Work sheet
CANVAS A
Technical data
| year | 2023 |
| purchase date | acquired in the portfolio |
| estimated current value in € | consult the updated Price Table |
| identification of the subject | abstract painting/reconstructivist work |
| materials and techniques | oil on canvas/mixed media/material work |
| measurements in centimeters cm | 60 x 80 x 1,8 |
| inscriptions | signature |
| inscription technique | oil |
| inscription position | on the back/bottom/right |
| transcription | Valvo |
| authenticity certificate | issued at the same time as the sale |
| art multiples | no print issued |
| state of conservation | intact work |
| location of the work | Rome · Italy |
| copyright | © all rights reserved · global · S.I.A.E. |
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CANVAS B
Technical data
| year | 2023 |
| purchase date | acquired in the portfolio |
| estimated current value in € | consult the updated Price Table |
| identification of the subject | abstract painting/reconstructivist work |
| materials and techniques | oil on canvas/mixed media/material work |
| measurements in centimeters cm | 80 x 60 x 1,8 |
| inscriptions | signature |
| inscription technique | oil |
| inscription position | on the back/bottom/right |
| transcription | Valvo |
| authenticity certificate | issued at the same time as the sale |
| art multiples | no print issued |
| state of conservation | intact work |
| location of the work | Rome · Italy |
| copyright | © all rights reserved · global · S.I.A.E. |
High definition image of the work (enlargeable)
Click on the image of the work to enlarge on the Flickr photographic platform (recommended viewing on a PC screen) ⚠️ © Copyright: all rights reserved · S.I.A.E. · Any type of use is prohibited.
The image is watermarked with the site logo
Other images of the work
(selecting an image will open the photo gallery for this work)
Description of work
Pair in Black
Duality and asymmetry.
Attraction and repulsion.
Solidarity. Opposite diameters.
The male and the female.
In these two paintings, stylistically contiguous, the author fully expresses the lively union of disjointed polarities. As in famous precedents, such as Apollo and Daphne by Veronese, The Kiss by Hayez, The Embrace by Klimt or The Arnolfini Spouses by Jan van Eyck, the female subject appears here on the right. However, the two canvases seem to scrutinize each other as in Piero della Francesca’s Double Portrait of the Dukes of Urbino, in which the female subject is, in fact, on the left.
There is a very close interpenetration between the two parts of this single work. Almost visceral.
We note, at the bottom left of the right canvas, the slightly amplified redundancy of the quadrature with white outline and black interior present in the one on the left, at the bottom right.
Likewise, the roundness of the white circle, in the central part of the left canvas, is clearly amplified in the right one, through the appearance of a white circular half moon, which occupies a large part of the right area of the canvas. In the same way, the black and empty circle, present in the lower part of the “male” canvas, has repercussions in an amplified way within its right female counterpart. The white material backgrounds are compatible in both parts, although clearer, wider and more marked in the canvas on the left. These backgrounds suggest, in the ‘male’ canvas, a dynamism of straight and rather regular intersection. In the ‘female’ canvas, these appear more homogeneous in their generic diffusion within the pictorial space, however presenting a more irregular and jagged pattern. [sPause sec=2 ePause] All of this implying a fundamental compatibility between two opposing elements. There is a clear search for a dynamic balance between the two parts, as well as a chromatic balance. The canvas on the left sees the predominance of white, in large flat backgrounds in which the various construction elements of the work intersect. The canvas on the right is, on the contrary, essentially a canvas with a black background, in which all the dynamic elements, linear or curved, full or empty, appear in white, in strong contrast with the base colour. White or black serpentines, a recurring symbol in Valvo, are multiple and widespread in the total space of the work. On the right side of the ‘female’ canvas, in the lower half, the stylized symbol of the snail appears. Another very recurring element in the author’s works. The ocular antennas of this, echo, in reduced size, in the right edge of the semi-high half of the ‘male’ canvas. Thin and linear diagonals, typical of the author, spread homogeneously throughout the overall space. The “X”, a further stylistic mark of the author, appears in black on the left canvas. This intercepts the larger quadrangular element, in white, present in the central part. It intersects and overlaps with it, preventing its completion. In the right canvas, in the upper right part, a white circle intersected by a straight line looms over the black circular element below. The two halves, in a general sense, support a game of pushes, of stasis, of weights and counterweights, of chromatic contrasts, of nuances. The material composition of the white stripes, as well as the absolute irregularity of their shapes and contours, give the work a raw, rough, frenetic visual impact. And it is precisely from this frenzy that the repulsive-attractive drive of the parties is generated. An electromagnetic relationship of restless forms, of unstable graphic impulses, of divergent specularities, of shadows and lights. The work therefore radiates with a pure energetic tension, which forges its image, presupposing an active development within a highly symbolic context.
Catalog of works
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