Edmund de Waal’s Porcelain and Netsuke Tales

De Waal is known as a successful British potter who regularly exhibits at the world’s leading museums and galleries and has published the award-winning bestseller The Hare with Amber Eyes.

Edmund de Waal


At the back of the book, it states that its cover design is by Nancy Harris Rouemy, it was printed in New York, and just above the barcode one finds the genre classification of the book: Biography/Jewish Studies/Art. And this is exactly what it is, an engaging story of a 264-piece Japanese netsuke collection preserved by four generations of De Waals, against the background of their experience as a successful Jewish banking family that is humiliatingly stripped off their identities, lives and assets by the Nazi in the early and mid 1900s. It is an intelligent story, and its 354 pages are seasoned with clever references to G Elliot, Montmartre, Proust, Coleridge and Vienna.

The White Road book cover


For someone who is interested in art, however, it is De Waal’s second book, The White Road, that makes one giggle out loud, re-read some paragraphs, daydream, and long to read another few pages despite being late everything. In that book, De Waal envelopes the reader in his hypnotising love for porcelain while travelling around the world to visit pottery landmarks renowned for their white porcelain production: China, Germany, France, Italy, England and the USA. In this book De Waal’s style matures, and he willingly shares his remarkable intelligence, biting wit, and appreciation of pottery.

SS Nazi Allach Porcelain


Every page of the book offers a little treasure: Some pages have cunning references to great works of art, poetry, literature, and mythology:


“I keep thinking of the story of Theseus’ return from killing the Minotaur, and why he forgets to hoist the correct sail as he approaches home…The coming home in triumph is a return to loss, to grief. Theseus forgets”


Other pages pick one’s interest by relaying something new that changes one’s perspective and experience of pottery forever:


“The word carp, li, is a homophone for li, profit, and this suddenly makes sense of the ubiquity of these bowls with their strenuous fish, unstoppable in their need to swim higher”

Chinese Porcelain Ware


Other pages show De Waal’s well-educated, ironic and quirky sense of humor:


“I’ve written them down and I thought I could pronounce this in Mandarin, but I’ve met with busy incomprehension, and a man is trying to sell me turtles, jaws bound in twine. I don’t want the turtles, but he knows I do”


You start the book with planning to read for half an hour before going to bed, which unexpectedly stretches to hours, and becomes an all-night reading marathon. One wants to google more and more things with each page. More importantly, De Waal’s story provides a meaningful context to the under-esteemed porcelain ware. Often depreciated as handicraft and disregarded by an average museum visitor in favour of the Old Masters, Terracotta Warriors, novelty displays, and other popular photography opportunities, pottery is usually on the radar of only those who moved past Art 101 with its Pre-Raphaelites, Impressionists, Berninis and Michelangelos years ago.


De Waal’s fascinating book brings pottery back on the art lover’s agenda and awakes one’s curiosity about the intricate world of porcelain and its captivating history, and by contextualising porcelain, provides a meaningful reference for consideration and interpretation of porcelain. In conclusion, it’s been a long time since I’ve enjoyed a book so thoroughly. Suggested book classification: Wonderfully Exciting/Intellectually Stimulating/Personable Art.

An Artist’s Christmas Day

As snow and cold weather are taking Bronxville by storm, I am enjoying the abundance of lovely and distinct Christmas colors and smells, and got inspired to paint a number of new artworks! At the same time, I continue working on finalizing the many beautiful landscapes I started in Italy last summer, which makes my heart smile every time I touch the canvas and see those beautiful rays of sunlight cross the peaceful Florentine landscape.

So, I decided to share with you a short video so that you can see what my typical day looks like at the moment! Happy holidays and I hope you are having a great time with your family and friends, and remember to be creative and enjoy the beauty around us! Merry Christmas and a Happy New Year!

