Artist: Gabriele Cappelli
Title: Composition with red figures
Year: 2015
Dimensions: 140 x 160 cm
Technique: Oil on Canvas
About the artist:
Gabriel started his career as an artist around 20 years ago when he decided to establish his practice in London moving from Italy, leaving behind his studies on economics, bringing with him much more to his new home: His vocation, the lessons received from his grandfather and uncle on art and the immense weight that Italian architecture will have in his intellectual and creative mind.
From both sources he will take the elements that will define his work: Abstractionism and the feel and look of Mediterranean architecture. Both of them will find its expression in the city of London.
Abstractionism is a fascinating and limitless way of painting.
Gabriel has been exploring how to transfer on a canvas the quality of interiors in Italian houses: their atmosphere, colours and feel using abstractionism as his language.
When you see several of his pieces it is easy to understand this noble, beautiful and a somehow romantic desire.
What ”Composition with red Figures” is saying?
When I visited Gabriele’s studio I could see a strong consistency in his work; the paintings I felt more attracted to portray a very dense atmosphere expressed with the use of a beautiful colour palette. It was obvious that there was a story behind those veils and layers of colour; a story that took a clearer meaning when he told me about his interest in Mediterranean houses.
It is a reason for joy when an art work is telling you that there is more in it that the descriptive nature of its materiality; one does not need to understand what is that behind that makes one wonder, enjoying it suffices. But when one has the opportunity to unveil the secret thanks to the conversation with the artist then the revelation and understanding comes.
That is what happened with Composition with red Figures. I said to Gabriele: “That one is one of my favourites”. The fact that it is an abstract painting that due to the composition plays with geometric abstractionism without fitting completely in this category makes it intriguing for me; there is structure, composition, depth, atmosphere and certainly a clearly personal touch manifested in the use of colour.
Is not that architecture?
That is why I was caught in its beauty and mystery.
In what Room to place it?
This painting demands space to be seen and appreciated not just because its dimensions but because what it is saying.
It is a piece that would fit beautifully in a living room or on the double high wall of a stairs. You will need ideally minimum 2 meters in between the piece and you to appreciate it completely.
If you have a bedroom of generous proportions it would work very well too.
If you can be fed with the energy that the art work exudes with those reds, whites and mustards then placing it in front of the bed it is a good decision however if you need a more subtle awakening process, above the bed or on a wall parallel to the bed (not on the focal point) will work better.
Displaying it
I believe most of the paintings need a frame as it will make a statement about what it contains. Sometimes this statement needs to be subtle others can be as loud as you want without damaging the “soul” of the artwork.
In this case I would suggest a subtle frame, linear and discreet.
Good lighting is a must for this pierce or you will lose a lot of what is going on in those whites if not the case.
Price:
£ 9450 (no framed)
NOTE
If you are interested in purchasing this art work please feel free to contact me by email [email protected] or mobile 0755 4025486.
