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Study Equestrian statue of Colleoni. Andrea Verrochio Drawing



Drawing, Charcoal on Paper

Size: 12.5 W x 16 H x 0.1 D in

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About The Artwork

Study made from the equestrian sculpture of Bartolomeo Colleoni by Andrea del Verrochio. The strength and energy that this equestrian statue transmits, the unity between the horse and the knight, are fascinating to me. For this reason, I wanted to do some quick studies with pencil and charcoal to, without wasting time, be able to capture the essential elements of this brilliant composition by verrochio.

Details & Dimensions

Drawing:Charcoal on Paper

Original:One-of-a-kind Artwork

Size:12.5 W x 16 H x 0.1 D in

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

Painting for me is an act of reflection. It means starting a trip inside, a return to an original mythological silence. It is to enter a noisy silence, contemplative emptiness full of sense. My years of artistic preparation studying traditional painting in Japan (Sumi-e), made me rediscover my environment with new eyes. The combination of my solid artistic formation in the University of Seville in Spain and my research studies in the University of Tokio showed me a particular suggestive language through which I try to build an emotional bridge with an intuitive perception of the infinity. In my works there is a moment of detained contemplation, an effort to make the ephemeral permanent, to see the immobile and the immutable through the oasis of the calm reflexive contemplation. I pretend to make people feel the presence of the impalpable, of magic, of ineffable things … The technique I use in my paintings promotes transparency, glaze, the light coming from the inside of the painting. The quality of the colours that I use is essential. It is a mixed technique that includes acrylic paint together with oil painting with natural pigments. With a texture obtained with the use of different types of sand, I intend to look for an “epidermis” for the painting that is sensitive as well as vibrating at the same time. In none of my painting the human being has a place; it is not necessary; it is in the first place, always present by evocation. All in all, I pretend for my paintings to act as resonances for the engrossing vigilant spectator. My paintings want to become “figurative” spaces that tend to the Absolute. Suggestion and evocation; they try to tell without pronouncing. As Arthur Rimbaud said: “There are other worlds, but they are in this one”.

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