Monster Enegy Backpacks

Mood Indigo In Venice

two works have much in common, for the subject and the atmosphere of intimate contact between the musicians.

one on the left. "Lady and a Tramp," an oil on canvas dicm.40x70, plays the character of Billie Holiday, although the similarity is very vague, Having been satisfied with making the romantic eroticism of his talent, in the tenderness of the shaded Disney character in the title. The saxophone could be Coleman Hawkins, Lester Young and Dexter Gordon, or any of the exceptional solo duet with Lady, what matters is that both of them winds that swirl of colors fragmented, which aims to represent the music of that dialogue which is the delicacy of improvisational jazz. The picture is 2002, obtained by spraying and dripping colors then I built a brush, following the track of the precise monochrome sketch done initially, was shown several times, appreciated but never bought, the rest I was not convinced of the result, so the rest , until I got the idea to put it online, first on Flickr, then paintingsilove, where I received a response far above my expectations, with dozens of enthusiastic comments. Since a similar piece, "Blue Notes on a walking time ", depicting a group with bop singer, went even sold, I thought to continue in the vein of, say, light of paintings devoted to jazz, small jobs, most of that environment on a specific character .

During this time I have a job that allows me to guard the camp, but I sucked, with various home-work-shop, a dozen hours a day, so I organized in bugigattoloche acts as a concierge, in fact a process at the end of the courtyard, to do something in time to stop, with watercolors and pastels, and this led me to discover oil pastel, which, being quite material, and presenting just as dry, I allows us to study and do it, thereby compensating for the loss of oil paint that divides. with all other rich tones.

From this was born the other work that, in derogation from my habit of avoiding the obviousness of the Blue, is titled "Mood Indigo", a cartoon cm.35x50.

Being able to overlay the colors without having to wait for ascigatura, you can search on accurate color, a little disturbed by the tendency of crayons into a paste which produces unwanted nuances, the ability to scrape and repaint it gives good control and, at the expense freshness. It is therefore to develop devices that produce effects, combining them we approaches the desired result. The musicians are not playing, but the music is, how are agreeing on what pace to move, to convey feelings that mood ... mood, exactly.

Motorcycle Gear Safety Speech

difficult, perhaps impossible, do not fall in love with Venice.
impossible not to get angry for what the tourists do, and the Venetian government. Could not some sudden
appreezzare loneliness that surprise the traveler who loses his way.
every time I go to Venice I can, and I often feel the desire to put paint on the edge of a channel, or the shade of a portico-covered, but some things do not use anymore, so I just drink all the pictures I can, to use their memory when I want to paint Venice. It may also happen that it takes some author, or I use photographs, but the main thing is that I always try to recreate the soul of this wonder, the feeling that the city can give whenever you find yourself visiting her .
The first work on the top is taken from a watercolor by Sargent, oiled it my way on a 40x50 canvas, and as now seems much school, he feels the full weight of the great master, but there is light, and stone, and water, without a doubt this is Venice.
And Venice by heart and the title of the second, 50x60 painting from a quick sketch done perhaps twelve years ago, so it is the memory that has produced most of this work. By the third work, I turn to Carpaccio and the film festival, in a landscape of pure imagination: oil on canvas. 40x50, Vittore Carpaccio back home. I tried to recall the colors of the Master, with the view down, like a gondola, and the presence of water is reflected on the walls, the effect is not as happy, but here begins a speech that I intend to continue , Venice painting without painting the water, making it feel somewhat, avoiding the representation more usual. The title evokes the cosmopolitanism of the English cinema, and the randomness of a sheet stretched, exaggerated proportions, suggests that Carpaccio silver screen would know how to revive his canvases. NO WATER

also the last piece, "Walking," an oil on canvas. 50x60 where I worked only fantasy, a celebration of my favorite walks Venetian, a home, the cat stalking the eternal, the eternal pigeons, a beautiful day with the sun, even in October, playing only his reflections on the walls and under the bridge, the sumptuous palace appears unobtrusively in the background, is the true human dimension.

admit that the glare of the water being pootrebbe done better, we will study.

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Susanna and goldfish

The biblical story of the old voyeur has provided the pretext for outstanding teachers to represent a half-naked girl. Moreover, between mythology and historical facts, not excuses for missing the nude, but that Susan is particularly suggestive, easy identification of the maker or the buyer, if not both, in one of the old butterflies, captivated by the Hot freshness.

