Environmentalism at World Wide Art Los Angeles through Claus Larsen.

WWALA Exhibitor Claus Larsen exhibiting with Just Art Gallery speaks on the Environment.

United Colors

An important and changing moment occurred in the consciousness of the world regarding environmental risks when the first energy crisis evolved in the 70′s, when for the first time world-wide, people realized that the resources of the planet were limited. Similar to a limiting reagent in a chemical reaction, pollution and environmental health just became the limiting reagent to human life on earth.

A vast opinionated movement came about, initially in California, labeling the movement ecology. It was the idea of a new relationship of harmony between man and nature, which sent into substantial crisis the idea of progress without limits. It was in this phase that the critical debate began, to progressively move from the circumscribed problem to the correlations with the system of galleries and museums, to the somewhat more complex theme of the relationship between art and nature.

Climatic change is already so evident, that the contamination of the ground, of the air, the deforestation and depletion of the plant and animal diversity as well as the pollution of the deep layers of the seas and oceans are the neon signs that the crisis is well underway.

The global ecological crisis is known as the manifestation of a vaster crisis, that of a cognitive and social nature or, an ecology of the mind, that occurred well before that of the environment.

My works suggest many levels of interpretation where nature and the collective memory comprise fundamental points of reference. The vivid and brilliant colors of my works help create a painting of the highest definition (long before High Def Television), made of optical illusions and traps for the eye. My approach to painting is typical of the humanist except one with a scientific background breaking away from the optical chemistry while integrating the knowledge of art history yet utterly contemporary. A careful reading of the paintings takes the spectator through the muddle of aesthetic transfiguration and the tight weave of optical illusions, towards a larger more encompassing environmental knowledge and awareness.

VIP opening Thursday October 16th 5-10pm. Email us for tickets.  Show opens to the general public on Friday October 17th – 19th 10-7pm.

Arte Povera is Alive & Breathing in the U.S.


Arte Povera, “poor art” or “impoverished art,” was the most significant and influential avant-garde movement to emerge in Europe in the 1960s. Of all the artistic labels that emerged from the 60’s, Arte Povera was the most poetic and most elusive. Technically, it was never an art movement or official group. The works never conformed to one specific style or appearance and the term continues to be rebelliously untranslatable.The literal translation is “poor art” and truly, with the grand masters who spearheaded this movement, poor art does not do justice to this time period.



Arte Povera was essentially, Italian; a response to the widespread desire among artists to expand the physical and mental boundaries of art and to break down what they saw as the irrelevant divisions between art and life. Genoese writer and critic Germano Celant was the first to coin the term in 1967. During the sixties, he continued to use Arte Povera to define and advocate the work of a number of young artists from Turin, Rome, Genoa and Milan. All these artists were, in fundamentally different ways, devoted to redefining the properties and possibilities of painting and sculpture within the context of Italy’s past, present and future.

The movement grouped the work of roughly a dozen Italian artists whose most distinctly recognizable trait was, their use of commonplace materials that might evoke a pre-industrial age such as, earth, rocks, clothing, paper and rope. Their work marked a reaction against the modernist abstract painting that had dominated European art during the 1950s; hence much of the group’s work is sculptural. The group also rejected American Minimalism, in particular what they perceived as its enthusiasm for technology. In this respect, Arte Povera echoes Post-Minimalist tendencies in American art of the 1960s. But in its opposition to modernism and technology, and its evocations of the past, locality and memory, the movement is distinctly Italian. The thirteen artists of this movement are, Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Pino Pascali, Giuseppe Penone, Michelangelo Pistoletto, Emilio Prini and Gilberto Zorrio.


Arte Povera was a return to simple objects and messages. The body and one’s behavior was art, the mundane became meaningful. Traces of nature and industry appear in the works where nature can be documented in its physical and chemical transformation. Dynamism and energy are embodied in the work. Complex and symbolic signs lose meaning and the notion of space and language is explored, Art = Life.

Arte Povera at Just Art Gallery: Pillino, Ugo Nespolo, Alex Delby, Alighiero Boetti and Piero Gilardi.

