The Art and Opinions of Heidi Celeghin, Aesthete

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Artist Residency in Bruges

I am currently an artist-in-residence in Bruges and have been learning from Restructured Realist Ted Seth Jacobs. We recently did a two-week pose and I completed two variations of the same pose – one on white paper and the other on blue paper. The one on white paper has some of Ted Seth Jacobs’ drawn annotations on it. The one on blue paper (with graphite and white chalk) is a clean rendition.




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A Casualty of Painting

I have just completed a large painting that was filled with so many details, that my smallest brush simply could not handle the abuse.  The situation was getting so out of hand (I was determined to use that brush until it was simply impossible) that the results are absurd and hilarious. I’ve bought a replacement brush and then took a photograph for comparisons sake. They are the same kind of brush, though you can hardly see the two bristles left on the old one.


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Work at AAF Hong Kong!

If you happen to be in Hong Kong, please go check out some of my paintings and the other great work at the Affordable Art Fair it is on from March 15 to March 17. I am being represented by Forest Rain Gallery and there are several other galleries at the fair. The fair opens at noon on Friday and Saturday and at 11 AM on Sunday.

Red Panda


Fashion in Morisot’s On The Balcony

Note: This is the first of a few posts on Berthe Morisot’s painting On the Balcony. I believe that art history is just as important as the creation of art and would like my blog to include the occasional art history post. This was originally posted on my official blog.


 As a woman, Berthe Morisot was denied the possibilities of painting every facet of Parisian social life and consequently, painted the sheltered world of the upper-class lady.i  Morisot’s paintings of women and children in French suburbs illustrate her conformity to the social expectations of women at the time in that they propagate the image of respectable women, a haute bourgeois lifestyle, and women’s primary role as mothers.  These domestic subjects seem to veer away from modernity and therefore, Morisot capitalizes on Baudelaire’s equation of la vie moderne with fashion by employing women’s fashion to evoke modernity.  Morisot’s work shares many similarities with fashion illustrations of the nineteenth century including composition, background, the interplay of patterns on a flat surface, and the focus on upper-class, suburban domestic life.  The 1871-72 oil painting On the Balconywhich illustrates a haute bourgeois woman with a child, stands as an example of Morisot’s extensive appropriation of the aforementioned aspects of the fashion plate as a symbol for modern life, a rebuff of past artistic traditions, and a conformity to the social norms set on nineteenth-century women.


Morisot’s paintings of women in suburbs, as seen in On the Balcony, exemplify modernity’s fleeting and ephemeral nature.  Morisot lived and painted in the suburb of Passy which was removed from Paris, the city that was to be considered the center of modern life in nineteenth-century France.ii  On the Balcony depicts Passy, for Morisot painted it in her home in the Rue Franklin.iii  Baudelaire wrote that the artist had to portray modern life and Morisot chose primarily to portray modernity through fashion.  Morisot’s paintings represent the “ebb and flow”, as described by Baudelaire, of the lives of women and children in the suburbs.iv

Not only does Morisot illustrate the transience of modernity through the setting ofOn the Balcony, but also through the clothing of the figures.  The woman’s dress inOn the Balcony is fashionable and upper class, but is also suitable for domestic life.  With industrialization and the mass production of clothing, social divisions began to blur because poorer people were able to purchase fashionable dresses made of less expensive materials.  This situation in fashion, known as the “trickle-down” theory,v was an integral part of modern life and was explored by several Impressionists including Claude Monet in his painting Women in the Garden.  Both Monet and Morisot paint fashion in order to convey an impression of change and flux because fashion, like modernity, changes constantly.  By painting his companion and model Camille Doncieux wearing fashionable dresses in Women in the Garden, Monet underlines the new role of industrialization in the fashion industry.  He paints a poorer social stratum but, referencing the trickle-down theory, still illustrates fashionable dresses.  Though Morisot tended to paint fairly wealthy women, the woman in On the Balcony is socially unidentifiable.  Her clothes appear to be sumptuous but, due to Morisot’s indistinct brushstrokes, they could easily be clothes made for lower class women.


i.  Griselda Pollock, “Modernity and the Spaces of Femininity,” in The Visual Culture Reader, ed. Nicholas Mirzoeff, 1st ed. (New York: Routledge, 1998), 79-81.

ii.  Teri J. Edelstein, “Introduction,” in Perspectives on Morisot, ed. Teri J. Edelstein (New York: Hudson Hills Press, 1990), 33.

iii.  Kathleen Adler, “The Spaces of Everyday Life: Berthe Morisot and Passy,” inPerspectives on Morisot, ed. Teri J. Edelstein (New York: Hudson Hills Press, 1990), 40.

iv.  Adler, 38.

v.  Anne Schirrmeister, “La Dernière Mode: Berthe Morisot and Costume,” in Perspectives on Morisot, ed. Teri J. Edelstein (New York: Hudson Hills Press, 1990), 104.

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I have disappeared for a few months because I have been hard at work on some new projects. I am currently focusing on a 4-figure commission. The details in such a large, multi-figure portrait can be overwhelming but I have been making steady progress. In some ways, I feel like this is perhaps my most ambitious portrait thus far. Stylistically, I’m informed by Caravaggio and am using extremes of light and shadow.


I am also looking forward to my work being shown at the AAF Hong Kong in mid-March. More about that later!

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Some new paintings headed to Singapore

First, I completed a 15 by 20 inch painting of a Brassolaelia orchid. This is a collaboration with Singaporean photographer Simon Ho.

Second, this weekend I finished my tiger painting for Forest Rain Gallery in Singapore.  It is a 40 x 26 inch oil painting on canvas. The work follows the same Neo-Decadent aesthetic of my chimpanzee painting, Willie.