Summer Plans

I’m off for New York for my solo show at the Grenning Gallery which opens on August 6th. You can download a copy of the catalog here.

I also have recent paintings at  Carteret Contemporary Art and Vision Gallery in North Carolina.

While in the US, I’ll be teaching a four day plain air workshop at the Hamptons Studio of Fine Art in Sag Harbor, NY from July 25th to the 29th.

Montalcino Sketches

Here are a few of the sketches from our trip to Castiglione del Bosco.

View from La Befa. 25 x 35 cm, oil on panel.

Graveyard at La Pieve. 25 x 35 cm, oil on panel.

Cypresses at Quinciano. 15 x 30 cm, oil on panel.

Two views of La Piana. 30 x 20 cm, and 35 x 25 cm, oil on panel.

La Badia Ardenga and Montalcino. 20 x 30 cm, oil on panel.

View from La Piana. 20 x 30 cm, oil on panel.

Montalcino from Bibbiano. 25 x 35 cm, oil on panel.

Construction at Bibbiano. 20 x 30 cm, oil on panel.

Bibbiano Scalo. 25 x 35 cm, oil on panel.

There are also a couple of larger plein air pieces which I’ll post when I’ve finished them.

Castiglione del Bosco


I just got back from two weeks of plein air painting on one of the more beautiful estates in Italy. We were put up by a friend who asked me to invite excellent landscape painters from around the world for something of a symposium of painting. We had a good turn out: Ben Fenske, Jory Glazener, Joeseph McGurl, Edward Minoff, Rick Piloco and myself were the core group. Charles Cecil, Daniela Astone, and Mathilde van der Does de Willebois and Fiona Corsini came for shorter stays.

Here are some random photos from the trip.

We had perfect weather, great food and wine, excellent company, and it was one of the best seasons to paint in one of the more beautiful areas of the world. A resounding success all around.

Years ago I drove through the same valley where we stayed and always wanted to go back and paint there, so it was great to be offered this occasion in that exact spot.

Joseph McGurl is probably the contemporary landscape painter who had the most influence on my own work. I saw a show of his in New York when I was just starting out and it really made me see what was possible with landscape painting. It was great to be able to paint with him after all these years.

I’ll post photos of my paintings when I have a chance.

Art and Death

Art, for me, has always been two things. At its worst it is purely decorative (which, all things considered, isn’t so bad). At its best though I believe art is as close as a person can get to touching the divine. I don’t think we can understand god in any meaningful sense. Our brains simply aren’t capable. I use the example of my dog and mathematics. She gets two treats when we come home, but sometimes when we’re running low I give her one. She can clearly count to two, she follows me around the house wondering where the second one is. She is probably really proud of the fact that she can count to two. On the other hand she can’t do algebra or calculus and I doubt she is aware of the fact. For me, a human being’s understanding of god is like my dog counting to two. The reality is infinitely greater than anything we can imagine. The feeling of love (for lack of a better word) that comes with strong inspiration is, to me, as close as we will ever get. The surge of emotion a painter feels observing light on a withered old man, a beautiful young woman, or a Fiat Panda is us getting a small inkling of the vast beauty and power of what must be the divine.

With all of the metaphysical questions one deals with when confronted with the death of a loved one, my belief that my wife has gone somewhere which has something to do with this feeling gives me solace.

Art, for me, has never been a form of communication. Other artists I’ve spoken to find this strange. They say that is the main reason they create. I’ve just never seen it that way. I paint what I love, the world be damned. So it was interesting to me to see how communicative I found the art of others to be when mourning the death of my young wife.

These days people turn to online forums, therapy, counseling, and anti-depressants to deal with grief. Being the first of my friends to deal with a situation like this, I wasn’t really aware of the options and I looked to more traditional methods.

People say alcohol can be a crutch, I used it more like a wheelchair that first month. Even though being a functioning alcoholic in my profession is acceptable, if not encouraged, the problem with alcohol and grief is that the booze knocks the teeth out of the serotonin levels in your brain and the next day is much worse. Or so they say. The truth is that at least you feel o.k. part of the time. The real problem with alcohol for me is that it negatively affects my work. I think you could get away with being an alcoholic as a portraitist, but not as a landscape painter. The mornings are too important. Either way, I’ve toned it down lately.

I’m very thankful to have a fantastic set of friends. Both here in Florence and elsewhere around the world. It’s said your address book changes after the death of a spouse but my experience has been exactly the opposite. A few times I’ve had to hide from the concern, just to have a moment alone.

At the end of the day though, I found most of my consolation in art: Literature, music, sculpture and paintings.

When I was a kid I had to memorize the last paragraphs of James Joyce’s short story The Dead. It has always stuck with me. On one of my first nights alone in Florence we had one of our rare snows in the Mediterranean, I wondered if it was snowing on my wife’s grave across the Adriatic when I thought of the story. Poor Michael Furey, dead at 17, half my wife’s age.

Music is a wonderfully empathetic art form. I preferred the songs by widowers such as Casimir Pulaski Day by Sufjan Stevens, Blue Orchids and Katy Song by Mark Kozelek. Songs that don’t make any sense were, bizarrely, also of comfort. Songs like The Gardener by The Tallest Man on Earth, or Desolation Row by Bob Dylan (the Italian version).
There isn’t any sense to be made in the death of such a vibrant young woman.

Many painters have since written to me about their own loss of a loved one. At the beginning though I knew only of past artists who had lost wives and the art they left in their memory. I can’t say it made me feel better, but it did make me feel less alone.

