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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.