Christmas Sales on art by Michele Del Campo



ENG: From now in my online shop there is a 25% discount on giclee prints and engravings! The sale will be on until 15 Dec. If you are looking for an arty gift for your beloved ones you could check out the new available artworks and prints in my online shop:

ESP: Desde ahora en mi tienda online hay un 25% de descuento sobre la mayoría de los productos! La rebaja acabará el 15 de diciembre, hasta entonces tienes la posibilidad de hacerle un regalo artístico especial a tus queridos. Puedes ver los nuevos productos disponibles en:


Where to invest in art: suggested by Hedge magazine by Michele Del Campo

ENGLISH: I am delighted that the Hedge magazine has suggested my painting to investors for the price range between £5.000 and £10.000. Interviewed by Hedge's art journalist Melissa Scallan in my studio, in this issue she writes about my work and that of five other artists with artwork value of up to £1.000.000. Hedge is the leading lifestyle magazine for the investment managing industry, with its roots in the hedge fund world. It is also published in internet and you can read the whole issue, with my article at page 69, in this link:

ESPAÑOL: Estoy encantado que la revista Hedge sugiere mi pintura a inversores para el valor de entre £5.000 y £10.000 (libras esterlinas). Entrevistado en mi estudio por la periodista de arte de Hedge Melissa Scallan, ella escribe sobre mi trabajo y sobre el de otros cinco artistas con valor de obra de hasta £1.000.000. Hedge es la revista líder del mundo de la inversión y su título deriva de la palabra "hedge fund" (fondo de inversión). La revista también se publica en internet y puedes leerla, con mi artículo a página 69, en este vínculo:



Recent interviews by Michele Del Campo

Arts-Illustrated-interview-MDC ENGLISH: I have recently been interviewed by the online magazine Arts Illustrated, whom I thank for inviting me on their platform for a relaxed conversation about my experience as an artist. I have also been interviewed with other 2 artists and designers from the Chocolate Factory by Makin 3ndz Meet. They used the extra footage coming from the documentary about The Chocolate Factory and the Custard Factory artists studios looking into the relation between location, art and identity.

ESPAÑOL: He sido entrevistado recientemente por la revista online Arts Illustrated, la cual amablemente me invitó a una conversación relajada sobre mi experiencia como artista. También he sido entrevistado por Makin 3ndz Meet, en un video con otros 2 artistas de la Chocolate Factory. El video, que habla de lugar e identidad de los creativos, ha sido extrapolado desde el metraje para el mini-documental sobre los estudios de artistas Chocolate Factory y Custard Factory.


Video interview for "The Master Secrets Summit" by Michele Del Campo

master-secrets-summit---del-campo ENGLISH: I was honoured to be invited by American artist and teacher Kathryn Lloyd to be part of her successful series of Skype interviews to renowned representational artists, called "The Master Secrets Summit". The first series, with 21 interviews to mainly American artists, made more than 80.000 views in the very few weeks of broadcasting in internet. This second series, which has just begun, releases three interviews each week and will be available for a very limited time. You can watch it here:


ESPAÑOL: Fue un honor ser invitado por la artista y profesora americana Kathryn Lloyd a tomar parte en su exitosa serie de entrevistas por Skype a reconocidos artistas figurativos, entitulada "The Master Secrets Summit". La primera serie, con 21 entrevistas principalmente a artistas americanos, tuvo más de 80.000 visitas en las muy pocas semanas en las cuales fueron publicadas en internet. Este segundo "summit", que ha empezado hace pocos días y está publicando tres entrevistas por semana, estará disponible solamente hasta principios de octubre. Aquí puedes verla (en inglés):

Andrew Wyeth's Chadds Ford by Michele Del Campo

It is only one and a half years since Andrew Wyeth has passed away. He painted until his last days but his work looks out of time, he was one of the last heroes of the best traditional values in painting, an outsider, a poet with a brush.From New York, which I went to visit, Andrew Wyeth's village, Chadds Ford, was only three hours away, two by train, one by taxi (there is no public transport to the village). By coincidence Henry, the taxi driver, had met the artist personally and, apart from driving, he also worked part-time in the Delaware Museum, where there are also some paintings from N.C. Wyeth, Andrew Wyeth and James Wyeth. The Delaware Museum was on the way to Chadds Ford, so he kindly made a stop to guide us through the museum towards the paintings of the Wyeths.

In Chadds Ford, we spent most of our two days visit at the Brandywine River Museum, a nice small museum where there is a good number of paintings from the three generation of Wyeths. I also took part to the guided tours of N.C. Wyeth's house and studio, the tour of the Kuerners farm and Victoria Wyeth's guide through the exhibited works in the museum (she is Andrew's granddaughter).

I was impressed by the luxuriant green landscape all around, the sun was still very warm and bright at the end of September, cicadas and birds still singing all around. I did not recognise the dim light of Andrew's paintings of these landscapes, although I know that in summer he would go to the coast of Maine. However, I found out that there was very little sign that what we were looking at were the settings of most of his paintings, as they look so remote in time and spirit. Then, when I visited the Kuerners Farm, where he took inspiration for about 1.000 drawings and paintings during 70 years, I realised how personal his work was, how much of his soul and of the spirit of his characters is in those works. I could compare directly the images of his paintings with the real settings and I could see how he altered the appearance of things to give them a more dramatic appearance and a deeper meaning. He omitted windows, trees, he displaced houses and hills, he altered colours, he simplified shapes, he composed always in benefit of the message.

Left: Andrew Wyeth, 'Young Bull', 1960. - Right: The original place, the Kuerners farm in Chadds Ford


The most fascinating thing about this artist is that his paintings are not only great individual pieces, but they form a body of work that spans for so many decades that you can really witness the passing of time and the development of the events. You look at those paintings and imagine long-gone days of a nostalgic time, but in reality, if you look around you and try to see an "undressed" reality, with no roads, fewer or no trees nor parked SUVs, everything is actually there, even some of his models are still around.

His subjects were neighbours and friends, they all became part of his life, sometimes, like the case of the Kuerners, they even gave him the keys to enter in their house at any time. All his paintings are now essential pieces of a big body of work that narrates the existence of those ordinary, peripheral lives, from their youth to their old age, through the unflattering vision of the artist. You can see the presence of those people also through their objects and their environments when they are not present in the paintings or when they have died.

For someone who has read a little about his private world and known about the people he painted, it is very poignant to see the actual places where they spent their lives and read through a series of paintings the passing of the time, the vigour of the youth, the decline of the age and the death. What makes his paintings "magical" is his poetisation of the reality, his obsession with the details that become meaningful in his paintings, they remind us of something or of somebody, they express a feeling that is easily shared by the viewer who lets himself be transported by Andrew's world.

Although he had a big recognisement during his life, Andrew Wyeth remained in his small village, isolated from the art establishment and from the modern mad race towards the visual innovation in art.