Wethersfield Amenia, the magic country estate of Mr. Chauncey Stillman

The painting workshops at Wethersfield are my favorite, not only because they scheduled for when fall colors start touching the leaves, but also for their unfailingly breath-taking locations. This time, we were enchanted by the charms of the Wethersfield Amenia, a stunning Stillman family country estate.


Chauncey Stillman (1907-1989) was a grandson of James Stillman, the Head of the First National City Bank (now CityGroup), reputed to be the 12th richest man in America in his time. Rather unsurprinsgly then, his two uncles were married to Rockefeller sisters.


His beautiful estate is surrounded by rolling hills and features 20 miles of pathways that are decorated with life size limestone statues. The majority of them are either by the Polish born Josef Stachura (1923-2001) or by the English sculptor Peter Watts (1916-2002). The gardens and shrubs surrounding the property are beautifully maintained, and visitors can even enjoy seeing peacocks on the property. In the house itself, the avid collector and art lover Stillman has amassed a variety of impressive artworks, from centennial Chippendale furniture to paintings by the regarded Impressionist artist Mary Cassatt.

Thus, this stunning estate has many views to choose from where an artist would be inspired to set down his or her easel and start painting. One of the most interesting features that really caught my eye, however, were the Pietro Annigoni frescos. My guest writer Mr. Andrew Lattimore is preparing next blog on Annigoni work.

One of the paintings I started at Wethersfield was this landscape, which instantly caught my eye because of its magnificent pond view, which leads on to a lovely rustic barn. As I was painting, I enjoyed the views, the sky pierced by geese families, and the wonderful sounds and smells of Wethersfield autumn. It was such a great workshop, and I hope to return to Wethersfield next year!



    Alexander Calder at Whitney Museum


Calder: Hypermobility exhibition closed at Whitney on October 23rd, and I was lucky enough to be able to attend it on the very last day of the event. It was a great afternoon out and it was an interesting experience discovering this legendary museum in its new quirky location, the meatpacking district in the lower Manhattan.. With 8 floors of stylish display space, gorgeous outdoor terraces, and airy outdoor galleries, the setting provided a great backdrop to Calder’s exhibition and framed it powerfully.





The exhibition was held in the small hall on the top floor and at the time we arrived, the performance of the Calder statues in motion was just beginning. It was fascinating to watch museum staff, with their gloves, pushing a hidden button which made the figures come alive, which visualized that the kinetic nature of Calder’s work is closely related to the concept of performance. Unsurprisingly, Calder’s work attracted interest of filmmakers, and is featured in a number of films, including the movie Dreams That Money Can Buy, which explores the unconscious, and features a number of Calder’s objects and drawings.


This exhibition provided a rare opportunity to experience works as the artist intended the to be experiences, namely in motion that is provoked by human touch or air currents. The artist’s devotion to setting abstract objects in motion started in the 1930s, when in 1931 Calder used motors to mobilize them, aiming to help people reimagine the spatial and temporal relationships of compositional elements. Using motors helped Calder to control each individual element of his installations, generating what he described as “infinite combinations”


The genesis of Calder’s artistic focus lies in his 1930 visit to Piet Mondrian’s studio, which inspired him tremendously. Other artists he admired are evident in his work and include Leger, Arp, Duchamp, Klee and Picasso. Moreover, many shapes Calder used in his art were influenced by Miro. Notably, Calder’s interest in composing unique forms of motion also extended to his balanced bronze sculptures.


Calder’s art can be experienced in many museums and galleries, including the Peggy Guggenheim Collection in Venice, Italy; the San Francisco Museum of Modern Art, and the Phillips Collection in Washington, D.C


Did Chihuly Steal His Student’s Ideas?



I am very excited to write about this topic. As an artist, I have often found myself in situations where I asked myself in how far the interactive process of teaching and working with students influences the perceptions and ultimately the work of the master. Like in any learning process, there is a lot of exchange of ideas and collaboration that takes place in the art studying process. Theoretically, the teacher, instructor or team leader is a trove of knowledge and experience, an idol for emulation, and often also a source of inspiration. In reality, ever so often it is the students of, and assistants to the big name artists who help breathing a new life to their master’s work or even complete works for their masters.

