Lawrence Ferlinghetti - Painting

Painting

Ferlinghetti began painting in Paris in 1948. In San Francisco, he occupied a studio at 9 Mission Street on the Embarcadero in the 1950s that he inherited from Hassel Smith. He admired the New York abstract expressionists, and his first work exhibits their influence. A more figurative style is apparent in his later work. Ferlinghetti’s paintings have been shown at various museums around the world, from the Butler Museum of American Painting to Il Palazzo delle Esposizioni in Rome. He has been associated with the international Fluxus movement through the Archivio Francesco Conz in Verona. In San Francisco, his work can regularly be seen at the George Krevsky Gallery.

Since 2009 he has been in the Honour Committee of Immagine & Poesia, the artistic literary movement founded in Turin, Italy, with the patronage of Aeronwy Thomas (Dylan Thomas's daughter).

60 years of painting, the exhibition held in Italy in 2010 (Rome: February–April; Reggio Calabria: May - July) is a creative journey through the twentieth century, reflecting on social and political issues and on the role of the artist nowadays.

Read more about this topic:  Lawrence Ferlinghetti

Famous quotes containing the word painting:

    When I am finishing a picture I hold some God-made object up to it—a rock, a flower, the branch of a tree or my hand—as a kind of final test. If the painting stands up beside a thing man cannot make, the painting is authentic. If there’s a clash between the two, it is bad art.
    Marc Chagall (1889–1985)

    It is not a certain conformity of manners that the painting of Van Gogh attacks, but rather the conformity of institutions themselves. And even external nature, with her climates, her tides, and her equinoctial storms, cannot, after van Gogh’s stay upon earth, maintain the same gravitation.
    Antonin Artaud (1896–1948)

    The peculiarity of sculpture is that it creates a three-dimensional object in space. Painting may strive to give on a two-dimensional plane, the illusion of space, but it is space itself as a perceived quantity that becomes the peculiar concern of the sculptor. We may say that for the painter space is a luxury; for the sculptor it is a necessity.
    Sir Herbert Read (1893–1968)