Notes on Selections from My Series of Works: "Traces of the Celts"

Connections with Classical Traditions of Beauty and Spirituality: Part I.

Over the course of several weeks, I recently worked on a special painting commission. While I was engaged in a focused study of the religious paintings of two Italian Renaissance masters, Fra Filippi Lippi, and Cimabue, I realized that my own art has points of connection with Classical traditions of presenting beauty and spirituality in aesthetic works. In particular, I realized such connections in my earlier series of works, Traces of the Celts.

These links to the Renaissance traditions—in the manner I sought to convey depths of human emotion connected with contemplative, spiritual experiences—is most evident in my art connected to the history of Ireland. Two of the works in this collection, Coronach, (soft pastel, 18.25 x 12.75), and Ire: Isle Where the Storm Sets, (soft pastel, 27.5 x 21.5), show especially strong connections with earlier traditions in Classical and religious art.

My experience of creating these commissioned works was a valuable and productive study. I came to understand a great deal more about connections back to the Renaissance period than I could have through academic research alone. I better understand now how these early traditions in Classical painting provided the foundations for my own approach to conveying beauty and the spiritual essence of the human condition. Many of my figurative works, particularly, the Celtic works, reflect this influence.

Art Notes:

Artwork posted in this blog post is the original, copyright protected work of Linda L. Anderson.

1. Ire: Isle Where the Storm Sets, soft pastel, 27.5 x 21.5 inches.

2. Coronach, soft pastel on paper, 18.25 x 12.75 inches.

3. Adaptation of Fra Filippi Lippi's oil painting, The Annunciation with Two Kneeling Donors. Acrylic on wood. Collection of French Woods Festival of the Performing Arts' Theater Department. (photo credit: Michael Knauf).