Andrew Vicari
1938 - 2016
By Andrew Vicari.
Born in Port Talbot 20th April 1938 of Italian ancestry, Andrew Vicari’s parents were originally from Parma, Father -Cavaliere Vittorio Vicari, Mother - Italia Bertani, but they moved to South Wales in 1930s. ‘ My three sisters and brother went away to boarding school but I fought tooth & nail to stay in Neath. When I was growing up I used to spend half my holidays here and half in Italy. So I became very European from an early age....
I must have been 12 or 13 years old and my art teacher Margaret Thomas at Neath Grammar School for boys, entered me in for the National Eisteddfod of Wales – I ended up winning the gold medal… I was completely ecstatic, what a life I thought, I draw something and I get paid for it!… If it wasn’t for that early encouragement I would never have pursued a career in art.’
Vicari went on to study at Swansea School of Art, subsequently he travelled to London to the prestigious Slade School of Fine Art, where he was the youngest student ever to be admitted. His mentor Francis Bacon & his professors & supporters included Lucian Freud, Josef Herman & Sir William Coldstream. His closest friends and contemporaries in what is considered to be one of the Slades greatest years included Michael Andrews, Euan Uglow, Victor Willing, Bernard Cohen & Craigie Atcheson.
During his time at the Slade, Vicari also came into contact with Augustus John who posed for him for several portraits, which confirmed Vicari’s status as one of the greatest draughtsmen of the century.
"It was only when Augustus John agreed to sit for his portrait at his house in Fordingbrige, and at his demand that I draw and not paint him, that I began to draw once more. I had only concentrated on oil painting at Francis Bacon's insistence, since leaving the Slade. And it was to be, between many sessions of 'shove halfpenny' with John that I rediscovered my ability as draughtsman. For this, I have only Augustus John to thank."
Vicari’s first public exhibition was held at the Redfern Gallery London in 1956, his work being shown alongside that of Courbet, Renoir, Monet, Picasso, Mattisse, Degas and Kandinsky.
With a steadily growing artistic reputation, his introduction to the Arab World came through a Foreign Office friend, whose Middle Eastern official guests found the Vicari studio more interesting than the more obvious entertainments of London. Invitations followed and eventually in 1974, he agreed to exhibit in Beirut. During his first visit to Beirut, he picked up a book called ‘The Prophet’ by Khalid Gibran this was to have a huge influence on his work ‘ that was my first introduction to Arab culture & I was hooked’. After a pleasant enough stay, he left for what he thought was Rio. Only afterwards did his hosts confide that their real destination was the Saudi capital of Riyadh. On arrival there he was met by the Minister of Finance and National Economy, H.E Mohamed Abalkhail, who had admired his work in Beirut.
The trip took on the almost bizarre as he was whisked into meetings with the governing elite.
“Then I was asked directly, 'Would you like to come here and paint our new Islamic Conference Centre ?' I knew this to be one of the great glories of their religion and I replied, “'I thought it would be against your tenets to have a non-Muslim in such a role ?'
His reply was absolutely deliberate. 'We will change that', he said. And they did!"
As such Vicari has taken painting to a new frontier and it was he who after 14 centuries of non-figurative art set a precedent in Arabia by introducing the human figure into official Islamic art, the first occasion since the time of the prophet Mohammed.
In 1974 he became the official painter of Saudi Arabia and was commissioned by the King & Government to produce sixty works entitled ‘The Triumph of the Bedouin’. The result was astonishing. They tell the story of Saudi Arabia, from its origins, to its recent emergence as a modern nation and culminate in a portrait sequence of the ruling Saudi dynasty. The work took four years to complete and as a result is now regarded as one of the most exceptional ventures in the history of modern painting.. They display all the colours of a rich palette, with silent landscapes roaring battles, lazy dhows in the twilight and the fervour of a processing to Mecca.
”I choose the title 'Triumph of the Bedouin', not in the sense of a military victory, but in that of the culmination of the efforts and will of men reaching for the lights on new horizons. In the agony of creation which is the mark of all artistic expression. I share in the fundamental struggles that accompanied the evolution of the Bedouin, from his origins to the man of today, and so the word 'Triumph' naturally came into my mind.”
