NATALIE RICHY

Dedicated to my dearest mom Sophia

Natalie Richy took her creative inspiration from the National Gallery collection. By associating her paintings with Old Masters’ art she would like to attract attention

to the traditions of classical fine art.

“Discovering the National Gallery”Personal Exhibition

About “Discovering the National Gallery”exhibition:http://natalierichy.com/discovering-the-national-gallery

The polyptych of Natalie Richy brings together people from centuries and countries apart – saints, counts, nobleman, along with unknown strangers in the horizontal multi-figure composition.

There are no indications toward space in which the people have been painted except for some architectural details achieving the sense of depth only by depicting separate elements and bright

draperies, allowing easels to take a symbolic place right next to the people. To revive the appearance and pay attention of the viewer to the symbolic meaning of the colours, Natalie Richy uses red and blue for a bright emphasis. The left side of the painting is dark, only the faces of people, and the drapery are exposed to light, while the appearance becomes

“Discovering the National Gallery” series, 2012, oil on canvas. Size of each painting: 76 × 102 cm; size in panoramic arrangement: 535 × 102 cm

lighter toward the right and human figures almost emerge from the dark. The human figures become not only brighter, but also more expressive, only the faces are clearly painted. In such manner the composition is bestowed with a certain dynamic reflecting a forward motion, aspiration toward the new in the meanwhile remembering the heritage of the past – it depicts the flow of time – the meeting of the past and future.

There are many ways to unveil the museum, especially if it stores one of the most impressive collections of paintings in the world. Upon visiting a museum, each person arrives at own subjective conclusions, impressions that are often subjected to the narrow framework of like and dislike; thus the work of art is looked upon in a superficial manner. Natalie Richy offers an in-depth look with her original approach. To create the 21st century art, she has drawn inspiration from the old master traditions, the heritage left from 15th to 19th century. The series of paintings by Natalie Richy is a monument of the collection of National Gallery of Art, thus contributing to the history of art.

With the use of motives and parts of the paintings that have been created in various countries and are often separated by tens and even hundreds of years, Natalie has managed to tell a new story. She has selected 33 paintings from the unrivalled collection of National Gallery to create seven of her own. The seven paintings possess a common style and together form a polyptych.

Natalie Richy successfully has solved the complex task by allowing the viewer to see the pieces of old paintings, in the meantime avoiding collage effect. With her individual treatment and style of painting, she creates stylistically united and philosophically ambiguous artworks, the basic premise of which reveals itself in the panoramic composition employing Sacra Conversacione principle.

Continuing old master tradition and thus returning to the classic values, Natalie uses oil painting - a technique that allows a precise depiction of detail and gained assent in European painting at the late 15th century. It is no coincidence she is inspired by the art of Renaissance, the time when the role of individual personality grew and found reflection in art. Author impacts each figure with a unique individuality, self-worth and thus creates paintings with human as its principal value.

Inspiration from the old masters

In the beginning there was the end

Three persons are depicted behind an easel and look at the viewer with a calm and confident look. The background of the painting is dark, without any spatial illusion and only the faces of the persons, the hand, and the red drapery are exposed to light. In the features of oldest man, the viewer can recognize a portrait painted by an unknown Flemish artist in 17th century as well as motifs from Michael Coxcie’s painting known as “A Man with a Scull” from 16th century. A middle-aged man might be a few decades younger counterpart of the latter; however, his prototype is in the painting of “The Portrait of a Musician” painted by Bernardo Campi in 1565. Because of the red drapery on the easel, the identity of third man remains unrevealed - the viewer is allowed to see only his eyes. And there is plenty more for the one’s interpretation left – “In the beginning there was the end” announces the title and the hand of the oldest man lies on the skull the depiction of which in the North-European paintings of 15th and 16th Century was an unmistakable indicated toward the shortness of life, a warning of the imminence of death – “memento mori”.

Conspiracy

The painting depicts half figures of three men on a dark and abstract background, whereas the spatial sense is achieved with a basis fragment of an antique column. In the centre of the painting the viewer can see Eldzar the Great – Count of the East Friesland painted by an unknown German artist in the 18th century. Over 18th century count’s shoulder is somebody who looks just like “A man in back holding glove” painted by Bartholomeus van der Helst in the 17th century. On the right side of the painting we recognize the young man as the accomplice of Alexander the Great in the painting of Paolo Veronese “The Family of Darius before Alexander” created in 1565-7, and same as in the original the man is dressed in armour and wears a red cape.

Portraits created in different centuries are joined in the same painting, and it seems it is the only connection they have with each other. This impression is accomplished by making the men looking at the same direction without crossing the sights, thus achieving an effect of a surreal estrangement.

The saint for everybody

Saint Demetrius from Ortolando’s painting of “Saints Sebastian, Demetrius and Roch” painted in 1520, stands in the foreground. He is thoughtful and heavily leaning against his sword. Behind him in the depth of the composition viewer one can see Saint Sebastian - his prototype can be found in the Giovanni Battista Cima da Conegliano’s artwork created in 1500.

