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Andy Volpe – About the Artwork |
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About my
Artwork: My
primary work is in Graphite/Pencils on Paper. I also love to work in
Printmaking, using Etching, Engraving, Wood Engraving/Xylograph and
Linocut. Sometimes I’ll work in
Watercolor, and have also worked in Oil and Acrylic, but I’m not big on
painting. My
subjects are mostly on Raptors / Birds of Prey. I adore Hawks, Eagles,
Falcons, and Owls. I think they are incredible creatures with amazing
abilities, and dare I say, a unique character. I also think they make
terrific art subjects with their unique lines and specialized, complicated,
difficult – if camouflaged - plumage and colors. Their eyes and their “look” are so powerful to me; it is
something I try hard to convey in my work. Every Raptor does have it’s own
“personality” (for a lack of a more appropriate term. As ”Character” doesn’t
quite sum it up) I also
will work on Landscapes and “Cape Cod Scenes” – Lighthouses and Tallships. I
consider my work in a ‘realistic’ style. I try not to be “hyper” or
“photorealistic”, I want to have a subtle element of character in my work,
while still having an element of an “open”, free, impressionistic feel to the
work. But, I try to
maintain a sense of accuracy and precise detail as well. Currently
I am a member of the Westboro
Gallery in Westboro, MA. It is a Cooperative gallery. My path
in Art: I like
the tell people I have been drawing since I was old enough to pick up a
crayon and nibble on it. I have
been drawing as far back as I can remember. I also remember spending time
doodling in my notebooks and on my brown paper book covers, perhaps much to
the dismay of my teachers. (But, thankfully I was always good at school
earning good grades) I started
taking private instruction around 1990-91 with instructor Christine O’Brien
in Southbridge (L’atelier de Christine). Along with my sister, Elaine, we
started the typical structure on learning art, starting with drawing
(charcoal, pencil), then working on painting in Oils. We worked from
references, books and calendars, as well as anything students wanted to bring
in (stuffed animals, toys, I happened to bring some of my scale model
aircraft). I was
never that big into painting. I
can do it, but I just don’t enjoy it as much as drawing. Although some of my
newer works I am considering the addition of color / paint to my work. I did
take some fine art classes in Junior High and High School; oddly enough at
the time, I thought/felt it was not as involved as the private instruction I
was taking, nor the mechanical drafting I wanted to go into. Although the
fine arts work I did in school was still beneficial, even if I didn’t
recognize it at the time. (I would be surprised if some of the ceiling tiles
I painted in Jr. High still exist!) After
graduating High School, I attended Westfield State College. (1996-2000) I
graduated with a Bachelor’s of Art in Fine Arts, concentration in
Drawing. I like to say my
“unofficial” minors were in Printmaking and Art History. Next to
Drawing, Printmaking is my favored medium. Printmaking is an interesting aspect of Art. It can be
both incredibly complicated, detailed, and time consuming, requiring a lot of
pre-thought, planning and precision – But can also be very open, free, loose. It was
something in the fine line detail, precision and discipline that I just fell
in love with. I’ve always been
“precise” in my work, minute details and accuracy was something I strive for
in my work. Perhaps it was
partly influenced from my work in High School in Mechanical and Architectural
Drafting that instilled this kind of diligence and detail. I also like the
aspect of trying to print several copies of a single image. In terms of selling my art, I like
the idea of being able to make my own copies of a work to spread out to the
world, rather than sell the sole original work. Part of
the blame can be placed on the Old Masters, such as Albrecht Durer, Albrecht
Altdorfer, Uls Graf, Hieronymus Bosch, Lucas Cranac, and Rembrandt. Artists
like Durer and Altdorfer were well known for their incredible precision and
detail in their Engravings and Woodcuts. What can I say? It was love at first
sight. Learning Art History was
another favorite subject, and I was excited to be able to learn/try the very
techniques of the Masters I had been learning about. As you
can see, Durer also inspired me to use my “AV” monogram, based on his. I started using this monogram
regularly in 2000, and it has now become my “signature”. Printing
work in College consisted of Wood block, Wood Engraving, Etching, Drypoint,
Aquatint, Collograph, Monoprint, and Lithography. (Professors Jaimie
Wainright, Pat Conant, and Gerald Wise) But it was Intaglio (etching,
engraving, drypoint) that I really enjoyed and wanted to do more work on. I
also gained a respect for Wood Engraving (Xylograph) for it’s incredible
detail, but also the wood blocks themselves were just beautiful to look at. After
College, I was a Teacher’s Assistant at Worcester Art Museum. I also had the
pleasure of taking Printmaking classes with the late Tom Lewis, where I
learned some Non-Toxic techniques for Intaglio; and also took classes later
with Randi LeSage, and more recently, with Eugene Charov. It was the “Open Studio” classes
where I got to make some of my personally favorite prints, such as “Golden
Eagle” (etching and engraving in copper). In
2004-05, I started to re-explore the techniques in use in the Late Medieval
and Early Renaissance Periods. Re-explore meaning I had taken a class in
College called “Ancient Painting” (Professor Marci Gintis), where I learned
about egg-tempera and encaustic painting, as well as gold leaf gilding. It
was one of my favorite courses. I was now becoming intrigued with Silverpoint
and other drawing techniques, as well as printmaking. At the same time, I got a copy of
Cennino D’Andrea Cennini’s “il Libro De’Arte” (Book on Art, aka “The Craftsman’s
Handbook”) published in 1437. It
was the same ‘textbook’ I had in the college course. Now, it opened a whole new door for
me on Old Master’s techniques to re-explore and use. I gave a
lecture with a good friend, Julie Collier of Wingmasters in 2006, where I explained
some of these techniques I had just started to research, while she gave a
presentation with her Raptors on the sport Falconry. Now, the
connection of Living History comes into play… After the
2006 lecture, I was chatting with Julie Collier and dear friend, author Resa Nelson, about Art, Me, and where I
was going. What started to evolve was the concept of developing an impression
of a Medieval Artist to bring to schools and colleges as a Living History
program, much as I do with my Roman Legionary programs.
It was also the start of a serious self-study and research in medieval art. 2009 saw
the “debut” of this presentation, first in March with
another “Medieval Art and Falconry” lecture, this time with friend Larry
Keating; and then my first school program in Shrewsbury in May. It was August
of 2009 that these nearly 10 years of research and art culminated with
another “Medieval Art and Falconry” presentation with Julie Collier. Talk about “six degrees of
separation” and “everything is connected” – yeah, it was a little profound
but a lot of fun too. Collier and Nelson are also the catalyst for my most
recent work, the “Falconer” series of notecards, based on “De Arte Venandi
Cum Avibus” (the Art of Hunting with Birds, written by Holy Roman Emperor
Frederick II in 1250). The illuminations in the manuscript are both vividly
colorful, and surprisingly accurate in their depictions of plumage detail in
the birds, as well as the clothing of the Falconers. (Please
see my Art Resume for a detailed listing of
projects and shows) My
thoughts and plans now are focused on working in these Old Master techniques,
as well as developing more in my presentation for schools. Some very recent discoveries I’ve
made and seen in the Art History world, has given me some more options and
techniques to explore, such as hand-colored (and multiple-block color)
printing. I’m also deeply fascinated
with Letterpress, something I hope I can explore more of down the road as
well…. Perhaps you may see me at a Renaissance Faire or some event one of
these days, working in these Medieval techniques. Thanks
for reading. |
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C: 2008 – 2009 A. Volpe |
