For quite some time, when in art school, we loved what might be called Northern Renaissance portraiture, and tried (in retrospect, deludedly) to forge our own version (we didn’t have the skill). Nevertheless we found (and still do) a deep, contemporarily relevant, connection to its quirky, insanely well-wrought earthiness (this is in comparison to the chic, unprovincial airiness of much Italian Renaissance art).
Thus it is with serious jealousy and admiration that we feature the work and site of Belgian painter Dittmar Viane. He has managed to preserve, reframe and successfully emphasize the gorgeous, antic exoticism of that remote era. Ultimately, for us, he quite awesomely and authentically promotes what might be called a hopeful, engaged, antiquarian, bizarreness.
Thus it is with serious jealousy and admiration that we feature the work and site of Belgian painter Dittmar Viane. He has managed to preserve, reframe and successfully emphasize the gorgeous, antic exoticism of that remote era. Ultimately, for us, he quite awesomely and authentically promotes what might be called a hopeful, engaged, antiquarian, bizarreness.