A very powerful and hence a much debated example of this phenomenon is the Rembrandt’s now infamous painting The Polish Rider, which is a portrait of a young man traveling on horseback through the landscape which is owned by and on display at the Frick Collection, New York. The Rembrandt Research Project, an international art initiative which was established to track, authenticate, and research Rembrandt’s works, questioned the authenticity of its authorship in the 1980s, suggesting that the painting was not by Rembrandt but by his talented student Willem Drost. The jury is still out on this question, and the discussion amongst Rembrandt scholars continues to this day.

The Arts section of a recent edition of The New York Times dated 22 August 2017 features an article titled “Chihuly Art”, A Legacy Under Siege, which once again raises the issue of authenticity and the difficulties related to distinguishing works of prominent artists from their students’. The article discussed the case of Dale Chihuly, an American glass sculptor, glass blowing master and author of installations and environmental work, whose work was recently exhibited at the New York Botanical Garden. The article states that the artist is facing a court battle initiated by his former team contractor, who is seeking compensation “for millions of dollars of paintings that the contractor says he created or inspired, but for which he said he was never properly credited or compensated”.

Dale Chihuli
New York Botanical Garden, 2017

A couple of years ago, I remember visiting the breathtaking Chihuly Garden and Glass Art Museum in Seattle. Ironically, looking admiringly at his incredible large-scale work, I recall thinking during my visit that it would have been impossible for Chihuly to create works on such a scale without significant assistance from others, and I was wondering who those others might be.

Lime Green Icecle Tower,2011. Height x width: 42 1/2 x 7 ft. MFA museum



Crimson and Chestnut Fiori Boat, 2017

The Sun and Black Niijima Floats, Salk Institute for Biological Studies, La Jolla, California, 2010
Three Graces Tower, 2016, 84 x 96 x 96″, Atlanta Botanical Garden
Boathouse 7 Neon, 2016, 8 x 27 x 16′, Seattle

On a related note, back some years ago Roland Barthes in his essay The Death of the Author argued for a separation of the creativity or creative idea (or content), and its mechanical execution (or form), and art scholars later recycled this idea stating that there no original art left in terms of its content, and that the only innovative or original contribution an artist makes is related to the form. The issue of copyright and intellectual property is as poignant as ever in the arts world, and it will be interesting to see how cases like Chihuly’s are treated from the legal, ethical and social perspective moving forward.

A Painting Trip to Italy

Having survived a very eventful first half of the year that included highlights like my graduation with a Bachelor in Arts and my participation in the New York ArtExpo 2017 as well as in the SUNY Annual Art Exhibition 2017, a couple of weeks ago I headed to Florence, Italy, to join a landscape painting workshop with my fellow artists.

On arrival in Florence, all the wonderful memories of the last year immediately hit me because I painted so many lovely landscapes here last year, many of which were selected for the SUNY exhibition a couple of months ago:

As I hoped, this trip has been equally prolific in terms of advancing my painting skills and creating a variety of new oil landscapes, but this time the trip was more than that. Suddenly I realized how important it is to use all of our senses – to feel the sun warming our skin, to stop for a few seconds to listen to the wind and to cicadas in the evening, to listen out for the lovely local shepherd dog barking in the distance not out of boredom but out of happiness…

Florence is a perfect place for letting go of the everyday treadmill of life, getting off it for a while, and to just feel, see, hear, taste, and touch. This has changed my perception of the landscapes I was painting, which has hopefully translated in my art:

One of the highlights of the trip was visiting a number of wonderful places, for example, the Lars Thorsen’s studio in Florence and meeting this incredible sculptor there, as well as visiting the Villa Reale in Monza, the Palazzo del Bargello in Florence, and the sculptor and painter training studios at the Florence Academy of Art – what a treat!

