There is a lot of superb contemporary realism being made these days; this article by Brandon Rosas shines light on a gifted individual.
Using materials and techniques handed down through the centuries, Christina Grace Mastrangelo (b. 1983) portrays the beauty of her world through a deeply attentive yet interpretative lens. “In classical realism, the artist makes many choices, whether to create color harmony or guide the viewer’s eye,” she says, “and it is within this artistic play that I find the most joy.”
Mastrangelo’s love of figurative art was awakened during a childhood visit to the Norman Rockwell Museum in Stockbridge, Massachusetts, and nourished by trips to Rome, Paris, and London during her teenage years. At 16, she learned to copy masterworks in a portrait workshop with American artist Frank Covino. “His ability to paint what he saw and match colors with ease was awe-inspiring. I was hooked,” she recalls.
Mastrangelo brought her hunger to learn to James Madison University (JMU) in Harrisonburg, Virginia, but was disappointed when her art professors could not teach what she sought. While studying in Florence during her junior year, she came across a poster and brochures for nearby academies that teach realist painting and drawing from life. “I was shocked to learn these schools existed,” she laughs.
After graduating from JMU with honors, Mastrangelo returned to Florence to study at the Angel Academy of Art under Michael John Angel, Jered Woznicki, and Martinho Correia. The work she completed in its three-year program earned her a scholarship through the Art Renewal Center’s International Salon Competition, which she used to attend workshops at the Grand Central Atelier in New York City after returning to the U.S. in 2009.
Over the past 15 years, Mastrangelo has continued to work in the classical realist tradition, exhibiting at venues such as the Museu Europeu d’Art Modern in Barcelona and the Villa Bardini in Florence. She now divides her time between Massachusetts and Florida, and although she paints everything from still life to narrative multi-figure works, she has a special passion for highlighting the character and inner strength of female subjects.
This focus can be seen in “Hope Tends Upwards” (above), in which a woman gazes downward while raising her hands in a gesture that echoes the bird design printed behind her. “The crane is a symbol of hope and healing, of finding peace in challenging times,” Mastrangelo explains, “and with her eyes closed, I imagine this woman is picturing the lightweight feeling of her troubles flying away. I paint these works to remind us of who we really are, and how peace comes from a connectedness with nature and ourselves.”
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