In Natalie Richy’s interpretation, the arrow pierced body of Saint Sebastian is depicted in the shades of grey, thus creating a sculptural effect. Artist offers a different view on the traditional site and in the painting covers the upper part of the saint by drapery, thereby restricting the viewer from direct seeing the suffering.

I am you

Jesus Christ, who is painted in the centre, retains the same qualities as in the artwork painted of the motives of Corregio in the 16th Century and is known as “Christ presented to the people”; only here his sight is turned sideways, as it may be seen in the altar painting by Ambrogio Bergognone in the 16th Century. Virgin Mary is from “The Virgin adoring the Child” by Lorenco di Credi painted in 1490-1500 with her head bowed down in a prayer.

The hands of the people lie just like in the popular 18th century “The Game of Pied de Bœuf” as illustrated by the copy painted after 1725 by Jean-François Detroy, in which the plot is of light-hearted and playful nature. Nevertheless, Natalie Richy assigns a completely different meaning to this gesture by emphasizing the dramatic effect of the plot.

The blue drapery on dark background imparts dynamics and asymmetry, which is furthermore intensified because of use of the red color in foreground.

The Conqueror

In this painting, people are depicted as being in motion - it seems as if the painted man had swiftly turned his head to see something behind the left shoulder of the viewer. The effect of dynamics is enhanced by the spear of the knight that crosses the dark asymmetric area of the painting and comes in contrast with the vertical column.

The blond young man is just like the 16th German man’s portrait by unknown master, only in the interpretation by Natalie Richy, he is dressed in armour and looks younger. A person wearing a headdress characteristic to 16th century leads him – old man knows his way and looks very certain. The viewer him/herself can decide which of both the conqueror actually is.

Seduction

The lady in the centre has the facial features of Saint Margaret of Antioch as painted by Francisco de Zurbaran, and details characteristic to this century may be found on her dress as well. Chronology is mixed by the 18th century portrait of Madame de Gleon on the left. The remote effect of it is achieved by merging shapes and softening facial features. This effect even further enhanced by the contrast of her dress with the detailed depiction of the elements of the dress belonging to the woman in the centre of the painting, offering an almost realistic sense of the material.

In this painting Natalie Richy depicts women’s fascination through the ages, which remains the same as the time goes by and symbolizes the nature of feminity.

Art is the only immortality

The lady, to whom the artist has attributed her own facial features with a lowered gaze, is depicted behind a man. Even though his clothes resemble the fashion trends of 19th Century, arrangement and make up nevertheless make one to look upon him as a person who is not attached with a certain place and may be even put in a painting depicting future or is he just the imagination of artist.

The persons and the drapery fully merge with the surrounding environment upon softening of their material boundaries, their faces being depicted almost as a piece of visual reality. With the dominance of the blue and brown appearance, the colour becomes a formal self-worth. Nataly Richy has created a sense of incompleteness in this artwork, thus indicating toward paintings that shall be painted in the future.

Written by Ieva Rosne, Art Historian

Secrets of Female Sensuality

In oil painting, Natalie works only in traditional techniques. She has learned old oil painting methods developed from the time of Jan van Eyck, and used up until the Impressionist period. By using these conventional painting techniques, Natalie Richy keeps the traditions of the old masters alive. Through practicing and comparing different approaches, she has developed the most suitable method for her artistic goals. With Natalie’s accrued painting skills, she can concentrate and experiment on developing her own style.

These are her views on the subject: “Every person is a universe of thoughts, emotions, desires and believes. There are no two persons alike and I, as the fine artist would like to surface the depths of the souls of people I paint.”

The series of five paintings:

“Do not Touch Me”2011, oil on canvas, 150 x 120 cm

“The Girl who is Dreaming her Life away”2011, oil on canvas, 120 x 150 cm

“I have Nothing to do Today”2011, oil on canvas, 120 x 150 cm

“Illusion of Dreams”2011, oil on canvas, 120 x 150 cm

“Sophia’s Secrets”2011, oil on canvas, 120 x 150 cm

Developing a style

Natalie Richy has graduated with a Master’s degree from the Latvian Academy of Art, and since graduation has been working in London, creating her figurative art compositions and portraits in oil and graphic. Her main focus of interest in fine art is the inner and outer beauty of human beings. She expresses the complexity and multi-dimensional world of humanity through fine art mediums.

About Natalie Richy

Natalie Richy had participated in more than 30 fine art exhibitions around Europe. Her works are held in private collections in Latvia, UK, USA, France, Russia, Lithuania, Denmark and Switzerland.

Web Art Academy

Natalie Richy is also a renowned art teacher. She is the co-founder and tutor of the Art.WebArtAcademy.com – the online academy of fine arts. Hundreds of art students from around the world have already graduated from the Web Art Academy and are the proud owners of their Diploma of Excellence.

Natalie teaches her students knowledge that is so necessary, yet almost forgotten – knowledge of craftsmanship that will help them progress in their creative careers.

Natalie Richy art@natalierichy.com

NatalieRichy.com

© 2012 Natalie Richy. All rights reserved.