Forging the Impressionist Road


Giovanni Fattori – Haystack



Telemaco Signorini


Telemaco Signorini

Who forged the Impressionist’s road? Well the Italians, of course. For those who might remember way back in some art history courses, the Macchiaioli. They were a group of rebellious Italian painters working and living in and around Florence in the mid 1800s (officially they were from 1850-1874). Who were these artists with this very  untranslatable nickname? “Macchia” Italian for spot or blotch and “Tachistes,” French for stain or blot was published in 1862 in a newspaper labeling this group of artists, which at that point, they happily adopted. This happens to be one of the most poetic movements of that period similar to the visual experiments of the Impressionist artists. This period heavily influenced Italian film directors such as, Luchino Visconti and Mauro Bolognini finding an iconographic inspiration and a language to the image. 


Giovanni Fattori










Giovanni Fattori – La Scolarina


These painters detached themselves from the neoclassical and romantic styles of their times breathing fresh air and new life into Italian painting. They focused their emphasis on color, light and nature and revived Italy’s pictorial culture. They are deemed the initiators of modern Italian painting. This movement is not well known outside of Italy yet it was crucial for Italian painting and, as believed, the precursor to the Impressionists.


Towards the end of the 1850s this group of young painters hostile towards academia, often found themselves in the locals of Florence and in particular, the Caffé Michelangelo where they discussed amongst themselves updating ideas of what to do about painting. Together they had the great fortune to see the huge collection of paintings of the Russian prince Demidoff in his villa in Florence. The collection was rich with French artists such as, Ingres, Corot e Delacroix.


Serafino De Tivoli



Vincenzo Cabianca


Giuseppe Abbati


Raffaello Sernesi

This group consisted of Telemaco Signorini and Serafino De Tivoli and shortly after, Cristiano Banti and Vincenzo Cabianca. They were the first to be presented at the Promotrice of Turin with a completely new language. They were named “macchiaioli” for the exaggerated emphasis on chiaroscuro using layers of “blots” of color. While carrying out their works, they forgot the notion of design preceding the chromatic element, which favored their technique of aligning the blotches of color and of light and shade.  

The optical effect was a kind of flickering overflowing with light. They dedicated themselves more and more to painting what was real and to study light in all its vibrations and nuances and thus, the determining condition was to paint outside. Inside the studio it was impossible to capture the intonations of light necessary for the proper rendering of the works.   


Cristiano Banti – Il Boscaiolo

Others who became a part of the original four were, Vito D’Ancona, Raffaello Sernesi, Giuseppe Abbati and Odoardo Borrani who spent a very fertile period painting at S. Marcello Pistoiese as well as, Giovanni Fattori the most secluded of the group but clearly the greatest and most well known. Art critic, friend and greatest fan of the group, Diego Martelli had the opportunity to play host to these rebels at his ranch in Castiglioncello during the years spanning 1861-1867. 


Odoardo Borrani














Vito D’Ancona

It was here that the period defined as the “School of Castiglioncello” took shape, due to the number or works produced during the invigorating sojourns allowing these artists complete immersion in that splendid scenery on the Martelli property.

Concurrently in Florence the other great Macchiaioli personality was maturing where Silvestro Lega, who left us magnificent vivid and colorful works from that period when he worked in a neighborhood just outside Florence called, Piagentina at the end of 1860.




Silvestro Lega

Following, during the early 70’s, Giovanni Boldoni and Giuseppe De Nittis took part in the group and established themselves in Paris. It is interesting to think that exactly in those years, to be precise, 1874, in the Paris studio of photographer Nadar, there was an exhibit for the first time of the impressionists.

Completing the nucleus of the Macchiaioli was, Adriano Cecioni, Nino Costa and Antonio Puccinelli. Although young, Eugenio Cecconi, Niccolò Cannicci and Egisto Ferroni participated although late to this movement.


Silvestro Lega












Egisto Ferroni





Nino Costa







Giuseppe De Nitis


Old World Charm and Contemporary Art

   10209-Old-World-Charm-2Just Art Gallery made it to the news stands with Art New England (September/October Issue), the Providence Monthly and East Side Monthly (http://www.providenceonline.com/stories/Just-Art-Contemporary-Gallery-Italian-art-Providence-East-Side-Monthly,9646).


