Jose Rodeiro Jose Rodeiro Art - New York Artist

» Grand Manner
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GRAND MANNER

The first grand manner paintings occurred within the School of Sykion during the reign of Alexander the Great. One of the first images was Apelles of Colophon’s famous and lost Battle of Issos that inspired Philoxenos of Eretria and Helen of Egypt’s missing copies, which resulted in the 1st Century House of the Faun mosaic copy, which was unearthed at Pompeii (Italy) in the 18th Century. As a style, both in painting and sculptural-relief, the grand manner persisted throughout Roman times; but generally disappeared in the Middle Ages. Then, in the Renaissance, it reappeared with Giotto, Masaccio, Botticelli, Leonardo, Michelangelo and Raphael, as well as other grand manner practitioners. The modern grand manner method emerged in the Baroque age, when Nicolas Poussin developed a theoretical approach based on classical modes or orders. Poussin astutely applied classical modes and orders to his art, e.g., when describing his image: The Rape of the Sabine Women, he stated, “I wanted to paint a painting in the Phrygian mode.” From Poussin onward to Picasso’s Guenica; James Rosenquist’s F-111 Fighter-bomber, and Duda Penteado’s Beauty for Ashes Project, the grand manner in art was always traditionally distinguished by grand themes, grand structures, and grand compositions, exemplifying an over-riding moment in time that defined everything pertaining to an event. Today generally, only epic cinema aspires to this daunting ambition to create complex (historical, mythological, and religious) compositions that reveal particular moments in time, i.e., James Cameron’s Titanic or George Lukas’s Star Wars, etc.

José Rodeiro 9/11, oil-on-canvas, 56” x 48,” 2001 (Collection of the artist).

“In Rodeiro’s 9/11, there are allusions to images found in Picasso’s Guernica (1937), as well as Tarot card symbols, and references to ancient Cretan labyrinthic mythology. As in Guernica, noticeable motifs of death, tragedy, and conflict prevail; these virulent elements are appropriated as symbols of a contemporary massacre. By clearly referencing Picasso’s modern masterpiece, (which protested an unjust Fascist air-bombardment of innocent civilians, during the Spanish Civil War), Rodeiro directly confronts September 11, 2001, as a day of deadly horror and loss of life that has cast a malignant specter on current world events.” (Midori Yoshimoto)
new york painter and artist jose rodeiro
  new york painter and artist jose rodeiro  
new york painter and artist jose rodeiro
   
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new york painter and artist jose rodeiro    
 
  new york painter and artist jose rodeiro  
 
new york painter and artist jose rodeiro new york painter and artist jose rodeiro new york painter and artist jose rodeiro new york painter and artist jose rodeiro new york painter and artist jose rodeiro new york painter and artist jose rodeiro new york painter and artist jose rodeiro new york painter and artist jose rodeiro new york painter and artist jose rodeiro new york painter and artist jose rodeiro