My husband Paul helped throughout in spirit and hands-on, and now we are packing and heading back to Milan, and then from there to visit our dear friends Angelika and Ernst in Switzerland, to enjoy the wonderful views of the magnificent Lake Maggiore and to paint some more landscapes there!

Last but not least:

  • Saatchi Art have listed two of my paintings, The Bill Cunningham Corner and The Dreamer (both exhibited at the New York ArtExpo 2017):
  • FineArtAmerica are now using my artworks to create lovely customised gifts:
  • I now have an Instagram account:
  • I have a dedicated Facebook page:

Thank you all for all your support and don’t forget to stop and smell the roses, listen to the rustling of leaves, watch the clouds in the sky, and touch the rain when it runs down your umbrella for inspiration!

Receiving my BA in Arts

This week was a very special week as my family and friends attended my Graduation Ceremony at the Lincoln Center. The long anticipated event was even better than I expected and my university, SUNY, did a great job selecting the venue, decorating it, choosing suitable speakers, and awarding the degrees – I was very proud and moved at the same time.
After four years of hard work, attending lectures, working through heaps of very diverse study material, participating in workshops, figuring out how VLE works and learning the lingua franca of my degree, as well as meeting amazing professors and tutors and establishing great friendships with my fellow students, I was awarded a BA in Arts, and had a great sense of achievement and satisfaction sharing this moment with my family who arrived from so many different cities and countries to celebrate with me – as close as New York and San Diego, and as far as Italy and Vietnam!
I genuinely feel that my experience of studying towards my degree not only transformed my artistic perspective and vantage point, but also enriched my every day life – and also it was very challenging at times to persevere, I am very glad I did.
Now I am looking forward to heading to Italy in just a few days, for another insightful workshop with Andrew and the rest of our peripatetic ‘gang’ of artists joining us this summer, and with my husband Paul joining me on the trip, I will no doubt return to New York in July with many new paintings, ideas, impressions, and interests!
Thank you all for your ongoing support, and I will update you from Italy soon!

Annual Graduating Senior’s Art Exhibition at my University

As my graduation is approaching, I was asked to participate in the Annual Graduating Senior’s art exhibition at my University.


Art works of 8 students were exhibited in an intimate room with a reception held at night. I exhibited my 2016-2017 landscape paintings from Florence, Italy and one of my still life paintings. The setting and the lighting were absolutely glorious. All of the students and their guests were so delighted with the artworks. Few of them I never met during my studies and I was gratified to get to know them during the reception.


Each of the artists gave a little speech describing their work and shared all the learning experiences they received.


With artist Patricia Cazorla

I would like to use this opportunity to thank the organizers of this event, faculty co-curators: Terry Boddie and Betty Wilde-Biasiny, and assistant curator: Anita Sillery. Terry Boddie was my mentor during my studies and I want to thank him for his inspiration and support

I also want to thank my last class professor, Raul Manzano for his encouragement and wish him good luck with the workshop in Barcelona.

With my all times big supporter, my dear husband Paul



A Plea to Preserve Italian Masterpieces

I often think about Italy. We know that Italy is the pioneer of the Renaissance Art Movement, and as an artist with a degree in art history and family living in Milan, I am worried about the future of this fascinating country. With everything else affecting the country, I am wondering if the government will be able to preserve the iconic artworks this country is so well known for, from the architectural masterworks like the Coliseum and Pantheon in Rome, to legendary paintings and frescos that adorn museums and churches in Milan, Venice and Florence.


The late seismic developments alone had a devastating effect on the country, when the earthquakes hit central Italy in August last year, with aftershocks lasting until the end of October. Last month, I had finally found time to subscribe for The Burlington Magazine, and received my copies of the journal’s March and April editions last week; in the March issue, I came across a great editorial piece by Alessandro Delpiori in which he discusses the subject.


Delpiori states that the quakes hit four regional administrations: the Marche, Umbria, Lazio and Abruzzo, and although these areas are not known for great museums, many of the towns and villages in this region have Medieval and Renaissance period churches and monasteries known for their fourteenth to sixteenth century frescoes and other artworks.