Our space is a casually elegant maze with over 400 linear feet of display space. The artwork is owned outright demonstrating the strength of our conviction in the works we sell and artists we represent. In today’s society, very few things are purchased to last a lifetime art however, is.

Think about a new car; you spend a fortune to get it off the lot and as soon as you drive off the lot it depreciates. As the years and miles accumulate, the value declines. You spend money to repair it, to insure it, to feed it and when you go to bed at night, it sleeps elsewhere. So what is the point of a car except to get from point A to B? It should only be that, a means to get to where we need to go, cheaply and safely versus a status symbol that sits in a garage or is only enjoyable as long as you can keep fuel in it and when driven to and from work. loggiatouffizi

Art on the other hand, lives and breathes with you, in the environment where one resides and for the lucky and smart ones, where they work. So few things are purchased for the significance beyond our lifetime. Why not leave art to one’s children, something that says so much more than just physical money? Buying art does not mean you need an education, it means you need a feeling. If the work talks to you, speaks to something inside then that is the piece for you. How and where do you start? By trusting in galleries who put their money where their mouth is. People who are experts in the works they sell and who invest in the works and artists they represent. embrace

Just Art Gallery has risked its own capital and is the leader in imported Italian Contemporary art today. Our focus and specialty is unique and brings to American soil, artworks, talent and fresh images rooted in antiquity. Just think, you do not have to go to Europe to “feel” the strength and history among the old streets of the Old World but you can feel that through these works of art. Upon stepping in to the gallery, one feels immediately the sensation of art beyond the realm of America.

We are upfront about the pieces and will tell you the flaws because art is not perfect it just “is.” We are honest about the works and today that goes along way in a world full of tricksters. We love Italy, we love art and we love to talk about what we have. Make our space your destination where you can come and not be pressured to purchase. PlantOld

Go to our website to request our mailing list, check out our online store for some of our catalogs and if you wish to see works via email from some of our artists, just ask and we will be happy to send them. If you live outside Rhode Island, consider a B&B weekend in this lovely state and take your time to enjoy the “scrappy” kind of old world charm The Plant provides along with three art galleries and the Cuban Revolution Restaurant. This is where you will find people who have settled in Rhode Island after living in New York or Europe running world-class galleries and proposing real life topical issues along with our gallery’s centric Contemporary Italian and European art. OLYMPUS DIGITAL CAMERAtheplant1

From Points North
Take Interstate 95 South into Providence. Take Exit 21 – Atwells Avenue. Turn right onto Atwells Avenue and continue straight 1 mile. The Eagle Square Shopping Center will be on your right. Turn left at the light on Valley Street. The Plant is 1/2 mile on your right at the corner of Valley and Delaine Streets. To park, take left at 4-way stop to Delanie Street. Take first right into parking lot. To enter the building, cross the street, through the arch, proceed up the ramp, there is a intercom on your left. Dial “852” to be buzzed into the building. We are in Unit 25 on the third floor at the end of the long hallway.

From Points East
Take Interstate 195 West to Interstate 95 North. Take Exit 21 – Broadway. Take the second left off the service road onto Atwells Avenue and continue straight for 1 mile. The Eagle Square Shopping Center will be on your right. turn left at light onto Valley Street. The Plant is 1/2 mile on your right at the corner of Valley and Delaine Streets. To park, take right at 4-way stop to Delanie Street. Take left at 4-way stop to Delanie Street. Take first right into parking lot. To enter the building, cross the street, through the arch, proceed up the ramp, there is a intercom on your left. Dial “852” to be buzzed into the building. We are in Unit 25 on the third floor at the end of the long hallway.