Today, the paintings are on permanent display hanging on the walls of the King Faisal Conference Centre in Riyadh. One of the three museums devoted entirely to his work in Saudi Arabia.
It was one of these paintings, a larger than life-size portrait of His Majesty King Faisal that was to be the cause of a new dynamic surge to Vicari's inspiration. The late sovereign's son, His Royal Highness Prince Khalid Al Faisal, on viewing this portrait of his father was mesmerized by Vicari's talents: "I would like to know this artist whose eyes rested upon my father with such perception".
A great rapport was to develop on meeting between the poet and the painter, Prince Khalid and Vicari, two men from opposite origins but sharing a common bond, a love of humanity and the arts. And it was to be Prince Khalid, Governor of the Province of Assir and Director General of the King Faisal Foundation, who became the driving force behind the inspiration of Vicari's next work "The Majesty of King Faisal". Commissioned by the King Faisal Foundation the cycle composed of ten panels and illustrates crucial episodes in the life of that all-powerful sovereign who was able to uphold the faith and strengthen the foundations of his kingdom. The King Faisal Foundation is the guardian of this treasure.
King Fahd: “You have seen a side of me that no-one else has ever seen”, the King remarked as Vicari presented him with his portrait at the opening of the King Faisal Foundation in Riyadh in Feburary 1984.
From then on, Vicari was very much in demand and Vicari attracted further attention in Saudi Arabia. The next collection of twelve double life-size portraits of the Custodian of the Two Holy Mosques, King Fahd, were commissioned in 1986 by Dr. Nasser AI-Rashid of Rashid Engineering to adorn the new King Fahd Library and King Abdul Aziz Museum in Riyadh.
That was the start of Vicari’s love affair with Saudi Arabia, its people & its desert light. Vicari’s success led to further commissions -
His main patron HRH Prince Khaled bin Sultan bin Abdulaziz, the Saudi commander of the joint forces during the Gulf war asked Vicari to create a record of the conflict. ‘From War to Peace in the Gulf – The Liberation of Kuwait.’ This a collection of over 225 marvellous oil paintings, depicts battle scenes as well as portraits of world leaders. A vivid historical and lasting record of an epic period of the history of Saudi Arabia and the Middle East. Prince Khaled ultimately purchased 125 of Vicaris’ massive oil paintings, for $17million , the paint alone cost more than $200,000
The next commision to be bestowed to Andrew Vicari was , “The Koran and The Sword” this consisted of two years intensive work on the 24 monumental paintings, which total 445 square meters in size; this epic work is based on the life and work of King Abdul Aziz. The piece is regarded as priceless and has enhanced further the already great renown of King Abdul Aziz throughout the world.
Vicaris great tour of Abu Dhabi & the emirates has given him an insight into the people, rulers, history and future of the region to which he pays tribute through his work, which conveys a fresh interpretation of the UAE & some of its key personalities.
Vicaris long standing love for the Middle East has led to his intimate knowledge of the area and has taken his painting to a new frontier. Dr Ghazi Algosaibi said ‘ Andrew Vicari has been able to cut through platitudes and frozen images and touch the soul of Arabia.’
He has brought Eastern & Western culture closer together. In china where adorning crowds acclaimed him ‘Great master’ he was invited by the Ministry of Culture of the Peoples Republic of China to be the fourth occidental artist to exhibit in Beijing, his precursors being Rodin, Miro & Chagall.
He was also the first western artist to be honoured by being officially invited to paint the great Chinese Philosopher Confucuis. – the exhibition included a triptych of portraits including Confucuis, Mao Te Tung and the first emperor of Chine Guin Shi Huang – three of the most important figures in Chinese History.
From emperors and statesmen to China's near-deity Confucius, Andrew Vicari has painted some of the world's elite . nicknamed ‘Marco Polo I’ by his hosts.
"That is because of my Italian Background and because I am opening up the culture of China in its new Renaissance".
Eurpean Artist of the Year, Vicari was famously christened ‘king of painters, painter of kings’ by Pierre Galante of Paris Match
In St Petersburg for the 250th anniversary of the founding of the city by Peter the Great, the vicari ‘Vigonade of St Petersburg’ celebrating the freedom of the city was unveiled. A portrait of the founder of communism was taken down by the Major Anatholy Sobtchak who exclaimed ‘ I am replacing Marx with Vicari’
Vicari is even the official artist to the CRS (Compagnie Republicaine de Securite) in France. In addition he is also the official artist of Interpol, where he has two large works on permanent display.
