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An original piece from the series “Rorschach”, oil on paper, 65 x 50 cm.

The Swiss psychiatrist Hermann Rorschach, invented the famous inkblots, to put into practice a therapeutic form in which a patient, observing these apparently indefinite forms, could create associations or interpretations, from which the analysis of the psychological disorders can begin. Often my work is criticized because it is too defined, too precise, too detailed. This accuracy would take away any possible action  to the imagination of the observer. This reasoning has always made me smile a little, and each time reminds me of the Rorschach blots, which in reality were not indefinite, but on the contrary sharp and precise, and allowed to generate associations only because these associations are already inside the mind of the patient, or in general, of the observer. The interpretation of a work is not made possible by its indeterminacy. It depends only on the culture of the viewer, on the books he has read, on the films he has seen, on the paintings he has observed, and this generates his ability to see cross-references between things.

Other features:
Paper weight: 290 gr/mq
Finishing: protective gloss varnish (transparent mastic paint)
Location and year created: Turin, Italy - 2018
Certificate of Authenticity: included, with signature of the artist on photograph 
Signed: on the front, bottom center
Surface of the paper: rough - canvas effect
An original piece from the series “Rorschach”, oil on paper, 65 x 50 cm.

The Swiss psychiatrist Hermann Rorschach, invented the famous inkblots, to put into practice a therapeutic form in which a patient, observing these apparently indefinite forms, could create associations or interpretations, from which the analysis of the psychological disorders can begin. Often my work is criticized because it is too defined, too precise, too detailed. This accuracy would take away any possible action  to the imagination of the observer. This reasoning has always made me smile a little, and each time reminds me of the Rorschach blots, which in reality were not indefinite, but on the contrary sharp and precise, and allowed to generate associations only because these associations are already inside the mind of the patient, or in general, of the observer. The interpretation of a work is not made possible by its indeterminacy. It depends only on the culture of the viewer, on the books he has read, on the films he has seen, on the paintings he has observed, and this generates his ability to see cross-references between things.

Other features:
Paper weight: 290 gr/mq
Finishing: protective gloss varnish (transparent mastic paint)
Location and year created: Turin, Italy - 2018
Certificate of Authenticity: included, with signature of the artist on photograph 
Signed: on the front, bottom center
Surface of the paper: rough - canvas effect
An original piece from the series “Rorschach”, oil on paper, 65 x 50 cm.

The Swiss psychiatrist Hermann Rorschach, invented the famous inkblots, to put into practice a therapeutic form in which a patient, observing these apparently indefinite forms, could create associations or interpretations, from which the analysis of the psychological disorders can begin. Often my work is criticized because it is too defined, too precise, too detailed. This accuracy would take away any possible action  to the imagination of the observer. This reasoning has always made me smile a little, and each time reminds me of the Rorschach blots, which in reality were not indefinite, but on the contrary sharp and precise, and allowed to generate associations only because these associations are already inside the mind of the patient, or in general, of the observer. The interpretation of a work is not made possible by its indeterminacy. It depends only on the culture of the viewer, on the books he has read, on the films he has seen, on the paintings he has observed, and this generates his ability to see cross-references between things.

Other features:
Paper weight: 290 gr/mq
Finishing: protective gloss varnish (transparent mastic paint)
Location and year created: Turin, Italy - 2018
Certificate of Authenticity: included, with signature of the artist on photograph 
Signed: on the front, bottom center
Surface of the paper: rough - canvas effect
An original piece from the series “Rorschach”, oil on paper, 65 x 50 cm.

The Swiss psychiatrist Hermann Rorschach, invented the famous inkblots, to put into practice a therapeutic form in which a patient, observing these apparently indefinite forms, could create associations or interpretations, from which the analysis of the psychological disorders can begin. Often my work is criticized because it is too defined, too precise, too detailed. This accuracy would take away any possible action  to the imagination of the observer. This reasoning has always made me smile a little, and each time reminds me of the Rorschach blots, which in reality were not indefinite, but on the contrary sharp and precise, and allowed to generate associations only because these associations are already inside the mind of the patient, or in general, of the observer. The interpretation of a work is not made possible by its indeterminacy. It depends only on the culture of the viewer, on the books he has read, on the films he has seen, on the paintings he has observed, and this generates his ability to see cross-references between things.

Other features:
Paper weight: 290 gr/mq
Finishing: protective gloss varnish (transparent mastic paint)
Location and year created: Turin, Italy - 2018
Certificate of Authenticity: included, with signature of the artist on photograph 
Signed: on the front, bottom center
Surface of the paper: rough - canvas effect
An original piece from the series “Rorschach”, oil on paper, 65 x 50 cm.

