evelinn enoksen

When it comes to art, I find painting the most fun, which is odd perhaps, because I didn`t start painting until 2006, before then it was just pencil and occasional aquarelles. But I do love to challenge myself, so I started with oil paint and completely hated it. It just wouldn`t dry, and I`m not the most patient of persons so I tried acrylics instead and have never looked back.

Here are some of my paintings in acrylics. This series is called Angels and currently hangs in a gallery in my home town. They will also be apart of Aadenian Ink’s anthology called Out of the Dark.


View original post

Continue reading

Bottega Tintoretto: Exhibition and courses

Quietly busy as ever, the team at Bottega Tintoretto in Venice are organising another exhibition – this time of works from course participants from the current year : “Tuti in Bea Mostra 2012“, a selection of drawings, sculpture, watercolours and engravings. As always, there will be a ‘concert of cin-cins, twixt snacks and smiles’ together with the easy,friendly atmosphere that is ever prevalent.

Opening Saturday 15 September at 18.30

In addition to which, new courses are starting Monday, 1st October,in watercolour,sculpture, drawing & engraving which continue until May or early June, although shorter courses can be arranged … and in English or French as well.

Passing through Venice? Pop by the exhibition and get a feel of the place; it is after all where Tintoretto lived and worked, in the backwaters of Cannaregio, Venice.

Tintoretto’s House,Fondamenta dei Mori, Cannaregio, Venice

Just to have a taste of what it is like :
Their website:  www.tintorettovenezia.it
Next time you’re wandering through, try visiting this area; it offers another little peek into  ‘hidden’ Venice …

Zen and the Art of Tightrope Walking

  Femme se Coiffant (woman combing her hair)

Extract from my journal 2nd July 2010

I’m sitting in the Degas room, contemplating a painting: Femme se coiffant. The semi-naked figure is combing very long dark red hair that must reach her hips. It’s texture is slightly rough, a little like the tail of a horse and her intent in restoring smoothness to her tresses hums through every line of the painting. You can feel the concentration even though you can’t see her face. There’s a powerful feeling as if in smoothing her hair she is smoothing her feelings, as if her emotions are being brought to order as she tames her hair. I imagine her as a fiery, temper-filled person, brimming with passion and vitality and a zest for life. It’s hard to remember that these luscious thick tresses only a few years from this will have been…

View original post 314 more words

Continue reading

A detailed look at one of Rubens’ magnificent portraits . . .

Making History Tart & Titillating

One can imagine the Marchesa Brigida Spinola Doria held a secret behind her lively expression.

Peter Paul Rubens painted her in 1606 when he, a keen student of the Italian masters, was 28.  She was 22, a pink-cheeked newlywed from a leading family in Genoa.  A year prior in July 1605, she had married her cousin Giacomo Massimiliano Doria after receiving a matrimonial dispensation from the pope.  This was a common exemption in canon law that allowed members of consanguineous aristocratic families to marry and proved especially useful where powers were centralized among the exalted few.

Although this portrait is considered one of Rubens’ finest, not much is known about the Marchesa.  We know that her first husband died and that she remarried, but there is no recorded date for her death.  If lengthy accounts of her life exist, they appear to be moldering in libraries somewhere.

Given the date of the portrait and her elaborate styling, she is believed to be wearing her…

View original post 334 more words

Continue reading

Making History Tart & Titillating

Yep, one step out into the rain and these stunning dresses would dissolve into wood pulp.  They are made 100% out of paper.  Hard to believe, right?  At a passing glance, even the close up can almost fool a costume enthusiast.  Looks like very stiff silk.

Isabelle de Borchgrave, painter by training turned costume artist by passion, wields rag paper with the lightest touch, stenciling, shaping, and voila!  18th century costume that nobody can wear.  All the more delightful, I say.  I love unusual art and this is no exception.  Working with textile designers, de Borchgrave also recreates Medici and Elizabethan costume, as well as various other periods, including recreating looks from paintings like Van Dyck. Her work was most recently shown at the Legion of Honor is San Francisco, but unfortunately, the exhibition ended a few weeks ago. Watch the video below if you’ve 11 minutes of concentration to spare.

Otherwise, here’s a couple…

View original post 35 more words

Continue reading

Animalia in Venice

Passing through Venice over Carnival time ?

After leaving the grandeur of San Marco, take a turn for Maria Formosa square . . . passing by the Querini Stampalia palace museum, go round towards the Bridge of Miracles and you will come across Sara Ghezzo’s studio : ceramics, engravings, drawings, paintings – and for the next few weeks (until the 26th of Feb) home to the exhibition ‘Animalia’ the theme of which, briefly translated, is :

‘Animals we love, animals we hate, animals we feed off, animals we exploit and defend . . .big or small . . . good or bad, mild or mad. Animals as we are.’

This slideshow requires JavaScript.

Works by, among others : Sara Ghezzo, Roberto Mazzetto, Florance Faval, Sara Flores Vio, Daniele Piccolo, David Prando, Marco Zanin, Matteo Bertelli, Franco Mescola …

It is a small space, but well-lit, and offers a bright corner for quiet contemplation of some gently thoughtful works, snails moving house, starfish basking under trees, and  works from Bottega Tintoretto: whimsical shells by Sara Flores Vio, Florance Faval’s mystic rocking horse, and a single work by Roberto Mazzetto entitled ‘Grazie Jack’; a simple drawing made in homage to Jack Vettriano.

As an added touch of fun, visitors are encouraged to take one of the yellow forms below and to choose from a list of definitions. These will be folded and placed in a vase and at the end of the exhibition there will be a draw – to suppress or save a work of art . . .

Suppress or save . . .

{After filling in the artist’s name, the viewer can choose from the following : 1)it’s a dragon 2)has no head or tail 3)parasite 4)other}


The whole exhibition has its own uniquely intimate feel, and a real sense of interacting with the viewing public. A breath of fresh air during the crowded season of Carneval, and a chance to see an often invisible part of the Venetian art world.

Where : Atelier di Sara Ghezzo, Campo Santa Maria Formosa 5846, Castello, Venezia


Painting of the Month | Paintings | The National Gallery, London

Painting of the Month | Paintings | The National Gallery, London.