Subject who maches himself a selfportrait under tanding of the figure, 1982, 1982
Fine Art Drawings : pencil · 50 x 35 x 0.1 cm 19.7 x 13.8 x 0 inch
$139
139 $US
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Shipped from: France
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Verified Reviews : 9.6/10
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About the artwork
Type
Fine Art Drawings : Unique artwork
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
50 x 35 x 0.1 cm 19.7 x 13.8 x 0 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2022
Description
In automatic drawing (The drawing is performed looking at the subject and not the pencil. The realization is possible through a long experience in the execution of the live drawing on a living model or people present. The sign is sure, dynamic and not retouched by rubber or other instruments. Their characteristics are highlighted in all the drawings of the 70s and 80s published here. ) In the execution it is not the inspiration-occasion relationship that is important but that of exercise-occasion because it connects to something already intuited but not fully thought out and made. All the drawings, watercolors and mixed techniques were made at the School of Nude of the Albertina Academy in Turin.
Presentation
Ambrosio Paolo, after years of preparation, he moved towards painting with a fundamental gestural attitude and developed his own method which took advantage of the immediacy of the gesture-sign of IMAGE-ART.
In the canvas, as in a "court of words", the gesture activates the vibrations that bring into the world a reality suspended in time. The gesture draws its reality, penetrates its secrets and becomes aware of an underlying labyrinth. These gestures do not have in themselves the ambiguity of the gesture since they free themselves, in the dynamics of the work, from the traces of the movement of the hand.
IMAGE-ART is an artistic practice that has used the eye's ability to manage GESTURE since the 1970s. Ambrosio follows GESTURE in the footsteps of the hand movement where an expressive form emerges, a SIGN that gives freedom to GESTURE. In practice, GESTURE activates resources and allows the value of the SIGN to be transposed into the work.
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