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.

Walkie-talkie Protocol

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.