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When I conceived this painting, my main aim was to play with subtractive colour theory. I chose two primary colours, namely magenta and yellow, and I started painting. 
My idea was to create opposition as well as mixing effects. For this reason, the background is divided into three parts. On the left side, there are orange-shade spots, whereas on the right side magenta shades prevail. At the centre, the background is mainly white. Together with the green stems, it provides the perfect focus for the buttercups bunch. On the left and right sides, some flowers are depicted in opposition with the prevailing background colour. Briefly, there are magenta shades buttercups over the orange spots, and vice versa. At the centre of the composition, a red flower stands out. In contrast with the white background, where the colour is absent, the red buttercup represents the fullness of colour.
Framed with wood batons – no additional framing required. Ready to hang.
When I conceived this painting, my main aim was to play with subtractive colour theory. I chose two primary colours, namely magenta and yellow, and I started painting. 
My idea was to create opposition as well as mixing effects. For this reason, the background is divided into three parts. On the left side, there are orange-shade spots, whereas on the right side magenta shades prevail. At the centre, the background is mainly white. Together with the green stems, it provides the perfect focus for the buttercups bunch. On the left and right sides, some flowers are depicted in opposition with the prevailing background colour. Briefly, there are magenta shades buttercups over the orange spots, and vice versa. At the centre of the composition, a red flower stands out. In contrast with the white background, where the colour is absent, the red buttercup represents the fullness of colour.
Framed with wood batons – no additional framing required. Ready to hang.
When I conceived this painting, my main aim was to play with subtractive colour theory. I chose two primary colours, namely magenta and yellow, and I started painting. 
My idea was to create opposition as well as mixing effects. For this reason, the background is divided into three parts. On the left side, there are orange-shade spots, whereas on the right side magenta shades prevail. At the centre, the background is mainly white. Together with the green stems, it provides the perfect focus for the buttercups bunch. On the left and right sides, some flowers are depicted in opposition with the prevailing background colour. Briefly, there are magenta shades buttercups over the orange spots, and vice versa. At the centre of the composition, a red flower stands out. In contrast with the white background, where the colour is absent, the red buttercup represents the fullness of colour.
Framed with wood batons – no additional framing required. Ready to hang.
Right side of painting: a yellow buttercup and pink gesso parts
"The Intrusive Buttercup" amongst other works at Villa Airoldi (Palermo, Sicily) during Ilaria's solo show "Racconti di luce", April 2016

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The Intrusive Buttercup Painting

Ilaria Caputo

Italy

Painting, Acrylic on Wood

Size: 27.6 W x 19.7 H x 0.6 D in

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$1,075

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When I conceived this painting, my main aim was to play with subtractive colour theory. I chose two primary colours, namely magenta and yellow, and I started painting. My idea was to create opposition as well as mixing effects. For this reason, the background is divided into three parts. On the lef...

Year Created:

2015

Subject:
Mediums:

Painting, Acrylic on Wood

Rarity:

One-of-a-kind Artwork

Size:

27.6 W x 19.7 H x 0.6 D in

Ready to Hang:

Not Applicable

Frame:

White

Authenticity:

Certificate is Included

Packaging:

Ships in a Box

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Shipping is included in price.

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Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

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Italy.

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Shipments from Italy may experience delays due to country's regulations for exporting valuable artworks.

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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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