• $ (USD)
  • Need some help ?

Elisabetta Martinez

Diana, 2018

Painting : mixed media 47.2 x 31.5 x 0.8 inch


Make an offer

Add to my favorites

Try the artwork out at home for free for 14 days

Have a question? Ask a specialist
Imagine it at home
Elisabetta Martinez, Diana

About the artwork

Artwork sold in perfect condition

Diana She is the Roman Goddess of the hunt, Apollo’s sister and daughter of Jupiter and Latona, patroness of the countryside, of wild animals and torrents; she was the ruler of fertility; protectress of childbirth and women in labor, she also had the power of kingship. Depicted with bow and quiver and surrounded by shrubs and animals, she was reserved but also moody and revengeful. Of nourishing and destructive nature, totally independent from man’s domination, she remained forever chaste. Her sanctuary was built overlooking Lake Nemi in the Alban hills; in later days King Servius Tullius had a temple built upon the Aventine Hill, where celebrations of the cycle of dawn and dusk, the union between sun and moon, were held. With a proud and observant face, the Goddess watches the city from her woods; on her face the golden glare of the sun and geometric shades of light blues are the imprints of the palaces and temples of the city. Diana of Nemi; Diana of the woods, proud and haughty, does not descend; she stays in her temple, in her sacred woods; she eyes from the shrubs, from textures of dark spindles, and watches from up above with her moon gaze. The mouth, a frown of gold and russet colours, shows a proud and fierce distance. Diana awaits and welcomes only a hug from a breeze which may ruffle locks and leaves.
Read more
About the seller
Ettore Mildwin Art • Cesena, Italy

Vetted Seller

Painting: mixed media
Dimensions cm inch
47.2 x 31.5 x 0.8 inch
Not framed
Unique work
Work sold with an invoice from the gallery and a certificate of authenticity
Hand-signed by artist


Dark blue





Worldwide delivery

The artwork is available for pickup from the gallery in Cesena, Italy or can be delivered to the address of your choice within 1 to 2 weeks after validation of your order. The work is insured during transport, so it's risk-free.
Origin: Italy Find out more about delivery

Free returns

If you change your mind, you can send it back free of charge, and we'll reimburse you. Find out more about free returns

Payment and Guarantee

You can pay by credit and debit card, PayPal or bank transfer only in euros. We take fraud very seriously and respect your confidential information, which is why all payments are subject to 3D Secure validation. Find out more about payment
Artsper's pledge of quality: We only work with professional galleries and guarantee the authenticity and provenance of our artworks. Find out more about Artsper guarantee
Works in prints from Elisabetta Martinez
Elisabetta Martinez

Elisabetta Martinez

Italy • Born in: 1963


Printmakers Artists

Italian artists


A journey into the Eternal City, Rome, its monuments and goddesses, with the eyes of the dream and the magic of the awakening.

Close your eyes. Imagine Rome. All the photos you have been seeing, the movies, your memories. Ok, that's ok. But if you are Elisabetta Martinez and you do the same what you get is something different. It's Another Rome in the room. Visions become dreams. Monuments become whispers. Goddesses become embraces. Entering this project is like diving into another dimension, where Rome stands in front of you transfigured, breathing deeply and calmly, chewing your expectations and representations.

I met Elisabetta's artworks being hit by her 'big faces', their bulky gaze was quickly turning into a flame of a memory: inhaling that holy smoke I got thrown in another Rome. Colours were speaking softly but powerfully, taking shapes around my imagination and I started my journey in this amazing 'new' city. The balance between the softness of these visions and the solidity of the importance of Rome made me fall in love with these artworks. And I immediately wanted to share these emotions with all the people that, in the pandemic global constrains framework, are not able to reach physically the Eternal City. In this way anyone can walk again inside Rome and have another Rome in the room.