As well as being a noted figure worldwide, he also still has strong connections to his homeland and in 2002 Andrew Vicari was the first artist to produce a piece of art for the Millennium Stadium walls and answered a call from stadium bosses to help rid the dressing room of a supposed curse by painting the offending wall in bright colours, to change the atmosphere in the room. Vicari's painting depicts a rising sun, a galloping horse and a soaring phoenix and attracts much attention during official Millennium Stadium tours and on match-days. 'The Millennium Stadium Vigonade' a 7ft mural, valued at around a quarter of a million pounds. "I was honoured to be given the opportunity to offer a piece of my art to the Millennium Stadium which is already a national icon for Wales.’ The mural was unveiled on the Wednesday and the following Saturday Stoke City confounded the curse by defeating Brentford in the play-offs and in the 13 finals hosted by the football league from that Stoke triumph the dressing room hosted the winners on 8 occasions!
Between September 2003 and February 2004 more than 80,000 nominations and votes were cast in a unique quest to find the top 100 Welsh heros of all time. The men and women nominated, showcase the extraordinary talents of Welsh people through the ages and in all fields of human endeavour.Andrew Vicari was ranked 44th on the list. The 100 Welsh Hero’s became the subject of a community painting project set up to decorate the walls outside the Cardiff Arms Park Suite in the Millennium Stadium, Cardiff.
From Ryiadh to Geneva, from London to Washington, from Dallas to Hawaii, from St Petersburg to Beijing, his work has been universally acclaimed.
Andrew Vicari now lives and works in Monte-Carlo. Inspired by the unique light and beauty of surrounding Nice, he produced a series of pictures described as "Vigonades", a word he made up to describe “a combination of fluid movements, the sensuality of sunlight and love bleached by that nocturnal pallor which you find along the Côte d' Azur between Nice and Monaco and nowhere else.
Born in Port Talbot 20th April 1938 of Italian ancestry, Andrew Vicari’s parents were originally from Parma, Father -Cavaliere Vittorio Vicari, Mother - Italia Bertani, but they moved to South Wales in 1930s. ‘ My three sisters and brother went away to boarding school but I fought tooth & nail to stay in Neath. When I was growing up I used to spend half my holidays here and half in Italy. So I became very European from an early age....
I must have been 12 or 13 years old and my art teacher Margaret Thomas at Neath Grammar School for boys, entered me in for the National Eisteddfod of Wales – I ended up winning the gold medal… I was completely ecstatic, what a life I thought, I draw something and I get paid for it!… If it wasn’t for that early encouragement I would never have pursued a career in art.’
Vicari went on to study at Swansea School of Art, subsequently he travelled to London to the prestigious Slade School of Fine Art, where he was the youngest student ever to be admitted. His mentor Francis Bacon & his professors & supporters included Lucian Freud, Josef Herman & Sir William Coldstream. His closest friends and contemporaries in what is considered to be one of the Slades greatest years included Michael Andrews, Euan Uglow, Victor Willing, Bernard Cohen & Craigie Atcheson.
During his time at the Slade, Vicari also came into contact with Augustus John who posed for him for several portraits, which confirmed Vicari’s status as one of the greatest draughtsmen of the century.
"It was only when Augustus John agreed to sit for his portrait at his house in Fordingbrige, and at his demand that I draw and not paint him, that I began to draw once more. I had only concentrated on oil painting at Francis Bacon's insistence, since leaving the Slade. And it was to be, between many sessions of 'shove halfpenny' with John that I rediscovered my ability as draughtsman. For this, I have only Augustus John to thank."
Vicari’s first public exhibition was held at the Redfern Gallery London in 1956, his work being shown alongside that of Courbet, Renoir, Monet, Picasso, Mattisse, Degas and Kandinsky.