From Points South
Take Interstate 95 North. Take Exit 10 North – Cranston. Take Olneyville Square Exit. Take a left at light onto Westminster. Bear right at Olneyville Square onto Valley (there is no sign, Bank of America will be to your left when you turn onto Valley). The Plant is less than 1/4 mile ahead on your left at the corners of Valley and Delaine Streets. To park, take right at 4-way stop to Delanie Street. Take first right into parking lot. To enter the building, cross the street, through the arch, proceed up the ramp, there is a intercom on your left. Dial “852” to be buzzed into the building. We are in Unit 25 on the third floor at the end of the long hallway.

From Points West
Take Route 6 East towards Providence. Take left exit toward Broadway/Route 10 North. Turn left onto Broadway. After 1/8 mile, turn right onto Valley Street (there is no sign, Bank of America will be to your left when you turn onto Valley). The Plant is less than 1/4 mile ahead on your left at the corner of Valley and Delaine Streets. To park, take right at 4-way stop to Delanie Street. Take first right into parking lot. To enter the building, cross the street, through the arch, proceed up the ramp, there is a intercom on your left. Dial “852” to be buzzed into the building. We are in Unit 25 on the third floor at the end of the long hallway.

Please note: Visitor parking is available across the street, entrance on Delaine St. between Valley Street and Harris Ave., across from the Plant and The Cuban Revolution restaurant.

The Changing Tide of Art is not Capricious.

There is no better way to escape the world than through art and yet, it is the most secure and strongest link to our world.



Today’s art world is a captivating subject in fact, every single day there is something new to learn or discover. Auction houses are testimony, along with the persistent number of galleries doing business worldwide, to the current successful art market.

Global auctions welcomed bidders from 136 countries highlighting the international appeal of art. 19% of registered bidders were new clients. Christies has had record results in the past three years demonstrating that more people in more places in the world are captivated by art and seeking to acquire it. This trend is apparent at every level of the art market from £1,000 to over £50 million. Noting the top auction house sales figures, the Contemporary European art market continues to appreciate due to global demand.

Accessible Art is the latest trend in the art world. This means opening the world art market to emerging young artists, which allows them to sell their works at accessible prices. This movement continues to benefit Contemporary art in terms of audience because art is now more accessible to a public that might not have an art degree or be a collector. Thus, they do not have to be versed in the genre, but they can nevertheless enjoy the expansion and production of art.



In Europe and the world, art has crossed many different periods made of evolutions and of involutions, through which artists and their works become the expression of the times. Contemporary art has seen the birth of innovative movements and revolutionary ones such as Cubism. Therefore it is in contemporaneity where traditional representation of subjects and objects rests; bodies deform, lines break and figures are upside down in a general distortion of colors and light reflecting new contemporary society.

This contemporary world is one twisted by war, where the spirit of humanity has become disturbed; it is anxious thanks to the violent and sudden wars leaving no means of escape. Guernica by Picasso was probably the ultimate symbol of how to make art in a contemporary environment. It is an enormous canvas painted exclusively in black and white, with a few grey veins drenched in gloomy and decisive colors like those portraying the cities in the daily black and white newspaper images. Spades, dead babies and screaming mothers are only a few of the depictions alternating on the masterpiece of Picasso, symbol of a disarmed and anguished contemporaneity that nonetheless shows a hopefulness (the light placed high on the canvas), in returning to a semblance of normalcy.


During the twentieth century, the communicative and creative visual arts undergo an expansion. For example, in the Sixties and Seventies, Duchamp conceived the ready-made; installations, Land Art, happenings, Body Art, video and photography were some of the media used by these artists. At this point, the painting died a loud and gripping death. Recently however, painting has been exhumed and is making a great comeback, in fact its prestige has been restored worldwide thorough collectors and institutions. We saw towards the end of 2002 the Centre Pompidou in France who presented Cher Peintre, Lieber Maler (Figurative Painting since the last Picabia) and now a decade later, abstract works are coming back as well.

Charles Saatchi presented in London between 2004 and 2005, a series of three shows called The Triumph of Painting. In 2007, MOMA investigated the place of painting in contemporary art from the Sixties to the present with the exhibition ”What is Painting?” If we look at this multimedia era, it would seem that painting has nothing more to say, yet the question “why painting now,” seems to be the topic of conversation everywhere and artists worldwide have returned to the ancient form of communication.

