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Mappa dell'Amore - Love map Painting

Krisztina Megyeri

Hungary

Painting, Acrylic on Canvas

Size: 39.4 W x 19.7 H x 1.6 D in

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About The Artwork

This abstract painting is part of a series of love letters. It is a mesmerizing blend of delicate elements that harmonize to evoke a sense of beauty and emotion. The focal point of the composition is an old fashioned love letter calligraphy collage, meticulously crafted with swirling strokes that embody the essence of affection and warmth. Against a serene backdrop of calm pink, the calligraphy emerges as a striking centerpiece, its graceful lines forming an intimate narrative. The choice of a pink hue enhances the overall tranquility of the piece, inviting viewers to immerse themselves in a gentle, contemplative ambiance. Surrounding this central motif, a vibrant and diverse array of colors come together in a kaleidoscopic dance. The dynamic contrast created by the interplay of these vivid shades adds a sense of energy and liveliness to the scene. The juxtaposition of the calm pink plain against the lively background creates a visual tension that captivates the eye and sparks curiosity. The overall effect is a balanced and captivating composition that invites viewers to explore the intricate details of the love letter calligraphy collage while being enchanted by the vibrant and dynamic surrounding colors. This abstract painting is a celebration of contrasts, merging tranquility with vitality, and simplicity with complexity in a captivating dance of emotions and aesthetics. It will arrive ready to hang.

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:39.4 W x 19.7 H x 1.6 D in

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

I have spent about a third of my life in Italy, Hungary and Germany. I belong everywhere and nowhere, so my true home is art. It gives me a feeling of true freedom. My great love is abstract art. I work with clear colors, which is the best way to express my feelings and joy of life. The nuances and different lines and symbols, light dark contrasts that easily fit together and harmonize are my world. My inspiration is nature where I find overwhelming beauty. In my work I use acrylic paints, Posca, oil pastels, graphite etc. which I apply to canvas or various artist papers and combine with each other. All the materials I use are high quality, durable over time and the pictures are covered with a matt sealing varnish which protects against possible mechanical damage such as smearing or abrasion and UV damage. ‘For the artist, like the perfume of Proust's memory, colors and light conditions create sensations, by the conscious memory they are forgotten over time, but they continue to exist in the memory of the senses. For this reason, some elements of the canvases are sometimes combined in a playful way, since they emerge from the world of childhood. Krisztina Megyeri guides us into a serene world, where the joy of seeing skillfully balanced chromatic balances is combined with the wonder of feelings between memories and imagination, it tells its story, its memory representation and its ability to express freedom in art.’ Alessandra Cusinato, art historian and curator Krisztina Megyeri was born in Hungary in 1970, where she lived for eight years. The art-related images of her childhood are the creations of traditional embroiderers and her uncle's abstract paintings that "looked like exploding galaxies." In 1979 when the family moved to Germany near Stuttgart, in the Black Forest,the artist has the opportunity to create strong bonds with nature and at the same time increase her passion for art. In 1992, she moved to Milan, where she attended drawing and painting courses. After graduating in ceramic art and specializing in bronze sculpture, she worked between Italy and Hungary. Her first works were large projects made of bronze and then artistic ceramics. Among the temporary exhibitions, we remember the 1999 exhibition on the theme of the Cross in Milan, with the critical intervention of art historian Prof.

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