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Italy
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An original piece from the series “They sleep on the hill”, oil on canvas, 50 x 60 cm. In the “Spoon River Anthology” the poet Edgar Lee Masters tells the story of the people buried in the cemetery of a small imaginary village. In Italy, the singer-songwriter Fabrizio De André published a famous collection of songs inspired by the anthology; the first piece of the collection is titled "They sleep on the Hill." I imagined to evoke in each of these paintings a little story about a person or an imaginary group of people. I try to make the story not too explicit but only vaguely mentioned. It may be a hidden love story, a underhand secret, a family conflict or an unpunished crime. It's not too important to understand the events involving these characters. After all, when you browse through old family albums you discover the faces of people who have become too unknown for the time spent, and we try to imagine how these people have lived. What connection linked them? They were happy? What really occupied their thoughts when the picture was taken? Summary of features: Artist: Federico Cortese Title: The blind son Quantity: 1 Conditions: excellent Medium & materials: oil on cotton canvas (thick-grained) Dimensions: 50 x 60 cm (19.7 x 23.6 in) Thickness of the canvas: 2 cm Finishing: protective gloss varnish (transparent mastic paint) Location and year created: Turin, Italy - 2009 Certificate of Authenticity: included, with signature of the artist on photograph Edges of the canvas: painted (the canvas can be hanged without frame) Signed:on the back Stapling, nailing: on the back
Print:Giclee on Fine Art Paper
Size:8 W x 10 H x 0.1 D in
Size with Frame:13.25 W x 15.25 H x 1.2 D in
Frame:White
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:Printing facility in California.
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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.
Artist featured by Saatchi Art in a collection
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