Funeral Etruscan Dance in Ultra Violet - Limited Edition of 4 Print

The perplexing scene in this etching was inspired by an ancient fresco that depicts a funeral dance. The artist first executed several drawings in graphite of a photo from the museum collection where this fresco is now displayed, the Real Museo Borbonico in Naples, Italy. The etching editions—executed on two zinc plates that each required six Nitric acid baths—were all hand-printed and published by the artist at The Center for Works on Paper in Philadelphia, Pennsylvania, where the artist serves as a mentor in the Open Studio in Printmaking (a part of the Fleisher Art School associated with the Philadelphia Museum of Art). 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 paper measures about 11 inches high by 15 inches wide, and the wood and glass frame is about 12 inches by 16 inches. Di Falco’s media include oil-based, French etching inks (a blend of four colors and RivesBFK white paper. The studio techniques included INTAGLIO, AQUATINT, & DRYPOINT. The Saatchi-on-line price includes a wood & glass frame (color gold), archival mat, shipment carton, bubble wrap and other packing materials, as well as all shipment costs. The framing job is finished with a glued, craft paper backing; a hanging hook and nail are included. This original print is from the 2nd edition of 5; and, each edition is limited to only four etchings. The evocative scene, which depicts Etruscan women in veils dancing as part of a funeral procession, haunts the viewer with a window-like effect in the ancient past.NARRATIVE IN ITALIAN: 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. TRANSLATION INTO ENGLISH: 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. ADDITIONAL INFORMATION ABOUT THIS IMAGE FROM: https://www.revolvy.com/page/Peucetians The Peucetians(Greek: Πευκέτιοι, translit. Peukétioi; Latin: Peucetii, later also Greek: Ποίδικλοι, translit. Poidikloi; Latin: Poediculi) were a Iapygian tribe which inhabited western and central Apulia in classical antiquity. Two other Iapygian tribes, the Daunians and the Messapians, inhabited northern and southern Apulia respectively. All three tribes spoke the Messapian language, but had developed separate archaeological cultures by the seventh century BC. The Peucetians lived in the eponymous region Peucetia, which was bordered by the Ofanto river and the Murge in the north, the Bradano river in the west and the territories of the Greek colony of Taras and the Messapians in the south.[1] This region is mostly coincident with the Metropolitan City of Bari and a part of the Province of Taranto today. History They had three important towns: Canosa, Silvium and Bitonto; the present capital of Apulia, Bari, had not much importance. With increasing Hellenization their eponymous ancestor, given the name Peucetis, was said by Dionysius of Halicarnassus[2] to have been the son of the Arcadian Lycaon and brother of Oenotrus. Lycaon having divided Arcadia among his twenty-two sons, Peucetios was inspired to seek better fortune abroad. This etiological myth is considered by modern writers to suggest strongly that, as far as the Greeks were concerned, the Peucetii were culturally part, though an unimportant part, of Magna Graecia. Strabo places them to the north of the Calabri.[3] Strabo adds (VI.8) "...the terms Peucetii and Daunii are not at all used by the native inhabitants except in the early times"In the time of Strabo the territory occupied by the former Peuceti lay on the mule-track that was the only connection between Brindisi and Benevento.[4] Pre-Roman ceramic evidence justifies Strabo's classification of Daunii, Peucetii and Messapii, who were all speakers of the Messapian language. There were twelve tribal proto-statelets among the Peucetii, one of which is represented by modern Altamura. The Encyclopédie under "Peuceti", distinguishes them from another ancient people, the Peucetioe who were living in Liburnia at the head of the Adriatic, with a reference to Callimachus, as quoted in Pliny (H.N. III.21) placing their country in Pliny's day as part of Illyria[5] but modern ethnography treats them as synonyms.[6]

Print:Giclee on Fine Art Paper

Size:12 W x 9 H x 0.1 D in

Size with Frame:17.25 W x 14.25 H x 1.2 D in

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