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Omnia Vincit Amor 
part of my #NeoUrbanClassic collection 1/1 .
This canvas was part of the collection belonging to Ferdinando de' Medici, Grand Prince of Tuscany, and perhaps comes from the group of works that remained in the possession of the artist’s brother after his death. The subject of the painting is usually described as “Love winning over the arts”, but in the Medici inventories of the late 17th century, it is entered as “Love ruler of all” or “The Talent of virtue''. The Virgilian concept of Omnia vincit amor at the base of this painting had an illustrious predecessor in the same subject, painted for Marchese Vincenzo Giustiniani by Caravaggio. Together with the usual attributes of bow and arrows, the figure of Amor, the Roman Cupid, is surrounded by a series of items that refer to art, science, literary fame, weaponry and earthly powers which, as well as composing elegant examples of still life, are also an exhortation not to give in to passion but to practise the arts and other human activities (the gesture of Cupid’s hand is important here) in order to achieve harmony. In terms of its composition and Cupid’s pose in particular, the inspiration that comes from some of Caravaggio’s figures blends with that of ancient statues and, in particular, with the Ludovisi Ares. However, the Caravaggism of RIminaldi’s initial years in Rome is here left behind as the artist follows the classicism of French artist Vouet, in terms of the perfect compositional arrangement and for the superb, obvious beauty shown by the ephebe.
Omnia Vincit Amor 
part of my #NeoUrbanClassic collection 1/1 .
This canvas was part of the collection belonging to Ferdinando de' Medici, Grand Prince of Tuscany, and perhaps comes from the group of works that remained in the possession of the artist’s brother after his death. The subject of the painting is usually described as “Love winning over the arts”, but in the Medici inventories of the late 17th century, it is entered as “Love ruler of all” or “The Talent of virtue''. The Virgilian concept of Omnia vincit amor at the base of this painting had an illustrious predecessor in the same subject, painted for Marchese Vincenzo Giustiniani by Caravaggio. Together with the usual attributes of bow and arrows, the figure of Amor, the Roman Cupid, is surrounded by a series of items that refer to art, science, literary fame, weaponry and earthly powers which, as well as composing elegant examples of still life, are also an exhortation not to give in to passion but to practise the arts and other human activities (the gesture of Cupid’s hand is important here) in order to achieve harmony. In terms of its composition and Cupid’s pose in particular, the inspiration that comes from some of Caravaggio’s figures blends with that of ancient statues and, in particular, with the Ludovisi Ares. However, the Caravaggism of RIminaldi’s initial years in Rome is here left behind as the artist follows the classicism of French artist Vouet, in terms of the perfect compositional arrangement and for the superb, obvious beauty shown by the ephebe.
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Omnia Vincit Amor Photograph

Slasky Art

Italy

Photography, Digital on Canvas

Size: 26.8 W x 48.4 H x 0.4 D in

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About The Artwork

Omnia Vincit Amor part of my #NeoUrbanClassic collection 1/1 . This canvas was part of the collection belonging to Ferdinando de' Medici, Grand Prince of Tuscany, and perhaps comes from the group of works that remained in the possession of the artist’s brother after his death. The subject of the painting is usually described as “Love winning over the arts”, but in the Medici inventories of the late 17th century, it is entered as “Love ruler of all” or “The Talent of virtue''. The Virgilian concept of Omnia vincit amor at the base of this painting had an illustrious predecessor in the same subject, painted for Marchese Vincenzo Giustiniani by Caravaggio. Together with the usual attributes of bow and arrows, the figure of Amor, the Roman Cupid, is surrounded by a series of items that refer to art, science, literary fame, weaponry and earthly powers which, as well as composing elegant examples of still life, are also an exhortation not to give in to passion but to practise the arts and other human activities (the gesture of Cupid’s hand is important here) in order to achieve harmony. In terms of its composition and Cupid’s pose in particular, the inspiration that comes from some of Caravaggio’s figures blends with that of ancient statues and, in particular, with the Ludovisi Ares. However, the Caravaggism of RIminaldi’s initial years in Rome is here left behind as the artist follows the classicism of French artist Vouet, in terms of the perfect compositional arrangement and for the superb, obvious beauty shown by the ephebe.

Details & Dimensions

Photography:Digital on Canvas

Original:One-of-a-kind Artwork

Size:26.8 W x 48.4 H x 0.4 D in

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https://www.slasky.com/ Working from Rome in Italy, Slasky’s work is a fusion of urban influences and classic contemporary pop art in which he represents the icons of this century and those that make significant moments from history. The style is very personal working from some of the world’s most recognisable images. The works have an instant sense of familiarity, but presented with an injection, sometimes explosion of colour and life that absorbs them with richness and modernity. Details are thrust front and centre in his canvases, using techniques of contrasting colours, textured backgrounds and screen prints to create the same subject in varying guises, separating them from their traditional backdrops. https://issuu.com/fineartseen/docs/fineartseen_spring_catalogue https://issuu.com/heditionmagazine/docs/h_ticino_issue_9_page_plan_pages http://averageart.co.uk/magazine.html

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