VIEW IN MY ROOM
Italy
Painting, Oil on Canvas
Size: 19.7 W x 23.6 H x 0.4 D in
Ships in a Box
This painting was inspired by the reading of an old story by Gabriel Garcia Marquez "The Night of the plovers". All this perfectly reflected the pictorial moment I was experiencing, when Paul Gauguin was my reference artist: hence the certainly tropical and almost timeless setting. The story was about a nocturnal context in a swampy, sometimes luxuriant, territory, with the appearance of this very ethereal female figure, who is informed of an old legend according to which the plovers tear the eyes from the orbits of those men who dare to imitate the verse. There are essentially warm colors, typically tropical tenor, and where they are missing I tried to preserve this climate of heat through color combinations that would give impetus and resonance to the leading figures of the canvas. In tribute to Gauguin, the color is almost flat and not at all dense and material, leaving to shine signs of the canvas. The background is very short in his perspective, in order to give greater prominence to the figures in the foreground. In general, in this work is represented a part of the so-called "third world", where myths and legends, with an ancestral relish, still resist and stimulate the often suffocated imagination of contemporary man.
Original Created:2008
Subjects:World Culture
Materials:Canvas
Styles:ExpressionismFigurativeFolk
Mediums:Oil
Painting:Oil on Canvas
Original:One-of-a-kind Artwork
Size:19.7 W x 23.6 H x 0.4 D in
Frame:Gold
Ready to Hang:Not applicable
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
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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I was born in Tivoli (Rome) in 1977 and I graduated in Economics. Completely self-taught, I started painting in 2006, trying to make up for the lack of teaching with a strong ability to absorb all forms of art, which managed to give me a wealth of ideas and stimuli for an artistic journey that since beginning I had a problem of originality and chromatic and thematic power. My first works are inevitably marked by a strong naive imprint, where a natural predisposition for the use of warm and tropical colors, was accompanied by the prevalent representation of scenes of life of ethnic groups of the "Third World" (African and Latin American), who have signaled me as an artist of travel and escape; plausible and realistic journeys in the punctuality of details, but "salgariani" (by the Italian writer Emilio Salgari) given the immobility of my residence; and anyway, I think, effective in expressing a sort of disappointment for belonging to a "modern" world only on the surface, but decadent and arid in substance. Later, the theme of the journey progressively faded, while the colors and the materiality of the color spread on the surface were accentuated, diverting the main theme of my work towards an existentialism with psychedelic hues and shapes deformed by eruptions of color, which become the individual and collective magma of that part of contemporary society that does not accept the drift and decides to express the discomfort, but without giving up the message of "beauty" that art must always bring in every historical moment in which it is placed. Ultimately, I can say that I have discovered painting late, even if, I believe, the mechanisms concerning the creative path behind a simple work, and everything that concerns dedication with seriousness and self-denial, even outside the hours spent in front of it at an easel, they were already somehow rooted in me and waiting for an opportunity to be tested. In a few years I tried to burn the stages (or at least recover as much time as possible) visiting many museums and exhibitions and studying the History of Art, and with a humble sense of work and ability of imagination (implemented through a deep meditation on each technical and creative aspect) I tried to take possession of those manual, stylistic and intellectual means that could give my art "recognizability" without which an artist could not be called such.
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