Anazao Galleries is pleased to announce a one-day Spring Art Show Fundraiser on Sunday, April 22, 2012 from 11 AM – 5 PM at the Reston Community Center (2310 Colts Neck Rd, Reston, VA) to benefit the Reston Chorale. We invite you to attend and browse through our wonderful collections of original paintings, limited edition prints, illuminated manuscripts, icons, sculpture, art glass, jewelry, antiques and fine gifts. With many items starting at under $20, everyone can carry away a personal treasure, while supporting a great cause. Live musical selections performed by the Washington Balalaika Society. We hope to see you there!

Albrecht Dürer 

German

The working life of Albrecht Dürer (1471 - 1528), who was the greatest artistic figure in Germany before the modern era, spanned the Gothic, Renaissance, and Reformation periods. Trained as a painter and printmaker, in his early twenties Dürer became interested in making prints. Although Dürer traveled to Italy and constantly worked to integrate Renaissance humanist concepts such as perspective, the primacy of antiquity, and the study of the nude into his art, he was principally a religious artist. Dürer worked on the subject of Christ throughout his career, and this print is a testament to both his faith and artistic prowess. 

Perhaps the greatest German artist of the Renaissance era, began his career in the Imperial Free City of Nuernberg with his father, a Hungarian goldsmith who had emigrated to Germany in 1455. Despite his goldsmith origins, however, by 1484 Dürer had already begun painting. In 1486 he was apprenticed to the painter and printmaker Michael Wolgumut and began to work with woodcuts and copper engravings as well.

Beginning in 1490 Dürer travelled widely for study, including trips to Italy in 1494 and 1505-7 and to Antwerp and the Low Countries in 1520-1. During his visit to Venice on his second Italian trip Dürer was especially influenced by Giovanni Bellini and Bellini's brother-in-law Andrea Mantegna, each then near the end of his career. In The Uffizi: A Guide to the Gallery (Venice: Edizione Storti, 1980, p. 57) Umberto Fortis comments that Dürer's journeys enabled him "to fuse the Gothic traditions of the North with the achievements in perspective, volumetric and plastic handling of forms, and color of the Italians in an original synthesis which was to have great influence with the Italian Mannerists." 

The period between his Italian trips was one of great productivity and artistic growth, characterized by his publication, 1496-8, of a portfolio of woodcuts, The Apocalypse of St. John. Scholars have suggested that the portfolio may have been intended as a veiled expression of support for the Reformation, with Babylon used as a surrogate for Rome. 

Over the course of his career, printmaking became as important a medium for him as painting and drawing, and he set new technical and emotive standards for both woodcuts and engravings, infusing traditional subjects like Christ’s Sudarium with a new relevance and immediacy. Working in formats larger than the traditional prints of his era, Dürer was able to work in greater detail and ultimately develop a new pictoral vocabulary for the medium. 

Dürer's Sudarium is serves as a testament to both his faith and this new pictoral vocabulary he developed for his prints.  This composition is based on a relic of Christianity that has often been associated with the Shroud of Turin:  the Sudarium of Oviedo. The Sudarium is a piece of cloth roughly 84 cm x 53 cm. It has stains on it, but no recognizable features. According to legend, the Sudarium was the facial covering that lay on Jesus' face under the shroud after crucifixion. It is mentioned in John 20:7, where it was found apparently cast off after Jesus' resurrection. Webster's mistakenly notes it as "Veronica's Veil", which is an entirely different object and considered by some to be the source for the Shroud's artist.

Artist's Biography

School of Raphael

Born in the artistic center of Urbino, Italy as Raphaello Sanzio, Raphael received his early training in art from
his father, the painter Giovanni Santi. Aware of his son's talents, Giovanni soon sent him to the workshop of
Pietro Perugino, a local artist of considerable talent. Raphael was a genius, and quickly evolved as an
extraordinary artist -- he was considered a master at seventeen.

In 1504 Raphael moved to Florence to study the work of the established painters Leonardo da Vinci,
Michelangelo, and Bartolommeo. He studied how they worked with light and shade, anatomy, and dramatic
action. It was here that he began to focus on a more animated, informal style, and his development during
this Florentine period can best be traced to his numerous Madonnas.

Raphael's creation of a number of simple, intimate Madonna and Child portraits showed a new maturity of
emotional expression and figure posing sophistication. Ultimately, he became best known for these
Madonnas. His Madonna delia Sf&ida was highly admired for its new approach to facial expression and
clothing of the Virgin. For the first time, this divine figure is shown with a peasant-style scarf on her head,
seated at a modest, carved chair. Yet the elegant tondo shape of the panel is a reminder of the finest of art
created in Quattrocento Florence.

Raphael's Madonna and Child portraits embody the highest grace and ease, and noticeably lack the severity
and mysticism of earlier portraits of the same genre by other artists. Admired for his works of idealistic
beauty and the ideal of human grandeur, Raphael became one of the most famous painters working during the
Italian High Renaissance. This detail from this magnificent print of a 16^th century etching of Madonna delia
Sf&ida reflects Raphael's brilliant and sophisticated approach to these portraits.

