Trame di Vita Painting Signed Clara Bartolini Contemporary 2011 - Trame di Vita 2011

Trame di Vita 2011

Acrylic on wood and collage of various materials. On the back, the artist's label with the signature and the title of the work. Clara Bartolini, a multifaceted artist (she has tried her hand at painting, photography, collage, sculpture, assembly, always looking for new materials and new creative paths, but also with poetry, scenography, she is a stylist) said of this series of her works called Trame: "I have always worked with thread, a very representative symbolic element, it assures me of the return, it shows me the paths already taken, it keeps alive the thought on what is important in my life. Ariadne's thread, the fil rouge, the thread of the speech and, why not, mending the tear, putting a patch on it and much more. Thread (I have also been a stylist) has always had a great importance in my life. It often appears in my works, in cotton, copper, brass, iron, nylon. In order not to lose the thread...". The work is presented in a frame.

The Ancient Triskelion 1997

Mixed media on board. Signed and dated lower right. On the back, further signature, date and title. Driven by an intense intellectual curiosity that has characterized every moment of his experience, not only creative, but also human and professional, the Ancona artist Giorgio Villa has developed his own principles of thought and action, on rigorous bases of a scientific-mathematical approach, nourished by a profound poetic inspiration and a deep-rooted sense of beauty. The search for a path to follow, free from patterns or cultural ties characterizes his art; Villa moves in the sphere of imagination, feelings and the poetry of images. Each work is the fruit of a meditated inspiration, moment by moment, allowing space for reflection, for the considered gesture, analyzing the relationships between space and matter, between colors and shape, to identify the perfect synthesis, which makes a work of art unique and unrepeatable. In this work Villa depicts the Triskelion, or the ancient symbol formed by three spirals joined at a central point, more generally three intertwined spirals, or, by extension, any other symbol with three protuberances and a triple rotational symmetry.

Studio, 1993

Mixed media on paper. On the back, the artist's signature, the title, the date and a dedication to a friend. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturity and occupies a prominent space within the contemporary artistic panorama. His research mainly uses unusual materials such as acetates, PVC and, more recently, stage backdrops of nineteenth-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that designs the work and is capable of recounting thoughts; working by superimposition, the images are constructed by adding or subtracting color on the various supports. Work in frame.

Bas-relief volume sculpture, made of rings and other metal shapes mounted on a metal panel. Framed.

The Angel of Death 1979

Oil on hardboard. Signed and dated lower left. Further signature, date and title on the back. Angelo Peratici's artistic production is characterized by a desire for expressive freedom that draws on his fervent imagination to represent reality. Starting from this innate impulse to transfigure reality, his art has transformed into a laborious research process, fertile with metaphorical and visionary images, sometimes grotesque, eccentric, which we see realized in particular in the production of the early 80s.

The Bonfire under the Snow, 1979

Oil on glass. At the bottom right are the signature and date, accompanied by the artist's symbol, the stylized figurine of a man in a wheelchair. It is a work on glass by the painter Mario Previ, who has lived and painted in a wheelchair since the age of eighteen, due to quadriplegia resulting from a dive into his Taro. He said of himself: "The world, the passage of time, from this point of view (the wheelchair) teach many things. You learn to wake up every morning with a purpose, even if your body is in pain, if every gesture generates suffering and depending on others and giving up could be an easy solution. And instead, art, painting, together with the serenity of my world, of friends, give me incredible energy. They saved me, giving me the strength to live". In 1974, three years after the accident, inspired by a television program on Yugoslavian naïve painters, in particular by the works on glass of Mijo Kovacic, Previ began to paint and learn the art of painting on glass as a self-taught, until he to make himself known and appreciated for his paintings. In his naifs Mario Previ tells a reality that has almost disappeared, real stories albeit in a fairy-tale tone, he revives lost traditions, slices of life that belonged to other generations, those of peasant civilization (from which he also comes), but what emerges most from his visions are the "forë", those that could once be heard in the "firossi", the traditional evenings of the hamlets of Parma dedicated to meeting to tell anecdotes, stories and historical curiosities, often in front of the fireplace fire, when outside it was cold and snowing. The work is presented in a frame.

Indiscreet Lock 2019

Mixed media: plexiglass artpiece with fabric inserts and oil finishings. datend and signed on the back. The artist says of himself: "It is the great love for art that has driven me to realise emotions and colourful visions that have always lived in my lively imagination. Suggestions that derive from various pictorial influences that I have revisited in a personal interpretation".

Tribute to Nannarella 2017

Mixed media: dripped panitn and paper on wooden base. Signed and dated on the back. The artist says:" It is my great love for art that has driven me to realise emotions and colourful visions that have always lived in my vivid imagination. Suggestions that derive from various pictorial influences that I have revisited in a personal interpretation".

Oil on canvas. The scene represents the detail of a battle between eighteenth-century knights. With a good scenic impact, the painting was made in the twentieth century in eighteenth-century style, and made apparently older by creating an artificial crackle. It is presented in a period frame.

Oil on canvas. The scene represents the detail of a battle between eighteenth-century knights. With a good scenic impact, the painting was made in the twentieth century in eighteenth-century style, and made apparently older by creating an artificial crackle. It is presented in a period frame.

Auronzo di Cadore

Oil on canvas, 1954. Signed and dated lower right. Further signature and title on the back. In a contemporary gilded frame.

Landscape with Mill

Oil on cardboard. Signed lower right. Carlo Vittori, an artist from Cremona, mainly portrayed the landscapes of his Po Valley. Here he proposes a countryside inhabited by a mill, to which the water arrives through an overhead canalization. The painting is presented in chronicle.