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Portrait 18
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Portrait 18 Painting

massimo quadrelli

Italy

Painting, Acrylic on Paper

Size: 27.6 W x 39.4 H x 0 D in

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About The Artwork

Portrait 18 Acrylic, pastel on paper 70x100 cm 2020 Born in Florence in 1978, graduated in Philosophy in 2006, he spent long periods in London and Berlin to study in deep the languages of contemporary art. His works are turned to the subject of sign and space; as Egruhgs Sntyeggh, well-known art critic, has had the opportunity to write "in Massimo Quadrelli's works the sign claims his own inner life from the beginning exactly because it arranges and composes itself. The artist becomes observer of the event, genesis of meaning, initiation into the connection side of the sign with the sign as the basis of a final report with the sense". LOGIQUE DE LA PÉNSÉE PRÉALPHABÉTIQUE "The presence of the sign" The world is no longer before him to representation: it is rather the painter who was born in things like concentration and came to him the visible and the picture, finally, can relate to anything empirical only if they first autofigurativo may showsomething just being show about nothing, piercing the skin of things to show how things do things, and the world world. (M. Merleau-Ponty) “Logique de la pensée préalphabétique” or the slope of search sapienziale of the first roots, in odor similarly of anthropology and of magic, of philosophy and of alchemy. Not the game iconografico, not the oneiric illustration fascinates him, but what is in the words of Picasso "the sun in the belly", the dark and prelogical intuition of the life, to be born and to lose the form, some ability of the sign to run away to himself toward a radiant reverberation of senses.The artist faces "the presence of the sign", he makes it grow and to form it as reality in itself. He doesn't care to recognize it, to engrave it a destiny, a lògos common:il sense of the trial is to excite it to give it, to make generation, in the mobile flow and without master that is it really. In these evident tangencies, they also fed of oriental suggestions, resides an attitude that doesn't recognize it in some to have to be of the painting, less than the current idea of language, and of style.Therefore, the picture doesn't represent any things, but it is presence: it doesn't tell the reality, because, in itself, reality. "The paper-canvas|space resounds as a membrane, a to flow of feelings, images, signs without master so immediate and indirect to pierce in truth of lived; a to climb some thought, a to converge, a to overlap of ‘fragmentations of memory', one to fray it and a to renew it of nothing, 'flesh' of time and of space." Egruhgs Sntyeggh(art historian)

Details & Dimensions

Painting:Acrylic on Paper

Original:One-of-a-kind Artwork

Size:27.6 W x 39.4 H x 0 D in

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

Born in Florence in 1978, graduated in Philosophy in 2006, he spent long periods in London and Berlin to study in deep the languages of contemporary art. His works are turned to the subject of sign and space. As the well-known art critic Egruhgs Sntyeggh has had the opportunity to write “in M. Quadrelli’s works the sign claims his own inner life from the beginning exactly because it arranges and composes itself.The artist becomes observer of the event, genesis of meaning, initiation into the "connection side of the sign with the sign as the basis of a final report with the sense”. LOGIQUE DE LA PÉNSÉE PRÉALPHABÉTIQUE NATURE| The first order The world is no longer before him to representation: it is rather the painter who was born in things like concentration and came to him the visible and the picture, finally, can relate to anything empirical only if they first "autofigurativo "may show something just being" show about nothing, "piercing the" skin of things "to show how things do things, and the world world. (M. Merleau-Ponty) “Logique de la pensée préalphabétique” or the direction toward a knowable search of the first roots, in odour similarly of anthropology and of magic, of philosophy and of alchemy. Not iconographical game, not oneiric illustration fascinates him, but what is in the Picasso’s words "the sun in the belly", the dark and prelogical intuition of the life, to be generated and to lose the form, some ability of the sign to escape from himself toward a radiant reverberation of senses. The artist faces "the sign’s presence", he makes it grow and form as reality in itself. He doesn't care to recognize it, to imprint it a destiny, a common lògos: the sense of the trial is to excite it to give and generate itself, in the unstable and without master flow that is it really. In these evident tangencies resides an attitude that doesn't recognize it in any need to be of the painting and is much less aware of the ordinary idea of language and style. Therefore, the painting doesn't represent something, but it is presence: it doesn't tell the reality, because is reality itself. "The paper-canvas|space resounds like a membrane, a flow of feelings, images, signs without an owner so immediate and indirect to pierce in truth of lived; a climb of thought, a converging, an overlap fragments of a 'memory', a fray and a resume of nothing, 'flesh' of time and space." Egruhgs Sntyeggh

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