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A Funeral Dance in Rasberry - Limited Edition of 4 Print

Jerry DiFalco

United States

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10 x 8 in ($100)

10 x 8 in ($100)

15 x 12 in ($140)

25 x 20 in ($240)

30 x 24 in ($360)

40 x 32 in ($400)

48 x 38 in ($480)

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$180USD
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About The Artwork

This bewildering etching—inspired by an ancient fresco that depicts a funeral dance—was executed on two zinc plates, each requiring six baths in Nitric acid. The editions were all hand-printed by the artist at The Center for Works on Paper in Philadelphia, Pennsylvania. The plates each measure 4 inches wide by 6 inches high, which makes the overall image about 6 inches high by 8.25 inches wide. The print on paper measures about 11 inches high by 15 inches wide, and the wood and glass frame is about 12 inches by 16 inches. Media include oil-based etching inks (a blend of six colors) printed on Rives FBK white paper. The studio techniques employed were INTAGLIO, AQUATINT, & DRYPOINT. Price includes a wood/glass frame (color gold), archival mat, shipment carton, bubble wrap and other packing materials, as well as all shipment costs. It comes with a craft paper backing glued to the frame and a hanging hook and nail. The artist based this etching on his original drawings inspired by a museum slide of the work. This is the THIRD edition of FIVE; and, each edition is limited to only four etchings. The haunting scene depicts female dancers veiled in robes from a funeral procession in ancient Italy. NARRATIVE: Altra splendida opera proveniente dall’allora Real Museo Borbonico di Napoli, la lastra delle Danzatrici di Ruvo, che deve il suo nome alla misteriosa danza rituale affrescata sulle pareti di una tomba ipogeica a semicamera ritrovata nella località pugliese nel 1833 e appartenuta probabilmente ad un ricco personaggio di spicco della Ruvo di inizio IV secolo a.C. L’affresco delle danzatrici fu staccato dalle pareti della tomba e venduto in blocchi separati nel 1838, finendo a Napoli che ne presta , per la mostra, una lastra per incantare il pubblico con la sua bellezza e i suoi vivi colori e i misteri di una danza antica che si perde tra i secoli. Another splendid work from the then Royal Borbonic Museum of Naples, the slab of the Danzatrici di Ruvo, which owes its name to the mysterious ritual dance frescoed on the walls of a semi-chambered underground tomb found in the Apulian town in 1833 and probably belonged to a rich man prominent figure of the Ruvo at the beginning of the 4th century BC The fresco of the dancers was detached from the walls of the tomb and sold in separate blocks in 1838, ending up in Naples which lends, for the exhibition, a slab to enchant the public with its beauty and its vivid colors and the mysteries of an ancient dance which is lost over the centuries.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:10 W x 8 H x 0.1 D in

Size with Frame:15.25 W x 13.25 H x 1.2 D in

Shipping & Returns

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

Imagery and storyline—both vital components of my creative process—enable me to create a form of visual poetry. Consequently, photography is intricate to my artistic strategy, especially with regard to my etchings. In view of this, many of my printed images—accomplished via the studio techniques of intaglio, aquatint, drypoint, and Chine collè—originate from my own photographs, as well as ones I uncover during research into the archives of academia, historical societies, and museums. Upon locating a scene that fascinates me, I first sketch a few original drawings of the likeness, and next transfer that drawing onto my prepared zinc etching plate. NOTE: In my etchings that incorporate the Chine collè process, I use mulberry bark paper from Thailand, which is infused with Japanese kozo threads. The paper is also treated with methylcellulose. I endeavor to establish links between the metaphysical and physical worlds . . . between the realms of dream and reality . . . and between the natural and the fabricated. In a sense, I believe that art unveils everything that we mask behind our assumptions and biases . . . or rather, those realms we neglect—or refuse—to perceive. My label for our failure to examine these areas is, “The Phenomenology of Non-Connectedness", which I blame on today’s communicational tools such as Social Media, the Internet, texting on smart phones, and “tweeting”. MY ETCHING TECHNIQUE I work on metal etching plates treated with both hard and soft grounds. These grounds consist of mineral spirits, beeswax, oil of spike lavender, and other natural substances. After these grounds dry, I draw images with needles and other tools onto the plate. Next, the exposed areas are “etched into” the zinc or copper plate in a bath of Nitric Acid and spring water. An artist’s proof in then printed after the plate is cleaned; Moreover, two to seven additional plate workings, acid baths, and proof printings occur before my desired effect is obtained. When satisfied with my end result, I apply oil based etching ink onto the clean plate and then remove the excess ink with several wipes. Next, I align my etching plate onto the printing press bed and cover it with papers and press blankets. Finally, the plate goes through the press to obtain my print. This process is repeated until all editions are created. I usually create three to five editions of five or six etchings for each one of my plates.

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