It seems, the return to painting, has come about from an opposition to digital art and the explosion of computer screens. Today, painting has been and is being demonstrated, similar to writing, as one of the long-lasting and vital means of expression. Is painting that timeless vehicle through which real contact with the world is possible? It would seem to be.


Constellations by Riccardo Gusmaroli

In fact, there is a return to contemporary abstract painting now a decade later after the return to figurative works within this whole movement of returning to painting. The communistic ideal of anti-representation or anti-establishment has disappeared. The modern abstract paintings of the Thirties and Forties, minimalism of the Sixties and Seventies and the neo-abstraction of the Eighties are long gone. Art fairs are full of abstract works on the walls, bursting with painting.


Fori, by Riccardo Gusmaroli

Abstract works tend to reflect and or form an image of how the world feels. It too is simply a reaction against technology. Living in this world full of computer screens has created a lack of objects. Furthermore, real pigments used to mix oils and acrylics are extremely different from what comes out of an inkjet printer or through pixels on a screen. There is that special something, in material realness that paintings bring to the forefront and, the use of texture is an antidote to the total lack of texture of our society today.

The new generations of painters are emphasizing the method not the result, the journey being more important than the end. How the work is made seems to be the whole point of the work and the fascination with materials almost borders on fetishism.

As Jackson Pollock said, “modern art is none other than the expression of the ideals of the epoch in which we live.”

The Father of Contemporary Art

OldMillVangoghIf we go back and analyze art through the centuries, we can see that the first ten years of a century are always more fertile because the new idea, the movement, the change or historical and social influences dictate the direction of art and by the end of the century it is time for a new direction, new thoughts and emotions tied to new social directives. Today, we can almost see a small version of this every decade. Looking at the beginning of each decade we see new movements because contemporary art is not bound by the ways of the past.

Contemporary art from its inception was bound to cost more than antique or classical art because it is disseminated through the market, thereby finding its confirmation in that market. All old classical paintings were born with an identity such as, the person commissioning the work, and or where it was to be placed. With Impressionism, that rapport was destroyed and, painting became blind per se, without a destination. With contemporary art, the work is not made for anyone, but on the other hand, it is for everyone and thus, the birth of the art vendor, his job, to find a destination for the artwork. An artist without a vendor is a dead artist.1890-Vincent_van_Gogh-Wheat_Field_with_Crows-detail

Since Contemporary artwork is born blind, the artist is self-governing and the vendor welcomes all that is produced. The personal relationship of the past is broken and the vendor becomes the collector, the reference point from which radiates the artwork and its distribution.

Contemporary art is not just relegated to what is produced in our times, it also includes art that was previously not visible (such as, the bronze statues just revealed from the depths of the sea in 1981), because prior to this they were invisible except to marine life.

For a work of art to exist, it must be visible and be seen otherwise, it is as if the work was never born or never existed. Once light has been shed upon a work, this is not just physical light but also light coming from the attention of others, it begins to breathe and communicate its poetry. a-wheatfield-with-cypresses_vincent-van-gogh_57mil_msp1

Van Gogh believed that art must coincide with life. It is not a representation of emotion but an extension of one’s existence, similar to a scream carved into the canvas, as if the body of the artist were lowered into the artwork. Van Gogh is the icon to this malaise, which is the foundation of Contemporary art. In terms of Renoir or Monet, his subjects are the negation of impressionism, that bourgeois life, lunch on the lawn, scenes of wonderful tranquility and sweetness. Van Gogh is that of the abandoned, the derelicts; his sunflowers are a visual shock with a good dose of hypnotic magic.van-gogh-sunflowers1

So, drawing a conclusion, the foundation and roots of contemporary art are a suffering or malaise, and we should recognize Van Gogh as the founding father of Contemporary Art, he represented in his works that which we should not see but existed. His real emotions were expressed; his trauma as a truth and thus, the reality of his inner being.  WheatField at Sunset



Rhode Island – Unique

2rhode-islandRhode Island was the birthplace of the Industrial Revolution in America. The state fostered its own industry utilizing what existed making Rhode Island unique and special. The state grew and  roads and railroads were built in order to accommodate the industry. Providence, easily accessible by water became a major world seaport. In fact, during the Revolutionary War, the craftspeople and merchants became the primary suppliers of goods for the French and Continental armies. Providence was a city of self-made business entrepreneurs who financed expeditions to the Mediterranean, the Far and Middle East by 1781. Thanks to booming trade, the city grew and flourished; traditional wood homes were transformed into glorious ornate brick mansions. Then, sometime after WWII all that industry left the state leaving a huge legacy of abandoned industrial sites.

