MASSIMO VITALI - Viareggio - c-print mounted on plexiglass - 59 1/8 x 73 1/2 in. MASSIMO VITALI - Viareggio - c-print mounted on plexiglass - 59 1/8 x 73 1/2 in. MASSIMO VITALI - Viareggio - c-print mounted on plexiglass - 59 1/8 x 73 1/2 in.
Viareggio199959 1/8 x 73 1/2 in. c-print mounted on plexiglass
Private Collection, Wyoming



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Pablo Picasso paints a portrait of his sitter Giorgio De Chirico in a room filled with classical antiquities, neoclassical sculptures and impressionist paintings. The artist dreams of his own glory, which is symbolized by the masterpieces in the room – the statue of Victory by Michelangelo, an Impressionist artwork leaning in a corner, and the painting behind the sitter that symbolizes human knowledge. Yet, this is all meant ironically. De Chirico only sits in for Pellegrini himself, who mocks his own fears and phobias, by sitting in a room in which every person and artwork in the painting have already achieved their glory. 
<br>“Yes, irony is one of the elements of my painting. I make fun of myself and my neurotic fears and phobias and I turn the situation with ironic if not at times hilarious details. I placed a cat, for example, with phosphorescent eyes in a bucolic scene, or in the subject of Carnival I mix death, ridicule and joking.” (Antonio Monda, “Interview with Max Pellegrini,” in Max Pellegrini, ed. Danilo Eccher, 2014


Puccetto was a small yellow canary that sang from his cage in Pellegrini’s studio for twelve years. To him, tiny and frail, Pellegrini dedicated the large painting to emphasize the importance he had in his life. 
<br>– In conversation with Max Pellegrini, November 201


Hand blown glass with multiple incalmo of colored glass and filligrana. Switching the axel of the glass bubble and adjoining two glass bubbles with raticallo technique. Engraved partially on the surface with different patterns.
<br>Lino Tagliapietra, a native to Murano, is one of the world's preeminent glass artists.


The painting, inspired by Antonio Canova’s sculpture Psyche Revived by Cupid’s Kiss, and Christ Carrying the Cross by Hieronymous Bosch, depicts a laureate male and a female enmeshed in a boa of roses. Canova’s sculpture represents Cupid and Psyche during an emotionally charged moment, in which Cupid awakens Psyche from death. His tender embrace is mimicked in this painting, however Psyche, appearing more realistic than sculpture-like, looks on. Hieronymous Bosch’s grotesque painting of Christ while he carries the cross looms over Cupid’s head. The grotesque work of Bosch is at odds with the Neoclassical inspiration from Canova, perhaps to convey the dark emotions that simmer beneath the façade of love.


MARINO MARINI - Untitled (From Shakespeare I) - lithograph - 29 1/2 x 22 in.