Richard Ozanne c.2010 Travels for Art 2003-2006. The artists mission is not necessarily an easy one, though many people pop it off as being, less worthy than other professions. I believe, and it is in full vestment of this gift that I have worked with since a youth...that being an artist is one of the highest professions. An artist has to deal with the creative realm. In this realm there are many many obstacles to be encountered. Paintings have to be painted...in Italy I did hundreds of Plein Aire...and sketches that never made it from the studio..to be painted over again and again, to find a perfection true in every last quantity of every vision proposed to me and then would have to suffer the hours of writing, and proposing the possibilities of exhibitions. No it is not a pastime...this artists life is a full time committement for anyone that choosed to embark upon it. That my travels would seem substantial at this point is somewhat extraneous information...I had traveled the road before here in Italy in 1990. It took many years to return to the places I had began. In Rappalo 1990 I had turned some 90 canvases, exhibiting them, facing being a foreigner, criticized for the manner in which I worked as a student...and learned. I learned from the masters. Upon every mile that I made there was a lesson to be met, a challenge to be incurred and a development to be had, if not in terms of art...other developments. Many of the people I met in 1990 were still active artists when I returned in 2004..and some irony that I should hook up with these artists again throughout the years! In Torino the very connections I had with my academy had taken place in full many years previous. Each artists mile is earned...as development is earned. The artist is on a mission of faith and hope. This career is not for everyone, although some will gather that it is nothing more than a mere hobby, I suggest that one reads the biographies of the "Great Masters" and make an appointment with a local academy, to try and test ones materials, test ones vision over 1000's and 10's of Thousands of critical and clock hours-Hours of training and then put it to the test of a foreign exhibition...or foreign residence. Although some people may have an idea or concept of a artists life as being a vacation of sorts, I ask these readers to promptly reconsider, and study the terms of art and what art is about...in visual art, literature and sculpture, as well as the written arts.
Thousands of miles travelled in Europe, part of the journey of an artist in Italy. A wonderful list of places Ive travelled to and seen as a part of my journey.Places travelled 2004-06:
Torino (Turin) Exhibited Frequently
Venaria Reale (Lived and Worked 2003-2006)
The Mountain Regions of Piemonte and the Alps.
Juan Le Pin
MonacoForeign Travels during residence:
Prague (2004-06 a return to Czech Republic)
This is just a small list of experiences, and places that I have been to make appearances or work outdoors as an artist for this segment of my career....well over a million miles otherwise...at what point will the artist ever see home, when he/she is on a venerable mission of creativity.
As I look back, the mission...sometimes by train, bus or car was difficult.. and time consuming. Many memories here. There were some hang-ups with being a foreigner (aka American exhibitor) on some legs of these trips People, generally Italian people, with very traditional ideas of what art is about related my work as being either Central European (Influence) or French. Sometimes the word "American!" would come smacking forward with some distain in reference to some modern artists...Andy Warhol, Jackson Pollack and others. Sometimes my own work was up to some rather "critical" debate. It was not if I could draw or not that was the singular source of criticism..because surely I can. It was the mode of art that was often presented. Bold Colors or very muted colors were often seen as of "other cultures" mostly Austrian influences...Munich School. Some of the varieties of the work that I had to show were clearly Munich influence, especially in the handling of still-life subject matter. (German School) Over drawn and under lit subject matter in still-life tended to bring up questions even through (purely my own work) subject to questions of French influence of Chardin and Fantin Latour. Now Fantin Latour was one of my favorite painters as Puvis d'Chavannes and Bougereau. To the words "Bougereau" they simply replied "you have good taste..!" How many times had I heard that!
Religious subject matter was alway questionable. Was I catholic or did I have catholic tastes in mind? Was I influenced by Italian painters and where. My knowledge of art history had to be keen. Yes Michelangelo-and Da Vince were some of my influences (indirectly)...but moreover, Titian. I liked Crivelli and of course
the Venitians. But I was an American, and clearly after seeing some of my work, even the more traditional, my work was ecclectic and full of nuances that gave influence another name.
I remember taking my work across Italy by Cinqua Cento-Fiat 500,the small miniture 4 seat automobile. My work would be stacked on the roof! I remember a mechanical breakdown right before a show where a farmer would come with his brother to rewire and push-start the Cinqua Cento down the road...barely making the set up time. On another occasion I remember coming across from Czech Republic with two large portfolios and many works into Torino. It was a sad day....I had to change in Milano and take another train across and into Torino. A big wind came and my work spread all over the rail-way yard! I kid you not, a terrible incident...then people came to help...the gypsies and then the rail workers to gather it up. Somewhere in Italy that particular day allot of my work was lost. It was in Torino when I had to call a friend to pick me up with the payload...and she was not there.