Bronze Sculpture for Sale
Natsuko (1), 2025
Painting : mixed media · 24 x 24 x 4 cm 9.4 x 9.4 x 1.6 inch
€2,420
2 420 €
Shipping & delivery
Shipped from: Spain
Delivery to: Germany , € 150
Estimated delivery: Three to four weeks
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Verified Reviews : 9.6/10
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About the artwork
Type
Painting : 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
Technique & Support
mixed media on board
Dimensions ( cm • inch )
24 x 24 x 4 cm 9.4 x 9.4 x 1.6 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2026
Description
Within the exhibition's opening act——the artwork "Madama Butterfly" stands as a paramount symbolic embodiment of the "Entrapment (The Resin)" stage. Drawing upon the archetype of Cio-Cio-San—the fragile Eastern heroine sacrificed to illusions and external self-interest—the artist reconceptualizes feminine vulnerability through the lens of static beauty and modern commodification.
Poetic Leitmotif
The artist's original haiku sets the emotional and conceptual tone, capturing the tremor and precarious existence of the subject:
Composition, Form, and Artistry
Circular Format (Large Tondo): Diverging from works set in deep rectangular shadow boxes, this piece is resolved as an expansive circular medallion (). Embedded within it is an inner portrait disk bordered by a fine crimson scalloped trim, generating a double concentric framing effect.
The Painted Portrait: The inner circle showcases an exquisitely rendered figurative likeness. Facial contours are defined with tender realism: alabaster skin kissed by a warm flush, coral lips, carefully gathered dark hair, and light eyes gazing past the viewer in quiet detachment. She wears a contemporary teal slip with delicate straps, accentuating her exposed shoulders and collarbones.
Typography and Labeling: To the left of the face, the title "MADAMA BUTTERFLY" is stenciled in red capital letters, while the name "NATSUKI" emerges in blue at the top edge, connecting this figure to the exhibition's recurring cast and evoking ideas of inventorying or cataloged specimens.
Butterflies, Cranes, and Collage: The outer ring is laden with classical Japanese iconography: blossoming plum branches and white crane silhouettes over an ochre-red plane. Realistic butterflies and a moth with emerald, gold, and patterned wings are anchored across the lower section, translating the "wings of silk" into tangible form.
Encapsulation in Epoxy Resin: The entire circular panel is submerged beneath a heavy, crystal-clear stratum of epoxy resin. Beneath this industrial glaze, the butterflies and the portrait alike are frozen as an entomological display preserved in synthetic amber.
Place Within the Conceptual Dramaturgy
Across Montoro Aybar's overarching project, "Madama Butterfly" exposes the fundamental friction between aesthetic pleasure and subjugation:
The Entomological Specimen Metaphor: A butterfly trapped beneath resin serves as an explicit allegory of beauty captured and preserved. The heroine is rendered an inescapable prisoner of her own perfection: the resin safeguards her pristine radiance while irreversibly robbing her of motion, breath, and agency.
From Silk to Shadows: The "wings of silk" referenced in the haiku cannot take flight; they remain pinned between decorative motifs and the hard polymer seal.
Impending Tragedy: The serene facial expression remains deceptive; the piece acts as an immediate threshold to the visceral descent of Act II, where delicate silks are abandoned to the uncompromising violence of Hanazono's nocturnal alleyways.
Presentation
Eugenio Montoro Aybar (born 1974 in Granada, Spain, where he currently resides and works) is a distinguished visual artist, researcher, and educator holding a PhD in Fine Arts from the University of Granada, specializing in pictorial techniques and artistic procedures. Throughout his established career, he has combined rigorous academic research and fine art painting with the direction of monumental mural projects and heritage conservation initiatives on both national and international stages.
Among his prominent monumental achievements is the direction and coordination of the mural and decorative paintings for the full-scale replica of the Alhambra of Granada at the Al-Yamamah Royal Palace in Riyadh (Saudi Arabia), commissioned by King Fahd bin Abdulaziz. In Spain, he has led prestigious ecclesiastical restorations, including the monumental high altars of the Basilica of Saint Michael the Archangel and the Basilica of Saint Andrew in Granada, as well as the mural decorations of the Basilica of Lillo in Toledo.
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