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Original mosaic in Byzantine stile inspired by a Fayum portrait and made in the style of Mosaics in Ravenna, Italy. Fayum mummy portraits are a type of naturalistic painted portrait on wooden boards attached to upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world, from the late 1st century BC or the early 1st century AD onwards. The original painting depicts a young woman, not belonging to the elite and with a laurel crown on her head. The laurel is a symbol of triumph and traces back to Greek mythology. The mosaics depicts the young woman with Imperial symbols as if she belongs to the imperial family, with a gold leaf background and a round circle in porphyry colors, as per the Justinian portraits in Ravenna dated around 550 AD. For these reasons the title of the mosaic is Giustina, daughter of Justinian. The mosaic is made of glass tesserae from the historical furnace Orsoni, in Venice, Italy, active since 1888, and includes a significant percentage of gold leaf tesserae. The technique is the so called, direct on temporary support, meaning that the application of tesserae is made directly on concrete, as per the original artwork, but on a temporary support, where a drawing of the original mosaics is attached to guide the pose. Only at the end of the pose, the temporary support is removed, and the mosaics is posed on the final support by means of an additional layer of concrete. The final support is aerolam, i.e. aluminum, commonly used in restoration of ancient mosaics to avoid the long-term distortions of wood and the excessive weight of other materials. The final weight of the artwork is anyhow about 2 kilos, because of glass and concrete
Original mosaic in Byzantine stile inspired by a Fayum portrait and made in the style of Mosaics in Ravenna, Italy. Fayum mummy portraits are a type of naturalistic painted portrait on wooden boards attached to upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world, from the late 1st century BC or the early 1st century AD onwards. The original painting depicts a young woman, not belonging to the elite and with a laurel crown on her head. The laurel is a symbol of triumph and traces back to Greek mythology. The mosaics depicts the young woman with Imperial symbols as if she belongs to the imperial family, with a gold leaf background and a round circle in porphyry colors, as per the Justinian portraits in Ravenna dated around 550 AD. For these reasons the title of the mosaic is Giustina, daughter of Justinian. The mosaic is made of glass tesserae from the historical furnace Orsoni, in Venice, Italy, active since 1888, and includes a significant percentage of gold leaf tesserae. The technique is the so called, direct on temporary support, meaning that the application of tesserae is made directly on concrete, as per the original artwork, but on a temporary support, where a drawing of the original mosaics is attached to guide the pose. Only at the end of the pose, the temporary support is removed, and the mosaics is posed on the final support by means of an additional layer of concrete. The final support is aerolam, i.e. aluminum, commonly used in restoration of ancient mosaics to avoid the long-term distortions of wood and the excessive weight of other materials. The final weight of the artwork is anyhow about 2 kilos, because of glass and concrete
Original mosaic in Byzantine stile inspired by a Fayum portrait and made in the style of Mosaics in Ravenna, Italy. Fayum mummy portraits are a type of naturalistic painted portrait on wooden boards attached to upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world, from the late 1st century BC or the early 1st century AD onwards. The original painting depicts a young woman, not belonging to the elite and with a laurel crown on her head. The laurel is a symbol of triumph and traces back to Greek mythology. The mosaics depicts the young woman with Imperial symbols as if she belongs to the imperial family, with a gold leaf background and a round circle in porphyry colors, as per the Justinian portraits in Ravenna dated around 550 AD. For these reasons the title of the mosaic is Giustina, daughter of Justinian. The mosaic is made of glass tesserae from the historical furnace Orsoni, in Venice, Italy, active since 1888, and includes a significant percentage of gold leaf tesserae. The technique is the so called, direct on temporary support, meaning that the application of tesserae is made directly on concrete, as per the original artwork, but on a temporary support, where a drawing of the original mosaics is attached to guide the pose. Only at the end of the pose, the temporary support is removed, and the mosaics is posed on the final support by means of an additional layer of concrete. The final support is aerolam, i.e. aluminum, commonly used in restoration of ancient mosaics to avoid the long-term distortions of wood and the excessive weight of other materials. The final weight of the artwork is anyhow about 2 kilos, because of glass and concrete
Original mosaic in Byzantine stile inspired by a Fayum portrait and made in the style of Mosaics in Ravenna, Italy. Fayum mummy portraits are a type of naturalistic painted portrait on wooden boards attached to upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world, from the late 1st century BC or the early 1st century AD onwards. The original painting depicts a young woman, not belonging to the elite and with a laurel crown on her head. The laurel is a symbol of triumph and traces back to Greek mythology. The mosaics depicts the young woman with Imperial symbols as if she belongs to the imperial family, with a gold leaf background and a round circle in porphyry colors, as per the Justinian portraits in Ravenna dated around 550 AD. For these reasons the title of the mosaic is Giustina, daughter of Justinian. The mosaic is made of glass tesserae from the historical furnace Orsoni, in Venice, Italy, active since 1888, and includes a significant percentage of gold leaf tesserae. The technique is the so called, direct on temporary support, meaning that the application of tesserae is made directly on concrete, as per the original artwork, but on a temporary support, where a drawing of the original mosaics is attached to guide the pose. Only at the end of the pose, the temporary support is removed, and the mosaics is posed on the final support by means of an additional layer of concrete. The final support is aerolam, i.e. aluminum, commonly used in restoration of ancient mosaics to avoid the long-term distortions of wood and the excessive weight of other materials. The final weight of the artwork is anyhow about 2 kilos, because of glass and concrete
Original mosaic in Byzantine stile inspired by a Fayum portrait and made in the style of Mosaics in Ravenna, Italy. Fayum mummy portraits are a type of naturalistic painted portrait on wooden boards attached to upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world, from the late 1st century BC or the early 1st century AD onwards. The original painting depicts a young woman, not belonging to the elite and with a laurel crown on her head. The laurel is a symbol of triumph and traces back to Greek mythology. The mosaics depicts the young woman with Imperial symbols as if she belongs to the imperial family, with a gold leaf background and a round circle in porphyry colors, as per the Justinian portraits in Ravenna dated around 550 AD. For these reasons the title of the mosaic is Giustina, daughter of Justinian.The mosaic is made of glass tesserae from the historical furnace Orsoni, in Venice, Italy, active since 1888, and includes a significant percentage of gold leaf tesserae. The technique is the so called, direct on temporary support, meaning that the application of tesserae is made directly on concrete, as per the original artwork, but on a temporary support, where a drawing of the original mosaics is attached to guide the pose. Only at the end of the pose, the temporary support is removed, and the mosaics is posed on the final support by means of an additional layer of concrete. The final support is aerolam, i.e. aluminum, commonly used in restoration of ancient mosaics to avoid the long-term distortions of wood and the excessive weight of other materials. The final weight of the artwork is anyhow about 2 kilos, because of glass and concrete

