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Villa Rufolo bell tower II Drawing

Mary Cinque

Italy

Drawing, Pastel on Paper

Size: 23.4 W x 16.5 H x 0 D in

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$610

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About The Artwork

Made this artwork from a photo my friend Max took in Ravello, as I needed it to make some designs of the bell tower for his partner limoncello's factory and then couldn't help but keep drawing and made the entire scene. I am pleased with the final results and love the brightness and colourfulness of the scene; I hope it transports you too to Ravello, one of the most beautiful towns on the Amalfi Coast; where many artists found inspiration for their work, like E. M. Forster, a writer very dear to me. This artwork is made with Sennelier oil pastels, a great brand with a rich history: these pastels were in fact invented for Pablo Picasso, and although he is not among my favourite artists, it is nice to think about walking in the steps of such famous artists, when using them. I like to think as my art more related to artists such as Andy Warhol for the use of colour and focus on everyday life objects, and Edward Hopper, for the way I look at people in an urban context. This, like all the artworks from this series, has been treated with two to three layers of fixing spray. The artwork will be shipped in a box, I recommend to take it as soon as possible to a framer, providing a frame with a glass, as the oil pastel needs to be protected from the dust. Signed with initials on the front, full signature on the back. Agerola, 23rd March 2023

Details & Dimensions

Drawing:Pastel on Paper

Original:One-of-a-kind Artwork

Size:23.4 W x 16.5 H x 0 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

"Mary Cinque is an Italian painter, graphic designer and blogger working and living in the Amalfi Coast. Her works – joyful, bright, colourful painting and drawings – are inspired by this place, as well as her heritage, background and travels. Mary spent her childhood between Italy and Ethiopia. Before moving back to the Amalfi Coast in 2019, she has lived in Naples and Milan, where she attended academies of fine art; and Philadelphia, New York and London where she improved her artistic skills and style. Alongside making art, she works as an illustrator and graphic designer, collaborating with selected brands, working on artistic commissions such as illustrations, labels and showroom design. Cinque’s art develops themes connected with what makes us essentially humans: our habitat – the buildings, the streets, the cities – our bodies, what we eat and how we socialise. Art, in Mary’s paintings, becomes a powerful instrument of philosophical investigation which reveals who we really are by questioning our habits, observing those characteristic traits we share as a species, often without realising it. The artist looks at human beings from a different perspective, making interesting and significant what can seem normal or banal to us in our everyday life: the buildings that populate our cities, the streets we walk, people sitting across our table at a café, strangers on the bus. In this nutshell interview by Giulia Corti, Mary Cinque explores some of the most relevant aspects of her art and reflects on how it offers an intriguing and informative perspective about the way we live as human animals. Mary, your art is colourful and vivid, it mixes human and urban subjects by making use of various techniques (oil painting; pastel drawing, markers, “digital” drawing, print-making etc.) and materials (canvasses, magazine pages, an I-pad screen). How do you choose the means with which to develop an artwork and how do the different materials and techniques influence what you want to convey, if they do? Different subjects call for different techniques. Buildings and urbanscape are always acrylic on canvas, while I prefer to depict people using a quicker, immediate approach, like the one that I can get with markers and oil pastels or digital painting. By looking at the main themes of your art, it is possible to notice what seems to be a tension. On one hand, you portrayed the stillness and artificiality of urban landscapes and buildings (e.g.

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