The Swiss psychiatrist Hermann Rorschach, invented the famous inkblots, to put into practice a therapeutic form in which a patient, observing these apparently indefinite forms, could create associations or interpretations, from which the analysis of the psychological disorders can begin. Often my work is criticized because it is too defined, too precise, too detailed. This accuracy would take away any possible action  to the imagination of the observer. This reasoning has always made me smile a little, and each time reminds me of the Rorschach blots, which in reality were not indefinite, but on the contrary sharp and precise, and allowed to generate associations only because these associations are already inside the mind of the patient, or in general, of the observer. The interpretation of a work is not made possible by its indeterminacy. It depends only on the culture of the viewer, on the books he has read, on the films he has seen, on the paintings he has observed, and this generates his ability to see cross-references between things.

Other features:
Paper weight: 290 gr/mq
Finishing: protective gloss varnish (transparent mastic paint)
Location and year created: Turin, Italy - 2018
Certificate of Authenticity: included, with signature of the artist on photograph 
Signed: on the front, bottom center
Surface of the paper: rough - canvas effect
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VIEW IN MY ROOM

Rorschach Painting

Federico Cortese

Italy

Painting, Oil on Paper

Size: 25.6 W x 19.7 H x 0 D in

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SOLD
Originally listed for $660
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780 Views
24

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About The Artwork

An original piece from the series “Rorschach”, oil on paper, 65 x 50 cm. The Swiss psychiatrist Hermann Rorschach, invented the famous inkblots, to put into practice a therapeutic form in which a patient, observing these apparently indefinite forms, could create associations or interpretations, from which the analysis of the psychological disorders can begin. Often my work is criticized because it is too defined, too precise, too detailed. This accuracy would take away any possible action to the imagination of the observer. This reasoning has always made me smile a little, and each time reminds me of the Rorschach blots, which in reality were not indefinite, but on the contrary sharp and precise, and allowed to generate associations only because these associations are already inside the mind of the patient, or in general, of the observer. The interpretation of a work is not made possible by its indeterminacy. It depends only on the culture of the viewer, on the books he has read, on the films he has seen, on the paintings he has observed, and this generates his ability to see cross-references between things. Other features: Paper weight: 290 gr/mq Finishing: protective gloss varnish (transparent mastic paint) Location and year created: Turin, Italy - 2018 Certificate of Authenticity: included, with signature of the artist on photograph Signed: on the front, bottom center Surface of the paper: rough - canvas effect

Details & Dimensions

Painting:Oil on Paper

Original:One-of-a-kind Artwork

Size:25.6 W x 19.7 H x 0 D in

Shipping & Returns

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

I’m like a mouse in its box. A little mouse safe in its shelter, that passes his time gnawing the food stored for the winter. But my food are the drawings. I work within my home. My studio is a room of the house in which I live. In this relatively small space are accumulated all the materials and equipment I need to draw and paint, but in a certain sense also the suggestions that inspire my work. Here are the desks and drawing boards, with brushes and paint colors, but also, on the walls or placed in closets, paintings and drawings (I think each finished work is always an inspiration for the next, in somehow). A great source of ideas are books and music, and of course the PC. The graphics programs and virtual modeling programs have become over the years a valuable support, but obviously the richest mine is the internet: a reservoir of images and ideas from which to draw, and in which we often are lost (in addition to photos of my own travels, all stored on the computer). It’s a small microcosm closed in on itself, rather impervious to the outside world (despite a large window with a beautiful view of Turin, almost always I work with the curtains closed). It is a bit as if the suggestions of the real world were allowed to enter here only after being filtered and digested, only after it has been already turned into experience. Exactly like a rat, eating quiet its supplies in its den, waiting for the end of winter. In my artistic research I've always been attracted to all that is sortable, classifiable. Perhaps this attitude stems from a primordial insecurity, and perhaps the illusion of putting order into chaos eases this concern. To start this game is sufficient to identify a subject that lends itself to variations, and the game consists precisely in identifying the rules that form the basis of possible changes. It 'a little like discovering a new language and trying to decipher the syntax, grammar, exceptions. With these assumptions, it is easy to see that the subjects of this research can be the most different and in fact my designs ranging from butterfly collections to herbaria, from ancient bestiaries to manuals of anatomy, maps, human faces, hands, pornography, flags ... They are all languages having their own vocabulary, and my attempt is to isolate it and reinvent it, trying to generate new meanings. Consider for example a road map or a map. They are born with a practical, precise purpose.

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