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Sumptuous Gallery Print - Limited Edition of 20
Brazil
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Photo Paper
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8 x 12 in ($40)
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White ($80)
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About The Artwork
- FINE ART PRINTINGS - Canvas: Canson Museum Pro Canvas 385 gsm 100% cotton - Printed: HP Z9+ DreamColor mineral pigment - Made in Brazil In 1563 Duke Emanuele Filiberto established the capital of the Savoy duchy in Turin, settling the court in the ancient bishop's palace of the city. In 1584, by will of Carlo Emanuele I, the project for the construction of a new palace was entrusted to the architect Ascanio Vitozzi and in the years following 1643 the direction of the works passed to Amedeo di Castellamonte and then again to Carlo Morello. The rooms on the first floor are enriched with carved ceilings and large allegorical paintings by Jan Miel and Charles Dauphin which exalt the virtues of the sovereign. In 1688 Daniel Seyter was called from Rome to fresco the sumptuous gallery overlooking the gardens and also worked with the Genoese Bartolomeo Guidobono in the ground floor apartments. With the conquest of the royal title (1713) Vittorio Amedeo II entrusted Filippo Juvarra with the creation of the "command zone" consisting of the Secretariats, the Teatro Regio and the State Archives. The role of first royal architect then passed to Benedetto Alfieri, who designed the decorative systems on the second floor and set up the new rooms of the Archives, frescoed by Francesco De Mura and Gregorio Guglielmi. * Prints on paper: contact directly by email. (Premium Paper Hahnemuhle RAG 308 100% cotton)
Details & Dimensions
Print:Giclee on Photo Paper
Size:8 W x 12 H x 0.1 D in
Size with Frame:13.25 W x 17.25 H x 1.2 D in
Frame:White
Ready to Hang:Yes
Packaging:Ships in a Box
Shipping & Returns
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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Brazil
Photography and conceptual art form a complex pair. If some photographers claim that photography played a mere documentary role, others, on the contrary, point to the use of specific resources, by some artists, which allow the technical image, its visual possibilities and its social meanings to be problematized. I believe that the characterization of photography used by us conceptual artists is, however, accompanied by other considerations that allow us to problematize a relationship that is apparently easy to determine. Thanks to a set of factors, including lightness and fragile material consistency, the decline of the object in favor of attitudes and processes. Faced with the challenge of using matter “in a paradoxical way”, of inventing an art based on the greatest possible economy of means, the conceptual artist uses technical image in accordance with Sol LeWitt's proposition that it is possible to present ideas “through of numbers, photographs or words, or any way the artist chooses, since the form is not important. For me, a photograph needs to have a soul, a voice and overflow with feeling. This is the basis of my photography.
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