Kurt business Wenner- full Document- pdf. New York times Sunday book review, december 2, 2011 Steven Heller. Today realism is just one more fashion, which can leave a renaissance talent out in the cold. That's exactly where kurt Wenner often works. A former scientific illustrator for nasa, wenner is a street artist par excellence, who draws amazing original works (and occasional reproductions) in chalk and pastel directly on the street. Asphalt renaissance: The pavement Art and 3-d illusions of Kurt Wenner (Sterling Signature, paper,.95 by wenner with.