I got into every possible class, I started devouring books on the subject, getting to know what this subject was all about. He hasn’t shot one thing in film since. I realized at that point I couldn’t tell people I was an actor, so I kept each art very separate. They should get into it because of the Art form, the passion and the desire that you have in order to create something special. Private Collection, Philippines, Oil on poplar panel Then the other two paintings followed, some ten to twenty years later. So I met him, and I presented my case to him, and he took a leap of faith and decided to do this with me. I mean in order to acquire it, I realized that I could only go up to a certain amount, and that I would have to bring in a partner. The painting called ‘Fusco Meats’. We have a couple more questions to go through, and then we’re all done, so I wont keep you much longer. I do have a gallery that represents my work in New Jersey, and they show and sell my work, but this is something that is going to be very different and more for a NY audience. 9 1/2â x 7 1/8â, Color pencil and oil on black paper FC - So, you asked how did I get into acting, well, in my last year at The School of Visual Arts, I had a friend who was also in illustration and painting classes, and he came over to me and said hey, come check out this theatre group I’m in. It was as an extra obviously, but the great thing was that I got a chance to get into the film, and I got a chance to understand what it was like to be an extra, standing for hours and hours on end in the rain and wind, and quite frankly, I thought that this was hell. EL - Well, money talks doesn’t it? That’s great, but it's not really the reason one should get into it. Federico Castelluccio & Mr. … Private Collection, CT, Oil on poplar panel EL - Well I did get some help on the film questions, I must confess. EL - Well hey, I’m sure it wasn’t an easy ride for you. FC - That’s true, and you have to understand that my first language was Italian, so I had to learn how to speak English while I was in America, going to a new school. I can do much more in depth research there, if I’ve exhausted my own source material. Enjoy the comprehensive art database we've compiled since 1987. What’s it all about? FC - That’s right, it’s so true man, and that goes back to what I was saying earlier on. When I saw it in the catalogue, I felt strongly that it was by Giordano, and I knew it was wrongly attributed. There’s a painting of the same subject matter which is the Flight into Egypt, and it’s a subject I really like, and one I didn’t have in my collection, and really wanted. I’ve had a situation several years ago on one of my short films where two of the main actors, and they are pretty well known actors, I hired them, and I had no idea that basically they had a beef with each other for years, and it culminated on my set. It was an incredible relief for me. FC - Yes it is, it’s all visual language when it comes to Film and Art. EL - 85 - 2000 - Journey man, artist, actor. The Sebastian was covered with years of old yellowing varnish, and in-painting and over-painting, and there were things about it that were throwing the eye, which might put other people off and distract from the painting being by this artist. I said, “A friend of mine sent me over, she said i'd be right for the part in your film Crocodile Dundee 2? Neither area had an idea of each other, it was the best way to do it at the time. I have to say that the whole experience of Naples and moving to Paterson was really quite traumatic. I said yeah, that’s one of my paintings, so he started showing everybody else at the party, and I realized at that point, that it was accepted, and it was okay to let people know. It wasn’t a typical head shot, of the type which you might use. I introduced myself to him, and I just did it. FC - I actually sold that painting, it was a very important painting in my ouvre, and it was in my collection, and I decided at one point; you know, as an artist, it’s always feast or famine, and a person was very interested in that painting, a major collector in fact, by the name Richard Brown Baker, he was a major collector of post WW2 art, and towards the end of his life he started collecting contemporary realism. Yvonne went ahead of me. So, I went to the class right, and I sat up top, and they had like a little stage area and I watched my friend who I knew very well, and I watched this guy transform into someone completely different, right in front of my eyes. federico, castelluccios, portrait, of, tony, and, carmela, soprano, inspired ... Federico Castelluccio, Federico Castelluci at the ... Federico Castelluccio Paintings, Official Website. Toggle navigation Art Ranked Discovery Engine. Permanent Collection of Yale Art Museum, CT, Oil on wood I said, yeah, so I took his number. 8âx 10â EL - As a director, I’m guessing that you have to operate in a similar way to aspects of being a Gallery owner, in that, you are there to advise and mentor, and in essence, metaphorically hold hands with artists on set throughout a film, in order to draw out the best performance. It makes you litteraly shake when that happens. He asks if I have a picture and resume, and I said yes, I give him the picture, and he looks at the picture and then he looks up at me, "It’s dramatic", as I’m looking around at a wall full of very clear images of actors headshots. EL - You did a drawing of Paul Hogan from the set of Crocodile Dundee 2? After looking around, there was nothing of interest on the first floor, so we went up to the second floor, and on the landing, there were some paintings stacked up against each other, and I kind of saw the stack out of the corner of my eye, and I thought I'll come back down here and check those out. You can walk round an auction room full of goods, and spot the good thing in a sale relevant to your tastes, a mile off. 5â x 3â Oil on canvas, My cinematographer for my latest film, and we’ve worked on three films together, was basically reluctant to move into digital film, because he’s been a film guy his entire life. FC - The real step onto a film set was after I’d graduated from Visual Arts. He knew that the trend was moving towards digital, and sooner or later he had to go in that direction, and since that time, that’s all he’s worked on, digital. Prior to that, the only thing we know, is that it was in Guercino’s private home, because at the time of his death in 1666, his biographer, which was the biographer for many painters in Bologna, Count Cesare Malvasia, and he wrote of Guercino's death, he went to his home and noticed that there were 40 paintings from different time periods in his life which Guercino had kept in his own home and in his possession. Collection of Mr. and Mrs, Silvano Marchetto, NY, 10â x 8 Â½â EL - You mean Crocodile Dundee, with the corks on his hat? FC - That’s right, what ultimately happened, was when I was getting on a plane going back to NYC, there was a message from TV Guide, a well known magazine, a national magazine, in the States. They are great painters in their own right, but his studio assistants and followers, they just don’t come close to the exactness of drawing the human body and the quality of painting that is at Guercino's level. At ArtRanked.com find thousands of paintings categorized into thousands of categories. 2â x 3â I was planning on looking at them on the way out. What it did was, the fame actually gave me a forum for more people to know that I’m a painter and see my work. He did many great films, including the original Bad Lieutenant, he did a wonderful film called The Big Night with Stanley Tucci and Tony Shalhoub, and he did about 20 films with Able Ferrara, his name is Ken Kelsh and he was just completely reluctant to move into digital. And, sometimes, if they are at a certain level, and perhaps they may not have been seen for a while, they can think that they deserve a lot. And so, I went to the MET, and I examined that painting very carefully, which is a smaller painting than the one in the auction, and it seemed like it was done at around the same period and in the same style as when Luca Giordano was in Spain. There’s a lot of these pop up Galleries that are happening, and you know, you can control it more. And he goes, it’s like a soliloquy, and I said what the f**k is a soliloquy? This time, instead of a small picture in the catalogue like before, there was a huge half page picture. Private Collection, New Jersey, Oil on canvas Permanent Collection of Yale Fine Art Museum, Connecticut, Oil on wood Private Collection, Connecticut, Oil on canvas I’m looking forward to the first feature film I directed, 'Lilly of the Feast' getting distribution, which the producers are working on at the moment. That is really the key to acting, it’s not acting but "being", and so that was my beginning. But the friends around me wouldn't. Visually, all of these things that I’m telling you right now are what made me what I am today, as an artist and actor, and even as a director now.
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