That said, I will limit myself to the representation of feminine grace, the conceptualization of contemplation in its most innocent, without leaving a trace of malice mentioned by name, I do often use when I paint a naked young women. A little 'as the Loplop of Max Ernst, Susanna is a figure with which we welcomed, watching, with the distance of the respective artists.

In addition, this oil cm.60x80, I am interested in the study of transparent reflection of the flash of fish, and the playful dance of light and shadow through the leaves and golden on the skin.

Cubase Emulator For Mac

The city that rose

I lived mostly in cities, the urban landscape that is the best known, most are tied to it with memories and emotions. The three works that show here are three different times Underground Poetry: The above is the first dedicated to two great masters of urban poetry, titled "Edward Hopper vs. Mario Sironi. I saw the picture shown here in a reproduction, and loneliness m'aveva hit the cement. so brilliantly represented by Hopper, to recall that painted by Sironi, and it was in this spirit that I painted the picture on the memory of that photo that I had on hand, working with pointillist technique and a palette inspired by the American mood Sironi, adding a fierce tag that hurts the classical balance of each of the two masters, with the violent colors which we have become accustomed in recent years. The violence is the only color that tolerated, even in music.

Looking Belliss I Sironi Collection of Jesi in the Brera, in particular with a van, and a railway station seen from above, I am persuaded more by the presence of infinite affinity in the urban landscape of both the Masters, I know nothing each other.

The second work is a small part of '96, cm.20x25 or so, I can not remember if it was painted with tempera or whether one of the first of my return to the oil. I remember coming back from a sunset Thick Po, where I was going to challenge the league, along with what was to become his wife, returning to the city through the extreme periphery, where some vegetation was still prevalent through which were the first houses appeared high, feeling the presence of a city down below, absorbed by the effect against a filigree gold sky was fading to darkness. It has always fascinated me contoiluce these effects, but do not paint often, perhaps fearing to fall into the trivial, or because I am always with many visions to materialize, and the scarcity of time (considering that I've wasted, for a guess, a twenty years of the best) leads me to prefer.

cm.18x24 format is the last piece that I titled "The city has risen," to collegrarmi once more to the future, ironic take on the look of cubism giottesco enough to turn the old houses to skyscrapers in the background, but in the end it's just painting.

Courthousekew Gardens, Queens New York

Thought remote

Tempera on paper, about 50x70, painted in the early 70s, recently framed, titled Fast and at night.

I had a piece of that bluish wastepaper which once covered the school books, but which was also used to pack the pounds of spaghetti and bundled mileage. With tempera studio, I drew this picture without thinking about it too, the painting was not thinking, I thought instead all suggestiondi a night journey, looking out the window of a train. Rapid appearance of deep craters that shoot vegetation, bushes and canes, lights, sudden materialization of colors at once absorbed by the darkness rattling a whistle cuts through all that far away is a city lit up late to get closer.

With 30 years experience in the painting, I have taken up the subject in the "Heart of Darkness", involving the magnetic sense of mystery so well narrated by Conrad, developing in the direction of my research I present the colors shown here with few, swift strokes of a school temperaccia dates with the most miserable Chinese brush.

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The wood oven garden


Last arrive our wood-burning oven with fan-assisted mode
Very cute, easy to use, it cooks beautifully

Pizzas and Pizzotti Pasquali, during and after cooking. The recipe already on the blog

cooking pizza here in red and soft white bun

Finally, the loaf of bread that we have prepared for the day of Easter

For this loaf I prepare every Friday night you need:

450 grams of flour 0

50 gr of wheat flour

2 teaspoons salt

350 g water 6 g

yeast

a pinch of sugar (or honey)

In a large bowl, dissolve in water slightly warmed the yeast and sugar and let stand 3 minutes, then add the two flours mixed with the salt and knead briefly.

The dough will be somewhat liquid, cover with plastic wrap and let stand 14 hours.

Flour the table, spills over the mixture a little work to make a ball and place it in a floured cloth tight. Let stand 2 0re. Turn the oven to 220 ° set to heat the pan with a lid for 15 minutes and poured it into the dough bake for 35 minutes, remove the baking dish to put bread on the grate and leave another 30 minutes.