Providence is a resistant and somewhat matter-of-fact city, a private place perfectly happy to get along with whatever might come along and to do without, if it does not. The city of aloofness is also home to an art scene that is artsy and low-key but packs a punch with RISD, the art galleries and art competitions in and around Providence and Pawtucket. Today the city boasts a thriving cultural and academic community.rhode-island

This is a more easy going city than many of the larger art cities of the United States. There is a sense of slowing down and of gathering particularly on Water Fire evenings. There are galleries in converted and restored mills, artists living and working in the same places, art contests sponsored by galleries and art clubs, exhibition spaces available in revitalized mills, and interesting galleries on the Brown Campus. With all this to boast about, there seems to be yet a kind of conscious neglect, a disinclination to promote, and brand beyond the confines of the city.

Nonetheless, gentrification is occurring and areas like Pawtucket and Olneyville are experiencing a renewal in urban planning and development. With cheaper spaces, a friendly scene and a thoughtful audience, the once abandoned outskirts of Providence are making noise in the art world. There is Hope Artiste Village in Pawtucket with shops, coffee roasters, yoga, galleries, performance art and restaurants. In Olneyville there is The Plant with artists residences, shops, the famous Cuban Revolution restaurant, Yellow Peril Gallery, Just Art Contemporary Art gallery and GRIN gallery. Down the street from The Plant is Rising Sun Mills hosting residential lofts, commercial spaces and a wonderful restaurant/café. These are all revitalized turn of the century New England mills and exactly what Providence needs, a multifaceted environment that is organic, historic, full of an old world scrappy-type of charm.Bowens-Wharf-Newport,-RI-787005

With the amazing power and pull of RISD where many young artists come to not only study but begin their careers, Brown University, Providence College and Rhode Island College bring lots of vitality to the city’s intellectual life and with Johnson & Wales University, the largest culinary educator in the world, the city’s restaurants experience world class culinary talent. Thus, it is a wonder why a national museum does not exist in Providence; it would certainly make the city world-class and help bump it up and out of the niche of just being worldly.

Art Collections

“You don’t have to be a Rockefeller to collect art. I thought I was rich having good art,” Herbert Vogel

Art CollectingTo build a collection, one does not have to buy big in fact, buying small from relatively unknown artists is the perfect way to begin. Buying what you like is important regardless of market value. Go out and dedicate yourself to what is happening with young artists and emerging ones as well and find out what is going on in your community and local art hubs. Budget constraints are just an excuse because if the Vogels could do it on a 23,000-dollar budget, anyone can. Prints are not the only starting point for buying art just because of the lower prices. Yes your tastes will change but that is what made the Vogel collection the greatest collection ever, it mirrored them through the years. Their passion for collecting turned them into improbable celebrities. They became working-class heroes among the throng of elitists in Manhattan. Herb’s dedication to the Cedar Tavern was for the purpose of just listening as artists such as, De Kooning and Kline, bellowed at each other time and again over the meaning of abstract expressionism. Herb was rooted in his chair listening, absorbing and learning.

peggyguggenheimArt collecting is almost a drug, once you begin and start to live with the pieces you purchase, your life changes dramatically. Not only are you living with the art, but you are also either consciously or unconsciously thinking about it every day; so without trying, art becomes a part of you. Art should make you feel something or it should do something to you, whether it is positive or negative is irrelevant; it is doing something to you.

Collector'sHomeArtists have a unique capability of understanding humanity with more insight and sensitivity than common non-artistic mortals, they seem to be plugged into the world. With a bit of luck, art might change one’s life. Art drives people and forces one to advance and evolve.  If you let it, by abandoning oneself to art, it will infuse your life and inundate the senses. Contemporary art can and will turn us into a student once again.