Rome, too big for me, limitless in its historical and narrative complexity; it is only like this, that is reduced to small bits and simple geometries, that it can be recognised and recounted through my interpretation. Until the 16th Century, little could be seen of the river Tiber in the vedute (Italian for views) or cityscape figurative print, if not in city plans and topographies, but then with the vedutisti (the painters of vedute) and the Renaissance perspective, it turned out to be the subject of many vedute, even though it was not until the 17th Century that it fully became part of “vedutism"; that particular painting genre depicting cityscapes. The view widened then in perspective images of the river, of bridges and factories; great and important buildings along with familiar scenes and ruins, traces of the past about to tumble and be forever lost, relics etched and frozen on the canvas.

The Tiber flew and participated in the stretching of time and space, in the motion of water and people, in religious and pagan festivals, in propitiatory rituals and processions on the water, and in fireworks; while Hadrian's Mole (known as Castel Sant'Angelo) in its stillness, like a motionless guardian, watched those fleeting reflections on the river, so often unveiling how precarious everything was; and everything, once the show was over, would be erased and return to darkness… both precariousness and contemporaneity. Nonetheless, the real landscape, the bridges; the riverbanks and the trees are all still there… Bridges, Domes, Walls and Structures, powerful and mighty forms, large monoliths-signs of the city built with cyclopean boulders and fat mortars. These parts of the urban connective tissue stand for what bonds, supports and glues as well as divides, separates and isolates; a “double" perception of the same reality.

This collection of works stems from this endless game of uniting and then separating, in a fluctuating and visionary journey, an oneiric perception, always hovering between mystery and reality. The noisy and fast city comes to a halt, frozen in its primary ancient elements: arches and straight lines, domes and bridges, walls and river, all ancestral symbols of our imaginary.


Born in Rome. I have dedicated my life to art since 1978, when my artistic education started in the art studio of my father, Maestro Luigi Martinez. Back in those years, while attending painting, sculpture and etchings classes, I studied for my scientific high school diploma first, and later in 1989, graduated in Architecture at the University “La Sapienza" in Rome. It was then that I started my career as an architect in my own studio in Rome, and, almost simultaneously, became a volunteer assistant at the Faculty of Architecture.

The passion for painting accompanied me all through those years, starting with the first drawings in pencil or ink, where I began experimenting and focusing on the theme of the face… They were essential and minimal representations, made of a few signs and shades, depicting sequences of overlapping and interlocking faces in a continuum of curved lines. Oil paint and its fascination won me over only later on and lead me to new pictorial experimentations, in the context of urban landscapes and figurative painting. My current works are the direct result of those early experiences. They speak of floating female figures, folded in onto themselves between dream and reality; faces, thoughtful and rapt in sleep; broken down and reassembled by geometric elements and “cuts" that interrupt the figurative continuity as to give a new interpretation of the form. 

“Geometries and Forms" are the themes of my studies and research and follow two expressive paths which I pursue simultaneously. On one hand, the study of the female human body folded in onto itself, absorbed in an inner space of meditation and sweet relaxation, interrupted in its formal continuity by overlapping ribbons and geometrical rhythms, never comprised in the reduced space of the canvas. The drawing remains a hint, unfinished, abstract, leaving large parts of the canvas incomplete and borderless. On the other hand, I focus on works based on archetypal forms, mysterious primitive and symbolic figures appear on informal backgrounds… Traces, footprints of timeless deities, defined by large and rich color drafts. Figures inspired by the giants of Nemrut Dagi in Turkey, the temples of Bayon in Cambodia, the cyclopic sculptures of Egyptian art and the Great Buddhas.

This process takes place through an endless depiction which allows the gaze and the mind the chance of reading an image, outlined by open and dynamic structures, where we can grasp something unseen; something we have inside and that can only be decoded by our inner gaze. In my latest works I am experimenting with the construction of the urban landscape of Rome, interpreted and summarized in its primary compositional signs and elements; sectioning and reassembling it starting from its founding elements; arches, domes, wall segments, blocks and marble slabs, always searching for a concise and summarising depiction of the forms. The use of pure oil paint, applied in subsequent sequences and overlays, creates nuances, textures and transparencies…the charcoal often remains as a trace of what was the initial sketch or as a glaze that messes the color…small gold or silver leaf applications widen the reading planes, and the spatula is the main tool of the creative gesture.

Read more
More works from Ettore Mildwin Art