Isabel del Rio is founder of Yareah Magazine alongside with Martin Cid. She is an author, journalist, teacher and Art historian. She has published several books in Spanish: Ariza and Las Chichas del Oleo, and in English: The Shadow of the Art.
“All of my life, I have been in love with arts. My grandfather was an artist and I grew up in that world of colors and fantasies. I studied History, what includes Art History, and I have been teaching in a Secondary School from years. I published a novel ‘Ariza’ in 2008 and an essay about old female painters, ‘The Girls of Oil’, in 2010. Now, I’m interested in myths and legends of Mother Nature, the White Goddess of the Mediterranean Sea, the place of dreams where I was born. I’ve a pet, Jack the Labrador, who usually accompany me when I’m writing for Yareah magazine, edited with my husband, the author Martin Cid.”
See more at: http://isabeldelrioyareah.com/
Enjoy the video Fauvism, a new allegory of colors, an article by Isabel del Rio:
At the start of the 20th century, a group of artists started a new approach to color in art. They were influenced by post-impressionist artists, especially by Paul Gauguin. Gauguin believed that color had almost mystical meaning and it could express our feelings and emotions rather than reflect a scene in a realistic way as artists were doing from the Renaissance. For example, in ‘Vision after the Sermon’, Gauguin painted Jacob wrestling with an angel, the background is red, a subjective red to create a blood field of combat and then, to emphasize the mood and subject of the sermon.
This break with the former use of color inspired younger artists to experiment with new possibilities for color in art: Henry Matisse and Andre Derain were the central figures. In 1905, they travelled together at Collioure and they started to look for a way where their strong colors suited well. Because at first glance, the apparent freedom of their style seems to deny any technique (both had studied in The Academy of Fine Arts in Paris with the symbolist artist Gustave Moreau). In Collioure, they discovered that using such exaggerated colors, they had to simplify the drawing and they understood that if they intensified the quality of color for expressive effect, they had to reduce the amount of detail used in drawing the shapes and forms of the painting.