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Along with “Sicilian Evening”, this work is part of a small series of two pieces. The heart of both artworks lies in the center, where a Silver mirror sheet enhances the dynamism of the composition. In fact, when someone is in front of this distorting mirror, s/he simultaneously looks at both the painting and her/his own reflection. Her/his face is amongst flowers and leaves, as if s/he were in a virtual garden. In this case, the observer maybe will smell the intense freesia perfume, that indicates the end of Winter. And freesias, actually, blossom from the black background as they do from the cold land in March. On the sides, they are ghost-like presences that blur with the darkness in the attempt of growing up from it. 
This piece is a hymn to Spring as a re-birth of Nature after the cold wintery months.
Freesias
Framed with wood batons – no additional framing required. Ready to hang.
Along with “Sicilian Evening”, this work is part of a small series of two pieces. The heart of both artworks lies in the center, where a Silver mirror sheet enhances the dynamism of the composition. In fact, when someone is in front of this distorting mirror, s/he simultaneously looks at both the painting and her/his own reflection. Her/his face is amongst flowers and leaves, as if s/he were in a virtual garden. In this case, the observer maybe will smell the intense freesia perfume, that indicates the end of Winter. And freesias, actually, blossom from the black background as they do from the cold land in March. On the sides, they are ghost-like presences that blur with the darkness in the attempt of growing up from it. 
This piece is a hymn to Spring as a re-birth of Nature after the cold wintery months.
Freesias
Framed with wood batons – no additional framing required. Ready to hang.
Along with “Sicilian Evening”, this work is part of a small series of two pieces. The heart of both artworks lies in the center, where a Silver mirror sheet enhances the dynamism of the composition. In fact, when someone is in front of this distorting mirror, s/he simultaneously looks at both the painting and her/his own reflection. Her/his face is amongst flowers and leaves, as if s/he were in a virtual garden. In this case, the observer maybe will smell the intense freesia perfume, that indicates the end of Winter. And freesias, actually, blossom from the black background as they do from the cold land in March. On the sides, they are ghost-like presences that blur with the darkness in the attempt of growing up from it. 
This piece is a hymn to Spring as a re-birth of Nature after the cold wintery months.
Freesias
Framed with wood batons – no additional framing required. Ready to hang.
Along with “Sicilian Evening”, this work is part of a small series of two pieces. The heart of both artworks lies in the center, where a Silver mirror sheet enhances the dynamism of the composition. In fact, when someone is in front of this distorting mirror, s/he simultaneously looks at both the painting and her/his own reflection. Her/his face is amongst flowers and leaves, as if s/he were in a virtual garden. In this case, the observer maybe will smell the intense freesia perfume, that indicates the end of Winter. And freesias, actually, blossom from the black background as they do from the cold land in March. On the sides, they are ghost-like presences that blur with the darkness in the attempt of growing up from it. 
This piece is a hymn to Spring as a re-birth of Nature after the cold wintery months.
Freesias
Framed with wood batons – no additional framing required. Ready to hang.
Along with “Sicilian Evening”, this work is part of a small series of two pieces. The heart of both artworks lies in the center, where a Silver mirror sheet enhances the dynamism of the composition. In fact, when someone is in front of this distorting mirror, s/he simultaneously looks at both the painting and her/his own reflection. Her/his face is amongst flowers and leaves, as if s/he were in a virtual garden. In this case, the observer maybe will smell the intense freesia perfume, that indicates the end of Winter. And freesias, actually, blossom from the black background as they do from the cold land in March. On the sides, they are ghost-like presences that blur with the darkness in the attempt of growing up from it. 
This piece is a hymn to Spring as a re-birth of Nature after the cold wintery months.
Freesias
Framed with wood batons – no additional framing required. Ready to hang.
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Focus Painting

Ilaria Caputo

Italy

Painting, Oil on Wood

Size: 30.1 W x 17.7 H x 0.8 D in

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234 Views
15

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About The Artwork

Along with “Sicilian Evening”, this work is part of a small series of two pieces. The heart of both artworks lies in the center, where a Silver mirror sheet enhances the dynamism of the composition. In fact, when someone is in front of this distorting mirror, s/he simultaneously looks at both the painting and her/his own reflection. Her/his face is amongst flowers and leaves, as if s/he were in a virtual garden. In this case, the observer maybe will smell the intense freesia perfume, that indicates the end of Winter. And freesias, actually, blossom from the black background as they do from the cold land in March. On the sides, they are ghost-like presences that blur with the darkness in the attempt of growing up from it. This piece is a hymn to Spring as a re-birth of Nature after the cold wintery months. Freesias Framed with wood batons – no additional framing required. Ready to hang.

Details & Dimensions

Painting:Oil on Wood

Original:One-of-a-kind Artwork

Size:30.1 W x 17.7 H x 0.8 D in

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Transformation, light and the mixing of old techniques with new materials play a leading role in my recent production. The main link between my works is a quest for harmony, an attempt to describe the inner – and sometimes hidden – elegance of trivial matters. Ethereal female figures inspired by ancient Myths, flowers, fruits, peacocks and other pieces of reality are depicted in my bright figurative style that recalls the great tradition of European painting, especially the analytic approach in describing reality that was typical of both Van Eyck and the Pre-Raphaelites. My strokes are normally clean and the images neat, however I sometimes focus on a specific part of a painting, especially when an unexpected element - such as a Plexiglas layer - is inserted into the composition. In this way, the incredible potentiality of oil painting flourishes through the clear lines of a feature, in opposition to the blurriness of another one. My quest towards the soul of things pushes me often toward portraiture, this wonderful game of mirrors where the individuality of the artist merges into the inner self of the model.

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