To quote our founder Louise Devenish: “I have lived my entire life in the arts and have been blessed to become friends and colleagues with the best authorities, geniuses and gurus that make up the art world. One thing is for sure, when it comes to any and everything beautiful that mankind can make or create, I know who to call!”
Therefore, Louise’s fondest and determined wish is to introduce, connect and integrate those who share her passion for all things in the arts with those renowned experts and notable authorities in her life’s constellation. Not all of Louise’s admired artistes are among the old pros, as some of them are today’s whiz kids and cutting-edge leaders who will undoubtedly be household names and the go-to experts of the future.
It would not be exactly correct to categorize DG’s salons, presentations, conversations, travels to far-away places or intimate discussions between prominent & illustrious experts and our members (very often held over cups of tea and cake or verres of wine and cheese) as “Education” — for it is far more than that. But by participating in DG’s unique and extraordinary paradigm, you will learn, enlighten and scintillate. And yes, you will become enriched with education but via the most delightful method you never dreamed possible — but DG and Louise have made the dream a reality.
Please come and meet, chat, debate and personally interact with the acclaimed, the connoisseurs, the famed and the prominent — and the up-and-comers — in all disciplines of the arts. While DG events are known to be marvelously enjoyable, our members have relayed to us that the scholarship derived from our offerings is incomparable and rewarding.
Some examples of past topics initiated by DG have been, Silver and Its Expression and Importance in the 21st Century; Interior Design Icons in Dialogue; The Fine Line Between Decorative and Fine Arts in the 21st Century; Everything You Ever Wanted To Know About Global Lacquer; The Enduring Passion of the Baroque.
Be sure to join us for our upcoming spring presentation and salon on The Conservation of Modern and Contemporary Art as we take a close look at a Nam June Paik and Christo collaboration. Later this year, a salon on "The Lure of the Gem" will explore all aspects about this luxurious & seductive art form — held in the private home of a gem practitioner. We invite you to partake in the glorious feast of knowledge that goes well beyond an “education.”
DG is preparing the banquet, so why not join us at the table and indulge!
In New York City, the official beginning of the Christmas festivities is marked not by the sparkling decorations that lighten up the sky and city beyond the unimaginable; or by the human flood of tourists converging on Rockefeller Center to be awed by the annual gigantic Christmas’s tree there; or by the crowded sidewalk of Radio City Music Hall seeking tickets for the Rockettes annual Christmas performance. No, the official beginning of the season in New York City commences right after the Thanksgiving Holiday at the end of November, marking the start of this joyous season with the lighting of the Metropolitan Museum’s Christmas tree placed in the center of the stately Medieval Sculpture Hall, adorned with priceless Neapolitan ornaments together with a Neapolitan Baroque crèche representing the Nativity, renewing each year a time-honored tradition that transforms that corner of the Museum into an eighteenth century vision of one of Naples’s most famous and beloved artistic practices.
Even though the iconography of the Nativity is already present in Italian fourteenth century paintings, as well as in Gothic carved altarpieces and in glazed terracotta works like those by Luca Della Robbia and his Florentine workshop, it was only after the Catholic Reformation in 1563 - which issued precise norms for devotion and worship - that the representation of Nativity scenes, called crèche (or presepe/presepio in Italian), migrated from the enclosed space of the churches into the private houses in the form of little figures and stage like sets, encouraged as an expression of popular devotion and effective tool of religious education. In Naples it became widely favoured especially under the king Charles III of Bourbon (1716-1788), who asked renowned artists like sculptor Giuseppe Sanmartino (1720-1793), already involved with the Royal Porcelain Factory of Capodimonte, to produce more sophisticated statuettes. Polychromed terracotta figures, masterfully shaped and painted, replaced the previous wooden ones, giving to the characters represented extreme elegance and lifelike delicacy of the expression, echoing Sanmartino’s statues sculpted in Carrara marble.