With a steadily growing artistic reputation, his introduction to the Arab World came through a Foreign Office friend, whose Middle Eastern official guests found the Vicari studio more interesting than the more obvious entertainments of London. Invitations followed and eventually in 1974, he agreed to exhibit in Beirut. During his first visit to Beirut, he picked up a book called ‘The Prophet’ by Khalid Gibran this was to have a huge influence on his work ‘ that was my first introduction to Arab culture & I was hooked’. After a pleasant enough stay, he left for what he thought was Rio. Only afterwards did his hosts confide that their real destination was the Saudi capital of Riyadh. On arrival there he was met by the Minister of Finance and National Economy, H.E Mohamed Abalkhail, who had admired his work in Beirut.
The trip took on the almost bizarre as he was whisked into meetings with the governing elite.
“Then I was asked directly, 'Would you like to come here and paint our new Islamic Conference Centre ?' I knew this to be one of the great glories of their religion and I replied, “'I thought it would be against your tenets to have a non-Muslim in such a role ?'
His reply was absolutely deliberate. 'We will change that', he said. And they did!"
As such Vicari has taken painting to a new frontier and it was he who after 14 centuries of non-figurative art set a precedent in Arabia by introducing the human figure into official Islamic art, the first occasion since the time of the prophet Mohammed.
In 1974 he became the official painter of Saudi Arabia and was commissioned by the King & Government to produce sixty works entitled ‘The Triumph of the Bedouin’. The result was astonishing. They tell the story of Saudi Arabia, from its origins, to its recent emergence as a modern nation and culminate in a portrait sequence of the ruling Saudi dynasty. The work took four years to complete and as a result is now regarded as one of the most exceptional ventures in the history of modern painting.. They display all the colours of a rich palette, with silent landscapes roaring battles, lazy dhows in the twilight and the fervour of a processing to Mecca.
”I choose the title 'Triumph of the Bedouin', not in the sense of a military victory, but in that of the culmination of the efforts and will of men reaching for the lights on new horizons. In the agony of creation which is the mark of all artistic expression. I share in the fundamental struggles that accompanied the evolution of the Bedouin, from his origins to the man of today, and so the word 'Triumph' naturally came into my mind.”
Today, the paintings are on permanent display hanging on the walls of the King Faisal Conference Centre in Riyadh. One of the three museums devoted entirely to his work in Saudi Arabia.
It was one of these paintings, a larger than life-size portrait of His Majesty King Faisal that was to be the cause of a new dynamic surge to Vicari's inspiration. The late sovereign's son, His Royal Highness Prince Khalid Al Faisal, on viewing this portrait of his father was mesmerized by Vicari's talents: "I would like to know this artist whose eyes rested upon my father with such perception".
A great rapport was to develop on meeting between the poet and the painter, Prince Khalid and Vicari, two men from opposite origins but sharing a common bond, a love of humanity and the arts. And it was to be Prince Khalid, Governor of the Province of Assir and Director General of the King Faisal Foundation, who became the driving force behind the inspiration of Vicari's next work "The Majesty of King Faisal". Commissioned by the King Faisal Foundation the cycle composed of ten panels and illustrates crucial episodes in the life of that all-powerful sovereign who was able to uphold the faith and strengthen the foundations of his kingdom. The King Faisal Foundation is the guardian of this treasure.
King Fahd: “You have seen a side of me that no-one else has ever seen”, the King remarked as Vicari presented him with his portrait at the opening of the King Faisal Foundation in Riyadh in Feburary 1984.
From then on, Vicari was very much in demand and Vicari attracted further attention in Saudi Arabia. The next collection of twelve double life-size portraits of the Custodian of the Two Holy Mosques, King Fahd, were commissioned in 1986 by Dr. Nasser AI-Rashid of Rashid Engineering to adorn the new King Fahd Library and King Abdul Aziz Museum in Riyadh.