Contemporary art can be intimidating and inaccessible. People feel as though they need to explain why or why they do not like a certain piece. You do not have to explain anything because you do not need to theorize art to like it. The important thing is to look, because art is visual.

Becoming fully immersed in the art world, not only purchasing pieces, but also visiting the creators in their studios, immersing yourself in galleries, shows and literature and becoming a sponge willing to learn every second of every day will bring you closer to feeling art. So much of contemporary art at first glance can be difficult and that is why you must see it again and again and again because it does grow on you. The brain needs time to reflect from the visual onslaught sent through the eyes although, the Vogels took the visual information and sent it straight down to their souls bypassing the brain. They did not process art in their minds and as such, their collection is one of the greatest of our times.


What it Means to be an Artist Today

One of the secrets to being a famous artist is to become a household name and that means, being popular and having a big audience, easier said than done. One method is to be wholeheartedly committed to your work; producing work so meaningful and made with superior technical skills, so deeply true and heartfelt that dealers, buyers and the wider world will bond with it on a deep level. They will recognize your unique vision of the world, which is also one they understand in some way. However it’s not enough to work like our great artists such as, Anselm Kiefer, Banksy, or Lucian Freud, you have to find what makes you as unique a visionary as they.

Being an artist means dedicating every minute to your creative streak, looking for people to support you, give you a place to sleep and work and hopefully help pay for supplies. Some galleries will do this, have a program where they support young artists. Join an artists’ coop because these communal living and working environments are the perfect spawning grounds. Spend time with other artists and exchange opinions, argue, exercise together, drink together just be together.

Today artists do not have the social structure set up as it was in the past where artists gathered at the local bar, or park or cafe and talked, argued and spurred one another on to greater heights. This is what art was in the 1900s, artists talking to one another. It was not about copying but about growth about sharing political views and techniques and critiquing works of one’s friends. Albissola Marina, Liguria Italy (as well as, Vallauris, Provence) was one of those places in fact, Lucio Fontana made it his ceramic center together with Wilfred Lam, Asger Jorn, Roberto Crippa, Manzoni, Eugenio Montale and Salvatore Quasimodo.

Lucio Fontana, Pablo Picasso and the Cobra group, Albissola. '50s

Lucio Fontana, Pablo Picasso and the Cobra group, Albissola. ’50s

The Sixties were the golden years at Albissola. Everyone lived here, artists from all over the world went to this small town on the Ligurian sea. It was normal to see grand masters together with emerging young artists. Everyone in the town had a great love for the artists in fact, at the Trattoria Pescetto, there is still today a painting with everyone’s portrait. Painters, poets, and sculptors all went to Albissola, Sassu, Scanavino, Grassi, Ungaretti were part of the group as well. This town breathed art and everyone was attracted to it for that reason. It was completely normal to be a part of the elite without realizing that it really was elite. Everyone had fun, ate together along the seashore, drinking espresso at the bars; it was a real live exchange between artists and the town. In fact, today the artists’ walkway is still maintained, one where you can walk on a work of Fontana and many more.

Emilio Scanavino

Emilio Scanavino

This is where Emilio Scanavino and Giuseppe Capogrossi found fertile land for their informal works, the abstract expressionism of the Cobra Group, the Cuban Surrealism of Wilfredo Lam, the nuclear works of Enrico Baj and Sergio Dangelo, the pop condensations of Mario Rossello and Aurelio Caminati, the scenographic forms of Emanele Luzzati, the Surreal by Saba Telli and the infinite paths of experimentation that occurred in the little city. This was also an important architectural center thanks to the research conducted by Giambattista De Salvo, author of numerous urban design elements in Savona and other cities.

