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/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. |
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Description of work
The Garden between the Hedges
“The Garden between the Hedges” is a reconstructivist work in full Valvo style which can be included in the rich stylistic cycle of naturalistic works on gardens, flowers and vegetation.
In this regard, we recall some works belonging to this trend, created by artists of the late nineteenth and early twentieth centuries such as Claude Monet, Henri Matisse and Gustav Klimt.
The painting is a potpourri of material backgrounds, plays of light, graphic-symbolic elements, colours, lines and circularity.
It should be noted that the various occurrences of the greenish tones, spread homogeneously on the canvas, do not, however, constitute the dominant tone of the work. These tones extend to the background substratum of the composition, which instead sees yellow prevail in multiple shades, contaminated, in flashes, by the insertion of stylized and polychrome elements in a floral style, such as red, orange, pink and blue. The positioning of these constituent particles is not random and seems to suggest the spontaneous appearance of the various inflorescences and associated colors in a natural context in which, however, the hand of man is clearly present, which manages the basic scenographic architecture.
An “X”, a recurring element in the author, appears in the right half of the canvas and, at its ends, is intersected by thin streaks perpendicular to it and of the same color.
The visual impact of the work is emphatic. It’s spring opulence. It’s the wealth of variations. It is a vegetative show in full bloom.
The gloom of the dark green color backgrounds is attenuated by the presence of material stripes of greyish-green colour, much lighter, which act as a bridge between the so-called “shady” areas and the white graphic elements, which create a uniform mapping of real luminous points scattered throughout the pictorial space.
Among the various symbolisms there is the recurrence of the serpentine, another typical element in Valvo, present at the top left, as well as, in a stylized form, in the right part of the upper rib of the canvas or inside the lower left quarter.
The visual structure is, as mentioned, uniform. Well balanced. No particular emphasis is given to this or that point of the composition. In fact, this work should be read in its entirety. As a whole.
Here, the reconstructivist technique makes careful use of the different factors at play, such as the overlaps between the parts, the dyschromia of the shades of each single color offered, the polychromy of the overall palette, the joints, the rotations, the convolutions and the mutual distances. The result is, on a perceptive level, a sort of psychic flash. The triggering of reminiscence. The psychological projection of what we have experienced, of what we already know, on which, at the same time, the result of the pictorial execution is superimposed. And it is precisely in this mixture, in this parallelism, in this superimposition, that the key idea underlying the work itself is enucleated.
We observe the canvas, a space in which the figure finds no place for itself, despite wanting to insinuate itself tenaciously, and what we see is therefore a garden: a garden between hedges.
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