TWO TREES Painting by DAVIDE MORETTINI

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The production of easel paintings is the activity to which I have been devoting myself with utmost dedication, without any constraints nor pressure from clients or the public.

Trees are my favourite, if not exclusive, subject. I see trees as living entities constantly changing and creating life. For me, trees are the perfect allegory for life. They come in an incredible variety of forms and colours, which stimulate my creativity incessantly – and often even unexpectedly. Likewise, my painting techniques are in constant evolution, as my aim is to make the most of the endless complexity of this specific subject in terms of colours and forms. Every single spot of paint was the result of a unique mixture of colours and was patiently blended in order to create a three-dimensional effect which would have been impossible to produce with any other techniques different from oil painting. The oils used for painting went through an artisanal process of clarification, which I personally take care of, using the old Renaissance procedures described by Cennini. The paint used, of the finest quality, was mostly created from a mixture of the fundamental colours for the best results and maximum brilliance.

In addition, I personally build the internal frames using solid, high-quality spruce wood, and I stretch and mount the canvas, prepriming it myself with a dry, non-greasy mixture guaranteeing maximum paint adherence and duration over time, even centuries. All this because of my passion for art and deep respect for my clients.
The production of easel paintings is the activity to which I have been devoting myself with utmost dedication, without any constraints nor pressure from clients or the public.

Trees are my favourite, if not exclusive, subject. I see trees as living entities constantly changing and creating life. For me, trees are the perfect allegory for life. They come in an incredible variety of forms and colours, which stimulate my creativity incessantly – and often even unexpectedly. Likewise, my painting techniques are in constant evolution, as my aim is to make the most of the endless complexity of this specific subject in terms of colours and forms. Every single spot of paint was the result of a unique mixture of colours and was patiently blended in order to create a three-dimensional effect which would have been impossible to produce with any other techniques different from oil painting. The oils used for painting went through an artisanal process of clarification, which I personally take care of, using the old Renaissance procedures described by Cennini. The paint used, of the finest quality, was mostly created from a mixture of the fundamental colours for the best results and maximum brilliance.

In addition, I personally build the internal frames using solid, high-quality spruce wood, and I stretch and mount the canvas, prepriming it myself with a dry, non-greasy mixture guaranteeing maximum paint adherence and duration over time, even centuries. All this because of my passion for art and deep respect for my clients.
The production of easel paintings is the activity to which I have been devoting myself with utmost dedication, without any constraints nor pressure from clients or the public.

Trees are my favourite, if not exclusive, subject. I see trees as living entities constantly changing and creating life. For me, trees are the perfect allegory for life. They come in an incredible variety of forms and colours, which stimulate my creativity incessantly – and often even unexpectedly. Likewise, my painting techniques are in constant evolution, as my aim is to make the most of the endless complexity of this specific subject in terms of colours and forms. Every single spot of paint was the result of a unique mixture of colours and was patiently blended in order to create a three-dimensional effect which would have been impossible to produce with any other techniques different from oil painting. The oils used for painting went through an artisanal process of clarification, which I personally take care of, using the old Renaissance procedures described by Cennini. The paint used, of the finest quality, was mostly created from a mixture of the fundamental colours for the best results and maximum brilliance.

In addition, I personally build the internal frames using solid, high-quality spruce wood, and I stretch and mount the canvas, prepriming it myself with a dry, non-greasy mixture guaranteeing maximum paint adherence and duration over time, even centuries. All this because of my passion for art and deep respect for my clients.
The production of easel paintings is the activity to which I have been devoting myself with utmost dedication, without any constraints nor pressure from clients or the public.

Trees are my favourite, if not exclusive, subject. I see trees as living entities constantly changing and creating life. For me, trees are the perfect allegory for life. They come in an incredible variety of forms and colours, which stimulate my creativity incessantly – and often even unexpectedly. Likewise, my painting techniques are in constant evolution, as my aim is to make the most of the endless complexity of this specific subject in terms of colours and forms. Every single spot of paint was the result of a unique mixture of colours and was patiently blended in order to create a three-dimensional effect which would have been impossible to produce with any other techniques different from oil painting. The oils used for painting went through an artisanal process of clarification, which I personally take care of, using the old Renaissance procedures described by Cennini. The paint used, of the finest quality, was mostly created from a mixture of the fundamental colours for the best results and maximum brilliance.

In addition, I personally build the internal frames using solid, high-quality spruce wood, and I stretch and mount the canvas, prepriming it myself with a dry, non-greasy mixture guaranteeing maximum paint adherence and duration over time, even centuries. All this because of my passion for art and deep respect for my clients.
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TWO TREES

DAVIDE MORETTINI

Italy

Painting

Size: 18.9 W x 19.7 H x 0.9 D in

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About The Artwork

The production of easel paintings is the activity to which I have been devoting myself with utmost dedication, without any constraints nor pressure from clients or the public. Trees are my favourite, if not exclusive, subject. I see trees as living entities constantly changing and creating life. For me, trees are the perfect allegory for life. They come in an incredible variety of forms and colours, which stimulate my creativity incessantly – and often even unexpectedly. Likewise, my painting techniques are in constant evolution, as my aim is to make the most of the endless complexity of this specific subject in terms of colours and forms. Every single spot of paint was the result of a unique mixture of colours and was patiently blended in order to create a three-dimensional effect which would have been impossible to produce with any other techniques different from oil painting. The oils used for painting went through an artisanal process of clarification, which I personally take care of, using the old Renaissance procedures described by Cennini. The paint used, of the finest quality, was mostly created from a mixture of the fundamental colours for the best results and maximum brilliance. In addition, I personally build the internal frames using solid, high-quality spruce wood, and I stretch and mount the canvas, prepriming it myself with a dry, non-greasy mixture guaranteeing maximum paint adherence and duration over time, even centuries. All this because of my passion for art and deep respect for my clients.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:18.9 W x 19.7 H x 0.9 D in

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

Davide Morettini graduated with honours (110/110 with distinction) from the Academy of Fine Arts of Macerata on February, 22nd 2013, with an explorative thesis on the works by Ferenc Pintér. After graduation, he starts his own artistic production by using the most common pictorial techniques to tackle the central themes of the iconographic tradition (still-life paintings, landscapes, nudes, portraits). Among his favourite techniques appears the use of watecolours, which are used also for editorial illustrations. At the moment, the author lives and works in Recanati (ITALY), where he works and paints on commission for privates as well as publishers the world over.

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