Anthonisen and Fresco

 

Much has been written about George Anthonisen’s humanistic philosophy and its manifestation in his exquisite bronze sculptures and bas relief works. His concern for and investigation of the human condition, the harmony and conflict that has shaped our view of humankind, have been a consistent theme in his work. His exploration of how these abstract issues are revealed through the attitude of the figure is grounded in both traditional training and a conscious lesson from the classical techniques and imagery of the Greek and Roman heritage and the masters of the Renaissance.

Nowhere is this reference to classicism more prevalent than the artist’s work in fresco. These frescos, however, are not derivative of their ancestry. Anthonisen brings a fresh approach to this process; the imagery and color is consistent with his long-term exploration of the elegance and majesty of the female form, and from his interest in ancient and far eastern traditions.

The fresco surface has a sculptural quality that is consistent with the three-dimensional compositions that are the foundation of Anthonisen’s body of work. He has, in fact, defined this medium in modern art; none of his contemporaries work with this unique medium.

It is Anthonisen’s skill and expertise as a sculptor that enables him to move into the relief medium without compromising the depth and contrast of full-bodied forms. The frescos, like his sculpture, have a presence that is born from a mature understanding of the medium, the capacity to manipulate a surface to achieve a desired effect, and a consistent approach to exploring subjects that have influenced and are meaningful to the artist.

Lisa Tremper Hanover
Former Director/CEO, James A. Michener Art Museum, Doylestown, Pennsylvania
Former Director, Berman Museum of Art Ursinus College, Collegeville, Pennsylvania

Anthonisen and Fresco

 

Much has been written about George Anthonisen’s humanistic philosophy and its manifestation in his exquisite bronze sculptures and bas relief works. His concern for and investigation of the human condition, the harmony and conflict that has shaped our view of humankind, have been a consistent theme in his work. His exploration of how these abstract issues are revealed through the attitude of the figure is grounded in both traditional training and a conscious lesson from the classical techniques and imagery of the Greek and Roman heritage and the masters of the Renaissance.

Nowhere is this reference to classicism more prevalent than the artist’s work in fresco. These frescos, however, are not derivative of their ancestry. Anthonisen brings a fresh approach to this process; the imagery and color is consistent with his long-term exploration of the elegance and majesty of the female form, and from his interest in ancient and far eastern traditions.

The fresco surface has a sculptural quality that is consistent with the three-dimensional compositions that are the foundation of Anthonisen’s body of work. He has, in fact, defined this medium in modern art; none of his contemporaries work with this unique medium.

It is Anthonisen’s skill and expertise as a sculptor that enables him to move into the relief medium without compromising the depth and contrast of full-bodied forms. The frescos, like his sculpture, have a presence that is born from a mature understanding of the medium, the capacity to manipulate a surface to achieve a desired effect, and a consistent approach to exploring subjects that have influenced and are meaningful to the artist.

Lisa Tremper Hanover
Former Director/CEO, James A. Michener Art Museum, Doylestown, Pennsylvania
Former Director, Berman Museum of Art Ursinus College, Collegeville, Pennsylvania