In 1508 Raphael was called to Rome by Pope Julius II and was commissioned to create frescoes in four small
rooms, of the Vatican Palace. A room in the Pope's private apartments called the Stanza delia Segpatura
contains some of the most brilliant frescoes Raphael ever produced. Influences of Michelangelo's Sistine
OJape1 frescoes are clear in Raphael's portrayal of body movements in the classical scene, The Sdxd of Athens,
which includes portraits of Plato and Aristotle, double portraits with Michelangelo as Herakleites and
Bramante as Euclid, and other influential philosophers and scientists.

Raphael began his harmonious Madonna delia Sf&ida (or Sedia - effectively the Seated Madonna) in 1514 Rome,
likely just after the completion of the Stanza di Elicdoro in the Pope's chambers. This Madonna was in the
collections of Florence's powerful Medici family as early as 1589 and has been housed in the Palazzo Pitti
since the 18th century. When Napolean invaded Italy, this painting was amongst the thousands of treasures
brought back to Paris in 1799, and eventuallyretumed to Florence in 1815.

Raphael spent the remainder of his career in Rome where he undertook several responsibilities: chief architect
of St. Peter's Basilica, director of all the excavations of antiquities in and near Rome, and commissions for a
great number of portraits and religious paintings.

Raphael was called "the prince of painters" by Giorgio Vasari, a prominent 16^th century biographer of artists
and acclaimed artist in his own right. Raphael died in Rome on his 37th birthday, April 6, 1520. His life was
short, but while he lived, he was a genius who evolved and developed brilliant, spiritual works. According to
Vasari, " ... the Pope, who "wept bitterly when he died, had intended to make him a Cardina1."

Due to popular demand, Anazao Galleries launched the "Koi Collection." We have had sales and inquiries from all over the world for Koi inspired art. View our new collection -  click here.

What are Russian lacquer boxes made of? An authentic Russian lacquer box is made from a very high quality papier-mâché. Papier-mâché is used because it resists the warping that wood is prone to. Skilled craftsmen shape the papier-mâché box forms before they are given to the artists for completion.

Many layers of lacquer are applied to these boxes. Before the box is painted, as many as 7 or 8 layers of black lacquer is applied. Occasionally red, white, or blue lacquer is used as a foundation color instead. After the box is painted, several layers of clear lacquer are applied. The interior is usually finished with a red lacquer.

Painting... All genuine Russian lacquer boxes are hand painted. The painting is so detailed that it is usually even more appreciated when viewed through a magnifying glass. These miniatures require such tiny strokes that oftentimes a single strand of squirrel hair is used as a brush. The gold adornment that accents most of the boxes is burnished with a wolf's tooth.

The 4 Schools... There are four major schools of study for lacquer boxes: Palekh, Fedoskino, Kholui, and Mstoria. Boxes from Palekh, Kholui, and Mstera are usually bright and colorful and are painted with egg tempura paints. The Palekh school focuses primarily on Russian fairy tales and legends. Fedoskino is known for their use of oil paints and frequent use of mother-of-pearl as an inlay in the box design.

Signing... Most Russian lacquer boxes are signed. Usually the signature will be beneath the illustration on the lid of the box. A typical signature includes the illustration name, school, and artist signature. Many boxes are also dated. Occasionally the signature will be on the inside of the lid or on the bottom of the box. Of course, all signatures are in Russian.

Counterfeits... there are many counterfeit boxes being sold that buyers should beware. Counterfeit lacquer boxes are usually made from a technique similar to decoupage. To determine if a box has been hand painted it is fairly simple to use a magnifying glass to see the actual brush strokes. Conversely, upon close inspection the counterfeit boxes will have small square pixel patterns under the design. We only sell authentic hand painted Russian lacquer boxes at Anazao Galleries.

Robert Held Art Glass, Canada’s largest hot glass studio and gallery, located in the heart of Kitsilano, Vancouver, British Columbia. Visitors to our studio are welcome to visit, stay for a demonstration and learn about an ancient art form that amazes even today.

Robert Held’s art glass collections range from classic to contemporary. From vases to bowls to hearts to paperweights, his designs are inspired by the work of famous artists such as Monet, Klimt and Tiffany. Robert’s glasswork has also been chosen for many prestigious awards and collections. His goblets were selected to grace the table of the Governor General and Her Majesty Queen Elizabeth II’s collection now houses Robert’s commissioned piece “The Northern Lights” – a stunning glass bowl created with gold & dichroic glass.

Artist’s Biography

Robert Held

Born in Santa Ana, California, Robert Held aspired to be an artist from an early age. His father, a sculptor, only lived six years of his son's life, but passed on the talent and appreciation of art that gave Robert the beginnings of a quest to create beauty in form and color.

