Work sheet
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 |
| measurements in centimeters cm | 70 x 50 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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Description of work
The arrival of the Turtle Doves
To understand this work, it is appropriate to know the context from which the inspiration that led to its creation arose. This is the urban context of the pleasant city of Ljubljana, the capital of Slovenia, where the artist was passing through in 2015.
In fact, in the canvas we find the colors of the Ljubljanica, the river that crosses the historic city centre, as well as the oxidised blue-copper shades of the roofs of some houses, together with the whitish, grey, yellowish, reddish and brown of the walls of the small and characteristic buildings. The colors of the city.
The zoomorphic pictorial elements, in this case the common turtle doves, appear in the form of quadrangular elements, multiple and scattered throughout the body of the work. These elements express their own dynamism, a dynamism that goes from right to left, through polychrome and parallel linearities, which suggest their movement intersecting with them. It should be noted that these same elements are not represented here by means of the color they possess in nature: they are covered in the same shades as the context in which they exist and, therefore, in the colors of the city. Their identification and recognition is possible, in fact, only through the analysis of the pictorial space which allows them to be discerned, in a not so immediate way, within the mixture of chromatic backgrounds that intertwine and overlap each other.
The “doves”, or the subject of the work, are therefore directed towards the left half of the canvas: a large area with a whitish-grey background, with black contaminations. In fact, they too take on this last shade, black, in certain points.
The subjects of the painting, for these considerations, take on an essentially chameleon-like nature. They are “invisible” chromatically but “perceivable” through the redundancy of their stylized shape and, above all, through the trail of straight lines they leave in their passage.
The reason for this representative choice probably lies in the author’s desire to expose the idea of an organic and active whole. Birds penetrate the urban context. The urban context, similarly, penetrates their very substance, their essence and is stylistically in tune with their dynamism.
The key to understanding this work undoubtedly lies in the movement as such: the flow of the river. The flying of birds. The mixing of people in the streets and squares. The frenzy of the open-air markets.
The narration, pure and simple, of the happy unfolding of events we witness.
The very division of the canvas into a sort of evidently polychrome half and a fundamentally greyish counterpart seems to imply, in itself, the sense of a phase in completion. Of an advancement of the whole. Of the progress of circumstances. Of the future of events.
The action.
Moreover, the author of the work was himself passing through such places and, therefore, presumably open and diligent in deciphering every new detail, potentially still hidden from sight and thought but ready to be collected.
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