Monthly Archives: April 2011

Staff News / May 2011

Martinho Correia

On Friday, March 25, 2011,  Martinho Correia’s painting Anastasis was accepted into the collection of Cardinal Mauro Paicenza. The work is a painting of the resurrection of Christ and was a result of Martinho’s 60-page Master’s Degree thesis, which looked at the influence of theology on the development of Christian Art and on the liturgy. This is Correia’s first work of art to go in the Holy See.

Martinho Correia "Anastasia"

Martino Correia (right) and Cardinal Mauro Paicenza

Michael John Angel

Michael John Angel’s painting Annigoni 1954—Angel’s portrait of the great painter, Pietro Annigoni, under whom he studied in the late 1960s—is now part of the collection of the Villa Peyron Museum. The portrait was commissioned by the Cassa di Risparmio di Firenze, for the show that opened the year-long celebration of Annigoni’s birth.

The Villa Peyron Museum is dedicated to the foreign artists who made their home in Florence and who dedicated their lives to the artistic principles that made Florence famous.

There is an announcement about this on the ARC home page (www.artrenewal.org/) with some lovely and provocative, brief quotations from Annigoni.

Michael John Angel, "Annigoni, 1954"


Villa Peyron Museum


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The Technical Page / Caravaggio’s Method

Caravaggio’s Method


There are tonnes of theories about about how Caravaggio underpainted his paintings. 
Below is a PhotoShop version of one of the many—each based on the available evidence—but MJA thinks that this is the most likely one. It’s certainly efficient. (Click on the image for a larger version.)

Essentially, this method comprises a three- or four-tone golden-brown field-colour underpainting onto which the main elements (the people) are worked up en grisaille, using black-&-white greys. This produces a very light base and cool, bluish transition tones onto which the semi-opaque, semi-transparent local flesh colours are broadly painted. This light grey underpainting causes the overpainting colours to glow, in a way that direct painting cannot match, and its “blueness” counteracts to a large degree the browning of the oils as the painting dries over the years. 

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