The Annunciation by Philippe de Champaigne, 1645.
ALL UNLABELLED ARTWORKS ARE BY IGNASI MONREAL.
IGNASI MONREAL 2017.
IGNASI MONREAL 2017.
OFELIA BY John Everett Millais, 1851-1852.
"These images were conceived to have a powerful first impact, but if you look closely and give it time you’ll be rewarded with hidden gems."
CLICK TO REVEAL/HIDE REFERENCES
ARNOLFINI PORTRAIT BY JAN van EYCK, 1434.
Ignasi Monreal has included much of the mountain landscape and real/mythical creatures seen in bosch's "Garden of Earthly Delights."
The ears and knife are thought to be a phalLic SYMbol from
The original "Garden of Earthly Delights" by Hieronymus Bosch.
The Titan Atlas by Guercino, 1646.
Ignasi Monreal, 2017.
THE GARDEN OF EARTHLY DELIGHTS BY HEIRONYMUS BOSCH, 1490-1510.
Ignasi Monreal, 2017.
The Annunciation shows the angel Gabriel telling the Virgin Mary that she will
miraculously give birth to Jesus, "The Son of God."
(Technically Neoclassical, not Renaissance)
The Saint Peter's Basilica in the background was a feat of architecture during the Renaissance, representing one of the largest domes to ever be built successfully.
When the Titans were defeted by the Olympians, Zeus (an Olympian) punished Atlas by condemning him to hold the sky on shoulders.
Then there’s the realistic quality to Monreal’s paintings — models’ faces are expressive but not exaggerated while their limbs hang naturally. Warm light reflects accurately off of every surface and the weight of each garment’s fabric is obvious in the way it either drapes the body or floats in the wind. In some cases, the artist used pre-existing paintings as reference — like John Everett Millais’ Neoclassical painting, “Ofelia” — but in most others, he shot photos in-studio himself before starting. “It was very important to be faithful to the clothes, after all it is advertising” Monreal explains. From there, he worked on a tight schedule, allowing 1-2 days to complete each of the nearly 200 paintings.
It’s been several months since its debut, and the “Utopian Fantasy” series has been so well-received that some critics have gone as far as calling it museum-worthy art. In response to that, Ignasi Monreal has commented “Ultimately it’s not for me to decide [if it’s art]. I focus on producing.” Either way, the project offers a new gold standard in collaboration, demonstrating the potential of just how impactful a finished product can be if each party is truly accommodating of each other's creative liberties. In addition to the freedom Monreal was allowed on the project, he credits Alessandro Michele and the brand for its success; “Gucci has the power to make things ubiquitous and transcend them into popular culture.” In the case of this campaign and collection, that’s exactly what’s happened — a new aesthetic has been hurled into pop culture and embraced by it.
History and subject matter aside, fans of the campaign have been quick to notice Monreal’s unique style. His work which resembles oil painting is rendered impressively realistic, yet portrays surreal subject matter. To achieve such a look, the artist says he uses a Wacom drawing tablet in combination with programs like Photoshop and ProCreate, which he seems to favor over physical paint and brushes. Monreal compared the two, saying “It’s quite similar, but you don’t get dirty! And if you make a mistake you can always go back. It allows you to do things that are very convenient for commercial purposes. For instance I work in every size and make sure that no matter how many reproductions, the work will never lose its original quality.”
Featuring such iconic paintings was a deliberate choice to attract attention. Considering the speed at which we scroll through photos today, we’ve been conditioned to either consume or dismiss things immediately — something Monreal worked against with this campaign. When asked about what sort of references and details people could be overlooking, the artist explained “Revealing them would be missing the point. These images were conceived to have a powerful first impact, but if you look closely and give it time you’ll be rewarded with hidden gems.” As with most artworks that make an immediate impression, these have been designed with the intention for more contemplative viewing.
Short lived or not, Alessandro Michele and Ignasi Monreal have reimagined some of the most iconic works of the Renaissance into the Gucci universe, where their aesthetics are no longer tied to any specific time period. Ornate embellishments and figures of fantasy portrayed by Master painters have been paired with pop culture references, and tattooed, selfie-taking youngsters. Perhaps what is most unique about this series though, is its ability to smash together just the right amount of familiarity, newness, and parody, giving it mass appeal beyond art enthusiasts.
Collaborating with digital illustrator Ignasi Monreal on his most recent campaign, Gucci’s Alessandro Michele has brought topics of art history to the forefront of the fashion Internet. To revisit this time period feels refreshingly strange in a culture of impermanent imagery and fleeting consumption. But perhaps we find comfort in the idea of longevity, or are simply looking to a new outlet for escapism and fantasy. Or, is it a way of rebelling against fashion’s fixation on newness and shifting trends?
Some insight into this might reside in the word “Renaissance” itself.
Translating to “rebirth” in French, the period we often consider to be the height of art and cultural progression, was really an ode to Classical Greece at its peak a couple thousand years before. Think of the ‘90s throwback we’re seeing now, but on a much bigger scale, and lasting several centuries. With this in mind, and the rise of events like this year’s Vatican-themed Met Gala, would it be bold to say that we’re tip-toeing into another rebirth of classical antiquity, or will our revived interests die as fast as any other trend?
We’re more than 400 years post-Renaissance — in an age of algorithms and infinite scrolling news feeds, trapped in the pursuit of novelty — and yet through it all, Gucci has reminded us of the power and timelessness embodied by Renaissance art.
The Rebirth of Renaissance in Ignasi Monreal's Paintings for Gucci.
