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View In My Room

The Ballerina Print

Rosario Piazza

United States

Open Edition Prints Available:
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Canvas

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16 x 20 in ($120)

16 x 20 in ($120)

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Black Canvas

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Black ($160)

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ABOUT THE ARTWORK
DETAILS AND DIMENSIONS
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This is one of my latest painting inspired by the Edgar Degas - Dancer Tilting, painted in 1883. it is an oil painting, painted on a 48 x 60 plywood board. It was commissioned by a Dance Studio, in a nearby city in the Dallas-Fort Worth, TX Metroplex. Even if the original it's no longer available, I...

Year Created:

2015

Medium:

Print, Giclee on Canvas

Rarity:

Open Edition

Size:

16 W x 20 H x 1.25 D in

Ready to Hang:

Yes

Frame:

Not Framed

Canvas Wrap:

Black Canvas

Packaging:

Ships in a Box

Delivery Cost:

Calculated at checkout.

Delivery Time:

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

Returns:

All Open Edition prints are final sale items and ineligible for returns. Visit our help section for more information.

Handling:

Ships in a box. Art prints are packaged and shipped by our printing partner.

Ships From:

Printing facility in California.

Need more information?

Need more information?

I am a common man of Naples, Italy. My art training began in a traditional apprenticeship with Mario Allegretti, where the first words I heard were, “Copy this!” These were the old harsher ways in Italy: akin to when my father threw me overboard into the Mediterranean to learn to swim. I was frightened, yes - but the adrenaline rushes bonded my soul to these passions as my oils since bond to canvas. Later in the studio with "Maestro" Giovanni Panza, I learned techniques that had been passed along for centuries. It was important to watch with a wily eye, because each maestro would keep certain "Macchiaioli" tricks to himself: a tiny variation of brush, stroke or loading that could transform a result. During my “starving artist” period, a dealer would commission 100 copies at $10 each (no, I’m not joking). I would line the walls of my studio with a dozen canvases and paint them all simultaneously. Was it art? More like practice scales to a musician, I think. Today, though, I rely on the extensive skills gained in order to produce works using my hybrid of various Impressionist approaches. I paint a variety of subjects, because I simply paint whatever I feel to paint. I may feel to paint dancers for a daughter, antique boats with nostalgia, cherubs for a client - so long as the inner connection remains compelling, the work flows without cognition. For me, “I feel to paint’ is like salmon feel to swim to spawn: the impulse and impetus and irrevocable conclusion are inseparable. I believe my generation is the end of centuries of traditional apprenticed, working painters. My desire in the next few years is to bring my " Scuola di Posillipo" (Posillipo's School) skills to historic subjects, fantasy scenes, and,of course, my beloved Neapolitan seascapes. Perhaps even the sunsets of my new home in Texas

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