That was the start of Vicari’s love affair with Saudi Arabia, its people & its desert light. Vicari’s success led to further commissions -
His main patron HRH Prince Khaled bin Sultan bin Abdulaziz, the Saudi commander of the joint forces during the Gulf war asked Vicari to create a record of the conflict. ‘From War to Peace in the Gulf – The Liberation of Kuwait.’ This a collection of over 225 marvellous oil paintings, depicts battle scenes as well as portraits of world leaders. A vivid historical and lasting record of an epic period of the history of Saudi Arabia and the Middle East. Prince Khaled ultimately purchased 125 of Vicaris’ massive oil paintings, for $17million , the paint alone cost more than $200,000
The next commision to be bestowed to Andrew Vicari was , “The Koran and The Sword” this consisted of two years intensive work on the 24 monumental paintings, which total 445 square meters in size; this epic work is based on the life and work of King Abdul Aziz. The piece is regarded as priceless and has enhanced further the already great renown of King Abdul Aziz throughout the world.
Vicaris great tour of Abu Dhabi & the emirates has given him an insight into the people, rulers, history and future of the region to which he pays tribute through his work, which conveys a fresh interpretation of the UAE & some of its key personalities.
Vicaris long standing love for the Middle East has led to his intimate knowledge of the area and has taken his painting to a new frontier. Dr Ghazi Algosaibi said ‘ Andrew Vicari has been able to cut through platitudes and frozen images and touch the soul of Arabia.’
He has brought Eastern & Western culture closer together. In china where adorning crowds acclaimed him ‘Great master’ he was invited by the Ministry of Culture of the Peoples Republic of China to be the fourth occidental artist to exhibit in Beijing, his precursors being Rodin, Miro & Chagall.
He was also the first western artist to be honoured by being officially invited to paint the great Chinese Philosopher Confucuis. – the exhibition included a triptych of portraits including Confucuis, Mao Te Tung and the first emperor of Chine Guin Shi Huang – three of the most important figures in Chinese History.
From emperors and statesmen to China's near-deity Confucius, Andrew Vicari has painted some of the world's elite . nicknamed ‘Marco Polo I’ by his hosts.
"That is because of my Italian Background and because I am opening up the culture of China in its new Renaissance".
Eurpean Artist of the Year, Vicari was famously christened ‘king of painters, painter of kings’ by Pierre Galante of Paris Match
In St Petersburg for the 250th anniversary of the founding of the city by Peter the Great, the vicari ‘Vigonade of St Petersburg’ celebrating the freedom of the city was unveiled. A portrait of the founder of communism was taken down by the Major Anatholy Sobtchak who exclaimed ‘ I am replacing Marx with Vicari’
Vicari is even the official artist to the CRS (Compagnie Republicaine de Securite) in France. In addition he is also the official artist of Interpol, where he has two large works on permanent display.
As well as being a noted figure worldwide, he also still has strong connections to his homeland and in 2002 Andrew Vicari was the first artist to produce a piece of art for the Millennium Stadium walls and answered a call from stadium bosses to help rid the dressing room of a supposed curse by painting the offending wall in bright colours, to change the atmosphere in the room. Vicari's painting depicts a rising sun, a galloping horse and a soaring phoenix and attracts much attention during official Millennium Stadium tours and on match-days. 'The Millennium Stadium Vigonade' a 7ft mural, valued at around a quarter of a million pounds. "I was honoured to be given the opportunity to offer a piece of my art to the Millennium Stadium which is already a national icon for Wales.’ The mural was unveiled on the Wednesday and the following Saturday Stoke City confounded the curse by defeating Brentford in the play-offs and in the 13 finals hosted by the football league from that Stoke triumph the dressing room hosted the winners on 8 occasions!
Between September 2003 and February 2004 more than 80,000 nominations and votes were cast in a unique quest to find the top 100 Welsh heros of all time. The men and women nominated, showcase the extraordinary talents of Welsh people through the ages and in all fields of human endeavour.Andrew Vicari was ranked 44th on the list. The 100 Welsh Hero’s became the subject of a community painting project set up to decorate the walls outside the Cardiff Arms Park Suite in the Millennium Stadium, Cardiff.
From Ryiadh to Geneva, from London to Washington, from Dallas to Hawaii, from St Petersburg to Beijing, his work has been universally acclaimed.
Andrew Vicari now lives and works in Monte-Carlo. Inspired by the unique light and beauty of surrounding Nice, he produced a series of pictures described as "Vigonades", a word he made up to describe “a combination of fluid movements, the sensuality of sunlight and love bleached by that nocturnal pallor which you find along the Côte d' Azur between Nice and Monaco and nowhere else.