Frank Duveneck was an American painter living in Florence in the 1880s. His wife, Elizabeth Boott, was the inspiration for Pansy Osmond in Henry James’s Portrait of a Lady (you can read more on their romance here).  They had also been married for three years when she passed away. He worked with a sculptor to create a monument for her. The original is here in the Allori cemetery in Florence. The monument was considered so beautiful that copies were made for the Met, the Museum of Fine Arts in Boston, and the Cincinnati Art Museum. They ask you not to take pictures in the Allori cemetery, but here is a photoof the Met version. I’ve visited the Allori version a couple of times recently and found it very moving.

Tomb Effigy of Elizabeth Boott Duveneck. Frank Duveneck.

Arnold Böcklin was another foreign painter living in Florence. He was commissioned by a widow to paint an image of grief. The result is the Isle of the Dead (Die Toteninsel) and he painted five versions (Serge Rachmaninoff composed a symphonic poem with the same name after seeing it). The image is based on the cemetery in Piazza Donatello where his four year old daughter, Maria Anna, is buried. My studio looks onto the cemetery, but in the 12 years I’ve been there I had never been inside until now. I looked to see if he had done a monument for his daughter but it was stolen earlier in the century when the cemetery was abandoned.

Isle of the Dead (Die Toteninsel). Arnold Böcklin.

William-Adolphe Bouguereau buried four of his five children and a young wife. He painted his Pietà in after losing his 16-year-old son in 1876. For a man who must have suffered so much in his life, I find his work strangely lacking in emotion.

Pietà. William-Adolphe Bouguereau.

Claude Monet’s wife Camille died at 32. He was 38 and penniless, like me. I read that he blamed his poverty for Camille’s death, and it was part of the reason he focused on becoming so rich later in life. While I believe Alba was failed miserably by her doctors, I don’t know if more money would have necessarily saved her. By the time we knew what she had there wasn’t much that could have been done. Monet painted Camille on her deathbed, and kept it in his bedroom for the rest of his life as one of his most prized possessions.

Camille Monet on her Deathbed. Claude Monet.

I haven’t painted for the last 6 months, which is also why I haven’t had anything to blog about. I did a sculpture of Alba and another of our dog which will be re-cut in marble for her grave. I’ll post pictures when it’s finished.

From my talks with other artists, it seems that not being able to work is a normal reaction. It hasn’t really been my season anyways. I hope to hit the ground running in May when I have painting trips planned to Montalcino and the Val d’Arbia.

Alba Teta Dalessio, May 24th, 1979 – December 7th, 2010

My wife passed away last month. She was 31 and we had been married almost three years. She had a malignant tumor in her frontal lobe which had been dormant for years but changed at some point recently. She died as Alba Teta, as she was going to change her name this year when her passport expired. Like most young couples, we had a lot of plans and dreams.

Alba was incredibly intelligent, full of life, and very beautiful. She is greatly missed by myself, her family, and her friends.

The blogging is going to be slow while I get back on my feet.

Open Studio on Friday

I meant to take a beautiful picture of our immaculately clean studio but never got around to it. Anyways, the details are thus: Open Studio at our gorgeous 19th century painting studio in Piazza Donatello (number 31) this Friday (the 26th) from 6pm onwards. Lots of new work on show this time.

Hope you can make it.

Update: Here’s a short time-lapse of the evening. I’m too lazy to run around with a camera all night.

Studio 31 Open Studio from Marc Dalessio on Vimeo.

The Swarthmore Bluffs and Garrapata Beach

Here are a couple of larger landscape paintings done in the studio, the Swarthmore Bluffs and Garrapata Beach. They are based on plein air landscape sketches from my trips to California the last couple of years. Although they were finished earlier this year, I just got around to photographing them.

The first is a painting of the so-called Swarthmore Bluffs where I grew up as a kid in Pacific Palisades, Los Angeles, California. I have a lot of memories of scampering around these cliffs as a kid and it is a view I’ve wanted to capture for a long time.

Painting of the Swarthmore Bluffs in Pacific Palisades, California.

The Swarthmore Bluffs, Pacific Palisades. 59 x 72 in, oil on linen.

While I’m discussing the painting, I’ve never understood why it was called the ‘Swarthmore Bluffs’. Only one of the streets that hits the cliffs is Swarthmore Avenue, and the road that runs along the bluffs is Via de Las Olas. Maybe Swarthmore was the first street they built out to the area? I lived on Mt Holyoak though, and since many of the streets are named after colleges, I assume it was a housing development.

The second is a painting done from smaller plein air sketches of Garrapata Beach in Big Sur, California. My folks moved up to Carmel Valley years ago, and I’m always incredibly inspired by the beauty of the area when I visit them.

Painting of Garrapata Beach, Big Sur.

Lifting Fog, Garrapata Beach. 59 x 72 in, oil on linen.

Recent Italian Plein Air Work

Here are a few recent larger landscapes. All done en plein air here in Italy.

Villa Argiano. 80 x 100 cm, oil on linen.

Benabbio. 80 x 100 cm, oil on linen.

Poggio delle Corti. 60 x 80 cm, oil on linen.

Sant’Angelo in Colle from Argiano. 80 x 100 cm, oil on linen.

Gualdo Cattaneo. 80 x 100 cm, oil on linen.

Bagni di Lucca. 60 x 100 cm, oil on linen.

Below are a few smaller sketches from a recent trip to Montalcino. I stayed at the beautiful Castello d’Argiano  and the reason there are no early morning paintings is due to their great hospitality and wonderful wines.

Montalcino, Sunset. 25 x 35 cm, oil on dibond.

Convento dell’Osservanza, Montalcino. 25 x 35 cm, oil on dibond.

Pieve di Santa Restituta. 25 x 35 cm, oil on dibond.

Castiglion d’Orcia. 20 x 30 cm, oil on dibond.