Aquarel, Houtsnede - Gesigneerd - III-X - Zonder lijst - 2016
|Titel van kunstwerk:||Fanciulla|
|Totale afmetingen (L/B/H in cm):||39,5x26,5|
|Verkocht met lijst:||Zonder lijst|
The artist Cinzia Pellin was born on 19th July 1973 in Velletri, an ancient Volscian city in the province of Rome. From her earliest years she is gifted with the sense of proportion, and she devotes herself to drawing using oil paints since the age of seven. After art school, she attended the academy of fine arts in Rome and graduated in scenography with professor Venditelli, with highest honours. The call of painting was very strong in Cinzia Pellin that she decided to dedicate herself wholeheartedly to it, leaving therefore the scenography. The latter, however, echoes in her art, because her paintings tend to have the valence of theatrical scenes, both for their size and their overall visual impact. The human face is the focus of the artistic career of Pellin, that expresses itself in the female universe. In Cinzia’s paintings the woman assumes traces of modernity: small dowels and attention to detail, together with a skilled composition strength, show to the observer a strong woman, energetic, but romantic at the same time. It’s a nowadays femininity depicted in various ways of being. Uncommon faces from magazines or from photos of girlfriends, are internalized by Cinzia Pellin in a unique composition. A natural fresh face personifies suddenly a diva and a star, or in contrast becomes a woman, no more a celebrity, into a subtle balance of play given by sudden changes of role. The red colour, much loved by the artist, invades all the support of the canvas, or highlights details such as lips or fingernails. The colours of Pellin explode with intensity and energy, combining life, passion and blood into an enigmatic balance of life and death. The pictorial evolution of Cinzia over the years moved through three important researches. From the initial use of overlays and veiling of grey, it is moved to shades of lyrical whites to highlight, at will and alternatively, details of lips and nails. Female faces become less marked because they appear ethereal, fruit of a mirage that remains imprinted on the eyes, well outlined and alive. The latest research revives echoes of the beloved drawing, adding oil pencil interventions on oil paint. A kind of new handwriting, which appears in the hair or in face details, providing an alienating effect. The painter Cinzia Pellin does not focus only on the femininity of women, but she lets us reflect on childhood, depicting happy and carefree children, or sad for a condition which they are not guilty for. Since 2002 the artist works exclusively for Vecchiato Art Galleries of Padua and Milan, which over the years has been able to exploit and highlight the remarkable innate qualities of Pellin. She participates in recent exhibitions abroad in Holland at the Van Loon & Simons of Vought and Eindhoven Kunstsalon, and in Great Britain, at the Different Gallery and Moorehouse in London. In Italy instead she exhibited recently at the solo “Cinemart - Omaggio al cinema italiano” in Rome, and she was awarded of the recognition “Award job & Fashion” at the Grotta dei desideri of Amantea, Calabria. Alain Chivilò, art critic
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