Enrico Baj

Enrico Baj

Giuseppe Capogrossi

Giuseppe Capogrossi

Being an artist is not the most practical career choice to make. It’s highly unpredictable, and you need a certain degree of luck to be able to break through. Choosing to be an artist seems like voluntary poverty. And in these hard economic times we are facing today, being an artist seems even more impractical, if not a stupid career path to take. It takes luck, and above all, persistence. Artists need to approach galleries and work towards representation in major shows and art fairs where galleries participate. For serious artists, this traditional approach alla Leo Castelli is still the best route to take.

Lucio Fontana's ceramic wall series

Lucio Fontana’s ceramic wall series

Of course, the other side of the coin is the sell-out. As an artist, you face judgment if you do one of three things as an alternative to starving and working and living in poverty. Such as, choosing a more practical career making art your hobby or side-job; changing your artistic principles by making arts and crafts to bring in money or becoming a copyrighter, editor, greeting card designer for Hallmark or, get lucky enough to make big bucks doing what you love. Richness of friends, community and others supporting your direction is the greatest wealth and aid for an artist to become successful thereby helping more, inspiring more and accomplishing more than the unsuccessful artist. In order to do that, cooperation is key; what many individuals can accomplish while locking arms together, is much greater than the individual.

Lucio Fontana's ceramic art

Lucio Fontana’s ceramic art

The Artists’ Sacrifices for Just Art

Pillino Donati

Pillino Donati

Our Italian and European artists are making huge  sacrifices to bring their works to the United States. There is an ocean in-between, horrific shipping costs, customs fees, Italian fine art regulatory laws and international phone bills that   would discourage most from even attempting the risk. Add to that consignment and framing (because Italian-made frames dance circles around the ones made in the US), all these out-of-pocket expenses for our European friends are more than most could withstand. In fact, Just Art’s decision to bring artists over to the United States comes with heavy responsibilities and expenses; just imagine sending art back to an artist where they have duty to pay, value taxes and fiscal fiascos to manage and, the gallery has to ship and pack the works as if they were going to go through WWIII.

ImportingFor some artists, their works are very personal, similar to having a pet or a child. They cannot let go of these easily and putting an ocean between them is tantamount to tearing their heart out. For others, the piece is important during the creation and formation and upon completion the significance is over so separation is not a problem. Nonetheless for a gallerist it is crucial to be sensitive to this issue and treat both artist and works of art with reverence at all times. Thus, it is with great pride we present these artists and their works and bring them over for solo exhibits. Our focus is ours alone making us one of the first and only galleries in the United States to cater almost solely to Italian and European artists.

autostrada_duecorsie Our collection represents years of close contact with the artists. Italy is a small country but it is compact and fraught with travel issues, there are so many places where the roads are as they were hundreds of years ago, repaved but still winding torturous and slow (unless you have a Ferrari). The Alps cut the country in the form of a cross; east to west across the northern portion then north to south slicing through from Bologna to Abruzzo.  16595756-long-winding-road-through-italian-mountains-landscape-view-from-above
The time traveling to visit each artist in their surroundings, in their studios is worth every headache that comes with driving in Italy. The agreements one makes while in the studio are priceless, the energy, the soul of the environment all come into play; things occur while under the spell of that artist in his or her environment. These are the memories we take away and bring to the gallery and then try to impart when talking about the various works.

At Madonna di Campiglio

At Madonna di Campiglio

The time and experiences we dedicated to them in Italy lives in us allowing us to mirror the spirit of what is behind the works and to present a gallery with an Italian flair as well as European know-how and class. This method today, in these times, is not always possible for many galleries in fact, due to the size of the United States, not many can just run off and visit one of their artists in Arizona if the gallery is on the east coast. Thus, what is truly missing with many galleries is this close and almost spiritual exchange with the artist and their works.          

Viviani's Mountains

Viviani’s Mountains

  Just Art is happy to share our knowledge and our numerous books available for perusal and research. The environment at the gallery is relaxed, we have chairs and an umbrella outside in the courtyard of the Plant (among the many chairs and tables of the artists who live and work in this creative environment) and hope to make our gallery a destination experience, a place to come and stay warm on cold and gloomy days, or stay cool on hot summer days. Come find your escape and dream world among the many works presented.  

With Matthias Brandes

With Matthias Brandes

In Luca's studio

In Luca’s studio