In High School his paintings won him the "Ebell Award" for promising students. He studied painting at Whittier College until ceramics artist F. Carleton Ball crossed his path. To explore this new medium, Robert changed colleges, supporting himself through this time as the Art Director of the Los Angeles County Fair.

Pursuing a Master's Degree in Fine Arts at the University of Southern California, Robert was awarded the graduate assistantship. At this time, he won the prestigious "Glen Lukins Award" for new work in ceramics.

Upon graduating, Robert was offered a position as Head of Ceramics at a college being built in Ontario. He accepted the position becoming the youngest department head at the Sheridan College - School of Design.

In 1968, after a visit to the Penland School of Crafts in North Carolina, Robert Held discovered a new love: the art of glassblowing. He returned to Sheridan College inspired and succeeded in launching Canada's first college level hot glass program in 1969. This program allowed many Canadian artists to become skilled in this medium, and crowned Robert Held as the pioneer of art glass in Canada.

Eventually, Mr. Held left the teaching world, and in 1978 he began his own glass studio known as Skookum Art Glass Inc based out of Calgary, AB and operated there until 1987. At this time, he moved to Vancouver, BC, and continues to enjoy much success there today at his studio: Robert Held Art Glass, and also through the many fine galleries and gift shops that carry his work throughout North America, Europe and Japan.

Robert uses techniques that date back as long ago as 2000 B.C. however, his collections range from classic to contemporary. Some works are inspired by the paintings of famous artists such as Monet and Klimt, while others take inspiration from photographers and even interior designers. Our studio prides itself on providing its customers with a large selection of affordable hand-blown gift items, as well as Robert Held's individual creations for the serious collector.

Robert's glass work has also been chosen for many prestigious awards and collections. His goblets were selected to grace the table of the Governor General's "Perfect Setting" and his newest commissioned piece: a glass bowl encasing 23rd karat gold maple leaves and sparkling dichroic glass now sits in Her Majesty's Royal Collection. In 2003, a piece from Mr. Held's Flower Line was selected as the Canadian Gift and Tableware Association's Gift of the Year. His glass sculptures may also be found in major collections such as the Roland Michener and the Indusman.

Take me back

Icon of Vladimir Mother of God

Orthodox Iconography has three basic functions. The first is primarily pedagogical; the icons depict in lines and color what the scriptures and other writings of the Church say with words. Second, they function as a means for the Orthodox Christian to effect true worship. By coordinating the eye with the mind, the worshiper is drawn past the representation to what is represented. Third, iconography possesses a sacramental function. It is "symbolic" in the older and wider sense of being the locus or place where Divine reality and created reality meet (from the Greek word symballein meaning to "throw together or unite"). Thus what begins as simple teaching and learning ends as one of the great mysteries of the Church.

Thus, for the Orthodox, following the decrees of the Seventh Ecumenical Council, iconography is indispensable because icons teach us and bring us to the mystery of the presence of God in the world in a way that is unique to the visual arts. Icons are not merely representations of a worldly reality. They are not simple "religious" pictures. They are "dynamic manifestations of man's spiritual power to redeem creation through beauty and art. The colors and lines of icons are not meant to imitate nature; the artists aim at demonstrating that men, animals and plants, and the whole cosmos can be rescued from their present state of degradation and restored to their proper "Image". The icons are pledges of the coming victory of a redeemed creation over the fallen one." (Nicholas Zernov "The Russians and their Church" p. 105) The Orthodox dare to say this because in Jesus Christ Divinity and humanity meet in one person. Because Jesus is the first and the primary mystery or sacrament, the way is opened for all created matter to become a vehicle for the presence of God and the grace of God.

Icons are the present visual manifestation of that restored creation which was manifested by Christ in His transfiguration, and which will be with God at the end of time. They are the present disclosure of God's presence in our midst. They are a concrete reminder that the Kingdom of Heaven is not merely some futuristic concept of a "pie in the sky", but is present at each point where time meets eternity. They are thus the result of a spiritual vision, which is informed, as far as is humanly possible, with purity of prayer and deed. They are the result of a spiritual vision, which, because it has itself been formed by the uncreated reality manifested to the Apostles Peter, James and John in the Transfiguration of Christ, goes beyond created reality.

Orthodox Iconography is the visual expression of Church doctrine.  Therefore icons are not secular pictures with a religious topic, but art which, by its obedience to the canons of the faith, is an expression in lines and color of the teachings which the scriptures, the writings of the fathers, and other verbal expressions, express in words.

For Further Reading
Leonid Ouspensky, The Theology of Icons
Leonid Ouspensky and Vladimir Lossky, The Meaning of Icons, St. Vladimir's Seminary Press
Catherine Aslanoff, editor The Incarnate God: the Feasts of Jesus Christ and the Virgin Mary, St. Vladimir's Seminary Press
Kallistos Ware, Mother Mary trans. The Festal Menaion, St. Tikhon's Seminary Press, South Canaan, PA, 18459