The earthquakes claimed lives of three hundred people, and some towns, like Amitrice, were basically wiped out the day of the first earthquake. The damage many buildings and artworks in this area have suffered is equally of a devastating magnitude. While an estimated two thousand churches are wrecked or are unstable, and given all other economic, political and social challenges the country is facing at the moment, many art lovers wonder where the funds will come from for all required rebuilding and restoration work.

San Benedetto basilica in Norcia. The building contained a large painting , St. Benedict and Total, by Filippo Napoletano, which was completed in 1621, and another painting from the mid-1600s, Madonna and Norcia Saints, by the Roman painter Vincenzo Manetti
Amatrice’s town clock in the 16th century bell tower remains frozen at just after 3:36 a.m, the moment the quake hit


At the same time, lack of investment in restoration of these historically and artistically important edifices may lead to a slagging demand for tourism in those areas, which would be highly undesirable because it would lead to their further deterioration. I do hope that the government will make the restoration of the damaged region one of its priorities, and that future generations can experience and enjoy the stunning art this country has to offer for the years to come.


On a more upbeat note, earlier this week I attended a briefing and induction session for the upcoming en plain painting workshop that will take place in Florence this year at my mentor’s Andrew Lattimore’s house, and now I am really looking forward to returning to Italy again this summer to get inspired by its beautiful scenery and heritage (not to mention its great food and wine)! It was such a great workshop last year, where I had a chance to bond with fellow artists and learn new skills!

Guest Post

I asked a friend of mine, Andrew Lattimore, who is a renown artist himself and teaches painting to beginning and advanced level students in the USA and Europe to write a guest post on my blog, please enjoy reading his thoughts below.

Once again I return this summer to Florence, Italy, my beloved, spiritual home that I know so well.  It has been forty years since I first fell
under the spell and intrigue of this magnificent city, that which is considered the birth place of the Renaissance.  It’s history, wealth, genius
and above all it’s art, have inspired the world for centuries there after.  Florence has always been part of what was called the “grand tour” of
an artist’s training and an individual’s education in the esthetics and humanities.
This summer once again, I am thrilled to be taking another group of students and art lovers to enjoy the riches of Tuscany and experience my
intimate tour of the culturally rich and dynamic city of  Florence.  This year we are fortunate to be staying in Florence “proper” yet
we’ll still enjoy the Tuscan landscape as we paint in ‘plein air’ on the property of Art Hotel Villa Agape.
Of course, the abundance of art on our tour begins with Michelangelo’s colossal marble figure of David. (Attached is an extremely
foreshortened drawing of David I drew sitting at the base of his pedestal during my student years).   Among the numerous places we will visit, the magnificent Duomo, Medici Chapels, the Bargello, Santa Maria Novella, Palazzo Vecchio, Palazzo Pitti and the Uffizi Galleries, where Leonardo’s “Adoration of the Magi” has just been unveiled to the public again after 6 years of delicate restoration.
Another important point of interest is seeing the plein air landscapes of the Italian impressionists, known as the ‘Macchiaioli’.  Their
contribution to the ‘plein air’ movement is historically understated and in some cases unknown.  Their example will inspire us as we paint  the gardens and hills of Florence.  (Attached is a landscape demo of olive trees I did in ‘plein air’ at a previous Florence workshop).  There will also be painting demos in this workshop.
There is also the people of Florence.  Besides their love of life and the arts; is their passion for design, fashion, sumptuous food and wine.  To walk side by side with all Florentines in kinship, has always been one of the great cultural experiences of my life.  I look forward to the next chapter this July 3rd – 14th, 2017.
If you have any interest in joining us for this journey and experiencing the sublime beauty of Tuscany this summer.  Please contact:
Andrew Lattimore at or call (914) 819-8856.


Foreshortened David-1977

Olive tree demo