Nextlola's blog

Today I’ve been asked if I’m going to make other postcards inspired by famous artists and their works…the answer is ABSOLUTELY YES!

I don’t know yet who’ll be the next one…you can’t plan inspiration, it just suddenly takes you  to bring you where it wants…that’s how it happens with Klimt’s artworks, one day I woke up and I just couldn’t resist to make those three illustrations…not matter what was already scheduled, my soul just refused to do anything else.

I surely already have some ideas I hope to realize as soon as possible, as to remake at least one illustration from the works of: Edward Hopper, Alphonse Mucha, Tamara de Lempicka, the Pre-Raphaelites Brootherhood…. although I am not sure yet if my style will match well with these great painters’ styles.

But, if I could start a new art illustration right now it will very probably be “Marcella” (1910) by Ernst Ludwig Kirchner. He his one of my favourites painters, and I still remember the joy of finally finding (it was a very long treasure hunt, especially if you don’t have any sense of direction and you’re moving in a huge foreign city) and visiting the “Brücke-Museum” in Berlin…the effort was worth it because I came home with a fabulous Marcella tote bag.

I love the idea to confront myself with such a powerlful image, and such vibrant colors.

From Wikipedia:

Die Brücke
(The Bridge) was a group of German expressionist artists formed in Dresden in 1905, after which the Brücke Museum in Berlin was named. Founding members were Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner and Karl Schmidt-Rottluff. Later members were Emil Nolde, Max Pechstein and Otto Mueller. The seminal group had a major impact on the evolution of modern art in the 20th century and the creation of expressionism.

Die Brücke is sometimes compared to the Fauves. Both movements shared interests in primitivist art. Both shared an interest in the expressing of extreme emotion through high-keyed color that was very often non-naturalistic. Both movements employed a drawing technique that was crude, and both groups shared an antipathy to complete abstraction. The Die Brücke artists’ emotionally agitated paintings of city streets and sexually charged events transpiring in country settings make their French counterparts, the Fauves, seem tame by comparison.