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Ancient tiles and the features of a human face are two recurrent themes in my recent production. Here you find both of them.
In this painting my intention was to investigate the relationship between background and foreground, and eliminate the distance between them. 
A dreamy face stands out almost like a cutout against the tiled background. Only the skin has been painted, with no traces of hair or clothes. The whole surface of the canvas is covered in paint to convey an effect of fullness.
An element of contrast lies in this composition. In fact, despite the realism of the pictorial treatment – that is, rich in shadow and light to create a 3-D effect – due to the fusion between background and foreground the final outcome is almost two-dimensional. 
Unframed but provided with hanging hook. The sides of the canvas are painted too. It could be ready to hang this way.
Ancient tiles and the features of a human face are two recurrent themes in my recent production. Here you find both of them.
In this painting my intention was to investigate the relationship between background and foreground, and eliminate the distance between them. 
A dreamy face stands out almost like a cutout against the tiled background. Only the skin has been painted, with no traces of hair or clothes. The whole surface of the canvas is covered in paint to convey an effect of fullness.
An element of contrast lies in this composition. In fact, despite the realism of the pictorial treatment – that is, rich in shadow and light to create a 3-D effect – due to the fusion between background and foreground the final outcome is almost two-dimensional. 
Unframed but provided with hanging hook. The sides of the canvas are painted too. It could be ready to hang this way.
Ancient tiles and the features of a human face are two recurrent themes in my recent production. Here you find both of them.
In this painting my intention was to investigate the relationship between background and foreground, and eliminate the distance between them. 
A dreamy face stands out almost like a cutout against the tiled background. Only the skin has been painted, with no traces of hair or clothes. The whole surface of the canvas is covered in paint to convey an effect of fullness.
An element of contrast lies in this composition. In fact, despite the realism of the pictorial treatment – that is, rich in shadow and light to create a 3-D effect – due to the fusion between background and foreground the final outcome is almost two-dimensional. 
Unframed but provided with hanging hook. The sides of the canvas are painted too. It could be ready to hang this way.
Ancient tiles and the features of a human face are two recurrent themes in my recent production. Here you find both of them.
In this painting my intention was to investigate the relationship between background and foreground, and eliminate the distance between them. 
A dreamy face stands out almost like a cutout against the tiled background. Only the skin has been painted, with no traces of hair or clothes. The whole surface of the canvas is covered in paint to convey an effect of fullness.
An element of contrast lies in this composition. In fact, despite the realism of the pictorial treatment – that is, rich in shadow and light to create a 3-D effect – due to the fusion between background and foreground the final outcome is almost two-dimensional. 
Unframed but provided with hanging hook. The sides of the canvas are painted too. It could be ready to hang this way.
Ancient tiles and the features of a human face are two recurrent themes in my recent production. Here you find both of them.
In this painting my intention was to investigate the relationship between background and foreground, and eliminate the distance between them. 
A dreamy face stands out almost like a cutout against the tiled background. Only the skin has been painted, with no traces of hair or clothes. The whole surface of the canvas is covered in paint to convey an effect of fullness.
An element of contrast lies in this composition. In fact, despite the realism of the pictorial treatment – that is, rich in shadow and light to create a 3-D effect – due to the fusion between background and foreground the final outcome is almost two-dimensional. 
Unframed but provided with hanging hook. The sides of the canvas are painted too. It could be ready to hang this way.

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View In My Room

The Dream Painting

Ilaria Caputo

Italy

Painting, Oil on Canvas

Size: 20.5 W x 28.3 H x 0.8 D in

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$1,040

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ABOUT THE ARTWORK

Ancient tiles and the features of a human face are two recurrent themes in my recent production. Here you find both of them. In this painting my intention was to investigate the relationship between background and foreground, and eliminate the distance between them. A dreamy face stands out almost like a cutout against the tiled background. Only the skin has been painted, with no traces of hair or clothes. The whole surface of the canvas is covered in paint to convey an effect of fullness. An element of contrast lies in this composition. In fact, despite the realism of the pictorial treatment – that is, rich in shadow and light to create a 3-D effect – due to the fusion between background and foreground the final outcome is almost two-dimensional. Unframed but provided with hanging hook. The sides of the canvas are painted too. It could be ready to hang this way.

DETAILS AND DIMENSIONS
Painting:

Oil on Canvas

Original:

One-of-a-kind Artwork

Size:

20.5 W x 28.3 H x 0.8 D in

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

Transformation, light and the mixing of old techniques with new materials play a leading role in my recent production. The main link between my works is a quest for harmony, an attempt to describe the inner – and sometimes hidden – elegance of trivial matters. Ethereal female figures inspired by ancient Myths, flowers, fruits, peacocks and other pieces of reality are depicted in my bright figurative style that recalls the great tradition of European painting, especially the analytic approach in describing reality that was typical of both Van Eyck and the Pre-Raphaelites. My strokes are normally clean and the images neat, however I sometimes focus on a specific part of a painting, especially when an unexpected element - such as a Plexiglas layer - is inserted into the composition. In this way, the incredible potentiality of oil painting flourishes through the clear lines of a feature, in opposition to the blurriness of another one. My quest towards the soul of things pushes me often toward portraiture, this wonderful game of mirrors where the individuality of the artist merges into the inner self of the model.

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