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Giustina Collage

Roberto Gaslini

Italy

Collage, Glass on Aluminium

Size: 7.7 W x 13 H x 1.6 D in

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Originally listed for $4,000

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Original mosaic in Byzantine stile inspired by a Fayum portrait and made in the style of Mosaics in Ravenna, Italy. Fayum mummy portraits are a type of naturalistic painted portrait on wooden boards attached to upper class mummies from Roman Egypt. They belong to the tradition of panel painting, one...

Year Created:

2020

Subject:

Portrait

Styles:

Figurative

 

Mediums:

Glass

, 

Aluminium

 

Medium:

Collage, Glass on Aluminium

Rarity:

One-of-a-kind Artwork

Size:

7.7 W x 13 H x 1.6 D in

Ready to Hang:

Not Applicable

Frame:

Not Framed

Authenticity:

Certificate is Included

Packaging:

Ships in a Box

Delivery Cost:

Shipping is included in price.

Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Returns:

14-day return policy. Visit our help section for more information.

Handling:

Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

Ships From:

Italy.

Customs:

Shipments from Italy may experience delays due to country's regulations for exporting valuable artworks.

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Contact us.

Need more information?

Contact us.

Passionate about history and art, I am an economist who has been working for multinational companies for thirty years. In my spare time, I create mosaics, as copies of byzantine Italian masterpieces or as original works in the style of ancient tradition. Whenever applicable, I accompany my works with short essays about the historical and artistic context they can be referenced to.

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