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Artist Prints - Richard Giglio

Richard Giglio

Richard Giglio

Beginning in the 1950’s, Richard Giglio, an American born artist, was raised in New Rochelle, New York and graduated from Pratt Institute. In his early years as a young artist, living in Manhattan, he worked as assistant to the legendary Gene Moore, Display Director of Tiffany & Co. and Bonwit Teller. As Andy Warhol did at the start of his career, Giglio created background art for Bonwit Teller's fashion windows as well as original artwork for Tiffany & Co and Bloomingdale’s.

Giglio spent many years covering the couture collections in Paris, London and Milan, contributing his fashion illustrations to Glamour, Seventeen, Cosmopolitan, Harpers- Queen, and The New York Times. He continued his commercial art career creating illustrations for Henri Bendel, Seventh on Sixth and textile designs for Donghia Inc

Richard Giglio’s art is a synthesis of his life long passion for drawing from live models, the rhythm of great jazz music and the pulse of contemporary culture. Giglio says there have been three major influences in his life and art: Henri Matisse, Billie Holiday and Maria Callas. His work is rendered, both in the stark, graphic contrast of charcoal, the blackest Japanese ink and the boldest, most vibrant hues of tempera, acrylic paints and oil pastels.

Giglio’s work has adorned the pages of Vogue, The New York Times, Italian Vogue’s Per Lui and a special collaboration, in 1986 with the famed photographer, Bruce Weber, for his book O RIO.

Anyone with enough schooling can draw or paint an interior and give us a sense of what it looks like - where things are, furniture and fabric choices, colour, lighting, and so on. And that is enough for many. It takes a really fine artist, however, to go beyond that and give us the sense of being in the room, of being able to move about in the space, touch, react, get beyond the facts to the reasoning behind them.

A drawing or painting of an environment must do more for us than a colour photograph would-if the result is to transcend journalism. It must give us the experience of the thing. For us to penetrate into the picture a certain interesting and inventive distortion must take place.

A wall, for example, must not be literal: the artist must give us a sense of the wall, how it functions in and relates to its environment, not simply how it is, or looks.

Edward Albee

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Richard Giglio
Richard Giglio
Richard Giglio
Richard Giglio
Richard Giglio
Richard Giglio
Richard Giglio
Richard Giglio
Richard Giglio