Professional Experience

 

I do not have an agent I never did, I do not have a publicist never did, and do not belong to any galleries.

 

I do family portraits in a similar way it used to be done in the past. I started this discipline when I was a child, it was within me, then at a later age became a way to live independently, as I began to get compensated by it. I was born in Tuscany. Florence is my city. I have had many sitters/patrons form all over the world; I could list their name alphabetically, some get a tremendous kick from that, some are people of great achievement and powers according to the criteria of western society; to me ultimately human beings, this great mystery!

 

They are the source and the muse of my amazement and awe. The same way to Canaletto e Tintoretto, were the “vedute” of Venice canal grande.

Each of my sitters has been done to my best ability to understand their essence or that part of them that, for a brief moment of communion, has moved me to love them. I lived in many places: Florence, London, New York and belonged to none.

 

When I was a girl I did some tedious classical studies so I have learned Latin, zero Greek, much History and Philosophy, not to mention art and the vast world of literature and poetry. It was the curiosity and the fervor of knowledge as a young woman in Oxford that took me to a life long study of human expressions.

 

I live a very simple life and enjoy small beautiful things; miracles ignited by light, infinitesimally small, things that could only be grasped in stillness of the soul.

 

I am, still now, moved by the lucidity of an eyelash when hit by the light and its texture, or the inner thoughts, the way they write on the muscles of the face intimate and mysterious codes of moods.

 

Light and dark is my theme.

 

In this dialogue I find, and will always find, solace.

The Union Club of New York - 2009

 

"After seeing pictures of some of Maria Theresa's prior works, I ... concluded that you had selected a superior artist, whose skill, patience and sensitivity will combine to produce a magnificent portrait. I was especially impressed by the infinite detail of her delicate brush strokes. You will set a new standard at the Club."

 

Michael Loening - VP of the Union Club.

 

I want to thank you for a portrait that digs deep into my inner being.  You have successfully stripped away the veneer that I have spent a lifetime creating around myself.  As I have said numerous times the painting is more profound than the subject.  And, that is your creation.

Your willing subject,

 

Mr Milbank - Milbank Roy & Co., LLC

 

Two kinds of support material are offered on oil paintings, linen/canvas or wood panel. The wood panel support requires more time and endless attention as the pigments are placed on living material. Wood panel has been used for portraiture since the 14th through 16th centuries.  Unlike the masters of the Renaissance, they mostly used poplar or oak. In this studio teak the wood of choice simply because it does not crack given the extreme quantity of resin abiding the wood.

 

Teak wood, a native of Indonesia and Thailand, was not available during the Renaissance as travels were limited and not in the direction of Asia. The difficulty in working with a teak panel however is that it presents other insidious aspects; mainly the resin is like a sponge and dries up the earth toned pigments, depleting them of their binder.

In this studio most of the dark pigments are therefore milled by hand with the mortar for days and mixed with binders to create oil paint of pure pigment and no filler or additives. Fortunately maestro Stefano Scarpelli of Florence, restorer of Caravaggio and Giotto at the Uffizi Gallery, has been known to offer the studio rare, historical pigments from his atelier dating to the 13th Century.

 

As a result, the oil paintings on panel have a brilliance of their own, as they are painted of living organic material using 500 year old pigments. Most of Leonardo's oil production is on panel, in fact including the "woman with the intriguing smile".

"Watching Maria Teresa Meloni take photographs is like having the chance to step back in time and see a Rennaisance master like Michelangelo or Leonardo Davinci practice their craft. Her understanding of light and color to create such painting like photographs in the style of the Old Masters is a most remarkable experience. To have my family participate in such an artistic endeavor and have these magnificent portraits for a lifetime of enjoyment can only be described as extraordinary. Bravo Maria Teresa!"

 

Dr. Alex Greenberg - Oral and Maxillofacial Surgeon

Before entering Maria Teresa Meloni's studio in NYC, one must prepare oneself for enlightenment. The door opens into a small space of calm white light, welcoming and warm. Ms. Meloni greets her guests with Italian grace and beauty, gathering them gently into her studio, her inner sanctum of soulful genius. She explains her creative process, the ancient method of the masters, Leonardo and Michelangelo her mentors and suddenly, without warning, there they are. Her portraits revealed, one after the other more magnificent. The detail, the shadow and the light are cast layer upon layer and the eyes of her subjects open as windows to the soul. I have been moved beyond measure to witness such perfection; the creation of man, woman or child captured still, as if living. The tears that came softly to my eyes were a surprise. The experience was unforgettable.

 

Maria Teresa, I send you my love - Catherine Carolin

PBS - USA

Charlie Rose Tomorrow

Segment