Slasky
San Michele, after Luca Giordano
Giclée on canvas with archival gloss varnish
1200 x 1800mm
Private collection
Michael, also called Saint Michael the Archangel or Saint Michael the Taxiarch in Orthodoxy. The earliest surviving mentions of his name are in 3rd- and 2nd-century BCE Jewish works, often but not always apocalyptic, where he is the chief of the angels and archangels and responsible for the care of Israel.
He is mentioned explicitly in Revelation 12:7–12, where he does battle with Satan, and in the Epistle of Jude, where the author denounces heretics by contrasting them with Michael. He is also mentioned in surah 2:98 of the Quran, where the Jews of Medina challenge Muhammed to tell them the name of the angel from whom he received revelation, and when told that it was Gabriel they reply that revelations came from Michael. More on Saint Michael
Slasky is an established artist from Italy whose works have been featured in solo and group shows internationally. Fascinated by Caravaggio's The Conversion of San Paolo as a child, Slasky dedicated himself to a life of painting, merging classical works of art with contemporary digital art techniques. With his neo urban classic style, he bridges tradition and modernism, bringing protagonists of the original works of art into contemporary social and artistic environments.
The style is very personal working from some of the world's most recognizable images. The works have an instant sense of familiarity, but presented with an injection, sometimes explosion of colour and life that absorbs them with richness and modernity. Details are thrust front and centre in his canvases, using techniques of contrasting colours, textured backgrounds and screen prints to create the same subject in varying guises, separating them from their traditional backdrops. More on SlaskyLuca Giordano (1634–1705)
The Fall of the Rebel Angels, c. 1660 - 1665
Oil on canvas
height: 4,190 mm (13.74 ft); width: 2,830 mm (111.41 in)
Kunsthistorisches Museum
When some of the angels rebelled against God, Archangel Michael cast them into the abyss of hell. The desperately screaming, distorted faces of the vanquished angels – now turned into devils – testify to the stark realism of the Spanish-Neapolitan court painter Jusepe de Ribera. The work is also determined by Ribera's Venetian-influenced palette in the sophisticated coloring of Michael. The altarpiece, whose original destination is unknown, was brought from the Minorite Church in Vienna to the Imperial Picture Gallery in the late 18th century. More on this painting
Luca Giordano (18 October 1634 – 12 January 1705) was an Italian late Baroque painter and printmaker in etching. Fluent and decorative, he worked successfully in Naples and Rome, Florence and Venice, before spending a decade in Spain.
Born in Naples, Giordano was the son of the painter Antonio Giordano. In around 1650 he was apprenticed to Ribera, and his early work was heavily influenced by his teacher. Like Ribera, he painted many half-length figures of philosophers, either imaginary portraits of specific figures, or generic types.
He acquired the nickname Luca fa presto, which translates into "Luca paints quickly." His speed, in design as well as handiwork, and his versatility, which enabled him to imitate other painters deceptively, earned for him two other epithets, "The Thunderbolt" (Fulmine) and "The Proteus" of painting.
Following a period studying in Rome, Parma and Venice, Giordano developed an elaborate Baroque style fusing Venetian and Roman Influences. His mature work combines the ornamental pomp of Paul Veronese with the lively complex schemes, the "grand manner", of Pietro da Cortona. He is also noted for his lively and showy use of colour. More Luca Giordano
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