Favorite object | The favorite subjects of this painter are flowers or still lifes
67
post-template-default,single,single-post,postid-67,single-format-standard,woocommerce-no-js,ajax_fade,page_not_loaded,,qode_grid_1300,footer_responsive_adv,columns-4,qode-theme-ver-16.9,qode-theme-bridge,wpb-js-composer js-comp-ver-5.5.5,vc_responsive

The favorite subjects of this painter are flowers or still lifes

The favorite subjects of this painter are flowers or still lifes

Luca D’Amore’s life has been linked to art from the beginning. First of all through a blood bond, deriving from the descendants of his father, Francesco graphic and enameller, from his grandfather Salvatore xilografo and his great-uncle Benedetto Scul- ctor. Then a territorial bond, born and raised in that Sansepolcro that in Tuscany, cradle of the Renaissance, occupies a special place as the birthplace of Piero della Francesca, one of the greatest masters of the Italian Quattrocento. That of Luca D’Amore, also through training at the painter Stefano Camaiti, is a path traced towards a proudly traditional, classic artistic practice that the artist can interpret with his own personal inclination. The favorite subjects of this painter are flowers or still lifes, in which he manages to reach a total naturalistic yield. In this regard it should be noted that D’Amore is supported by a great technique that allows him to transfer objects on the canvas with exceptional precision. Starting from the drawing, by which, as a good Tuscan artist, he builds the main framework of the work: the subject of the painting is investigated in a meticulous way through an accentuated plasticism that creates with mastery the optical illusion of three-dimensionality.

 And then the color comes to reaffirm the truth of this artistic practice, suggesting almost the tactile sensations of the petals and distributing the light in order to restore the consistency and fragrance of the flowers. All in an overall framework of color balance, and even formal, which also involves the shades of backgrounds, striated or left in a dim light. Because the artistic language of Luca D’Amore is constantly looking for harmony and compositional perfection, which also pushes him to shy away from pictorial or overly accentuated atmospheres, preferring to present the objects, rather, in a clear way, with a rational objectivity as a painter Flemish. Then we arrive at a kind of Hyperrealism, which, especially in landscape painting, reveals another side of Luca D’Amore, no less interesting. His lack of propensity to tonality in fact (which in any case does not prevent the artist from working in a skillful use of the nuanced) and the compact color backgrounds through which nature is rebuilt, create a situation of alienation and natural suspension, leading to the ‘work of Luca D’Amore in a territory bordering metaphysics. which also pushes him to shy away from pictorial or overly accentuated atmospheres, preferring to present the objects, rather, in a clear way, with a rational objectivity as a Flemish painter. Then we arrive at a kind of Hyperrealism, which, especially in landscape painting, reveals another side of Luca D’Amore, no less interesting.

 His lack of propensity to tonality in fact (which in any case does not prevent the artist from working in a skillful use of the nuanced) and the compact color backgrounds through which nature is rebuilt, create a situation of alienation and natural suspension, leading to the ‘work of Luca D’Amore in a territory bordering metaphysics. which also pushes him to shy away from pictorial or overly accentuated atmospheres, preferring to present the objects, rather, in a clear way, with a rational objectivity as a Flemish painter. Then we arrive at a kind of Hyperrealism, which, especially in landscape painting, reveals another side of Luca D’Amore, no less interesting. His lack of propensity to tonality in fact (which in any case does not prevent the artist from working in a skillful use of the nuanced) and the compact color backgrounds through which nature is rebuilt, create a situation of alienation and natural suspension, leading to the ‘work of Luca D’Amore in a territory bordering metaphysics. with a rational objectivity as a Flemish painter. Then we arrive at a kind of Hyperrealism, which, especially in landscape painting, reveals another side of Luca D’Amore, no less interesting. His lack of propensity to tonality in fact (which in any case does not prevent the artist from working in a skillful use of the nuanced) and the compact color backgrounds through which nature is rebuilt, create a situation of alienation and natural suspension, leading to the ‘work of Luca D’Amore in a territory bordering metaphysics. with a rational objectivity as a Flemish painter. Then we arrive at a kind of Hyperrealism, which, especially in landscape painting, reveals another side of Luca D’Amore, no less interesting. His lack of propensity to tonality in fact (which in any case does not prevent the artist from working in a skillful use of the nuanced) and the compact color backgrounds through which nature is rebuilt, create a situation of alienation and natural suspension, leading to the ‘work of Luca D’Amore in a territory bordering metaphysics.

No Comments

Sorry, the comment form is closed at this time.