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Paris Time Painting

Marco Barberio

Italy

Painting, Spray Paint on Canvas

Size: 27.6 W x 39.4 H x 0.8 D in

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ABOUT THE ARTWORK

The painting created by the artist using the spray technique on canvas depicts a scene inside the restaurant of the D'Orsay Museum in Paris. In the foreground, a huge clock dominates the scene, from which intense light filters through and outlines the silhouettes of waiters and patrons. The choice to represent the light passing through the clock confers a particular, almost dreamlike atmosphere to the painting. The central theme of the painting is time, which seems to be represented by the enormous clock at the center of the composition. The artist seems to want to underline how time is the factor that influences the life of all human beings, regardless of their social position or the place they are in. Through the painting, the artist also seems to want to explore some philosophical aspects related to the concept of time. For example, the presence of the patrons inside the restaurant suggests that time passes differently depending on the activities that are carried out during the day. Furthermore, the idea of ​​using light as the central element of the painting could be interpreted as an invitation to reflect on the transience of time and the importance of living each moment with intensity and awareness. Overall, the painting created using the spray technique on canvas is a suggestive and original representation of the theme of time, which invites reflection on its importance in the lives of human beings. The choice of colors and lights makes the painting particularly engaging and stimulating, leaving the viewer the possibility to grasp its multiple meanings and interpretations.

DETAILS AND DIMENSIONS
Painting:

Spray Paint on Canvas

Original:

One-of-a-kind Artwork

Size:

27.6 W x 39.4 H x 0.8 D in

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Marco Barberio, 1971 Italy. During his life, he has always cultivated a passion for art and creativity, even without attending specialized schools. He spent his adolescence in the 80s, painting with the myth of American graffiti and pop art. In the 90s he was in the middle of the digital revolution and the birth of the Internet. Thanks to entrepreneurial intuition, the predisposition to new technologies and love for art, he founded a web company with the role of art director. In his US travels, he definitively consolidates the metropolitan subjects for his realistic paintings with references to pop icons. I call my artistic process “sampled realism”. The sampled realism is a way to translate an abstract idea, a state of mind of the real world and of everyday life, into an artistic representation, aiming to find a correct balancing between science and art. Environments, metropolitan landscapes, streets and places are just opportunity to freeze the sigh of an instant, the perfect moment. The urban landscapes into the pictorial “shots” are not just scenography, but moments of suspension, of losses of reference points. Spatiality as an element of the story is meant as an active agent of a tale. Are early stories, beginning of a movie, still images that narrate episodes within spaces defined by frames. Time is frozen and tension inert, while the action seems “off-screen”, in another world. The pictorial is made, being in the digital age, with the technique of sampling. The classic example of sampling is given by the world of music: the sound wave of an instrument played live is perceived as a signal “continuous”. When a sound is “captured” digitally, occurs a sampling process where the information of that signal is stored with a certain frequency. In this way, the continuous analogue signal becomes a digital signal discontinuously, apparently with some shortcomings. But this new digital signal, that can be stored in some way, is perceived exactly like the real analogue. In the digital era, much of the reality we live tends to be “sampled” and trapped in electronic devices. Similarly, in sampled realism the image is made with a process of simplification of the colours, a “sampling”. In this perspective, the colours are not mixed but become splashes, curves between which there are no shades. Just as it is in topography with the level curves, or in tomography, where the three-dimensional rendering of the body is given by samples in layers.

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