San Gimignano, Tuscany - Italy

Original Artworks (2)

Alessandro Andreuccetti; Nature 3662, 2018, Original Painting Acrylic, 500 x 500 mm. Artwork description: 241 These paintings are part of a series called  Secret Garden . At a certain point, after having painted landscapes of all kinds, I felt the need to get closer to the subject, ignoring the general vision to devote myself to detail. What interests me to describe in this ...
Alessandro Andreuccetti
Original Acrylic Painting, 2018
500 x 500 mm ( x )
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Alessandro Andreuccetti; Purple Maze, 2018, Original Painting Acrylic, 1000 x 1000 mm. Artwork description: 241 Original one of a kind 100x100 cm acrylic mixed media painting on 4 cm thick wrapped canvas. Painting no needs to frame if you prefer the contemporary look. All artwork is created with professional high quality materials and protected with a museum quality varnish. Wired and ready ...
Alessandro Andreuccetti
Original Acrylic Painting, 2018
1000 x 1000 mm ( x )
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Artist Statement

I was born in San Gimignano, Italy, in 1955. I studied art and architecture in Florence attending the Academy of Fine Arts, and I started my job in 1980 as a graphic designer while continuing my research in artistic painting.

Through my work I try to analyze and represent the life that surrounds me or pass me by, just brushing . My favorite subjects are human figures immersed in their world, educated , that is, in poses and attitudes that identify the mood and suggest their personality. What interests me most is to discover the relationships between shapes and colors that are evident from the careful observation of reality and this is expressed in a strictly personal representation of the object. Through the filter of my work observers can therefore grasp the point of view of my own , but they are also free to interpret the subject as they please , so participate in the re-creation of the work perfect. Ultimately with my colors , my drawings , the shapes that I paint I suggest a possible interpretation of reality, mine, but the case remains open to the infinite possibilities of the personal experience of each.
The ideas
Each painting has its own history and its own staff gestation. Everyone can contribute to the initial spark , a picture , a phrase, a music. Before starting I spend much time thinking about the overall design of the new table, the patterns of colors to use , what to emphasize and what to leave in the background. Generally I take a lot of notes , sketches I do , I feel the colors, shadows, scompongo the subject in portions then recompose otherwise , schematically various compositions . This whole process can take days or weeks but when it’s time to paint the work is spun down without a second thought .

The materials
Works on paper. Using watercolors on handmade paper with cotton rags , is a beautiful card , imported from India , heavy and wrinkled, with a strong personality that requires much attention and experience to master it .
Works on canvas. Acrylics allow me to work in a manner similar to watercolors on surfaces other than paper and I guarantee you great freedom of expression .

Critique by Ilya Shifrin:

Alessandro Andreuccetti is an Italian painter and illustrator who employs acrylic paint, water-color, gouache and ink in his work, displayed on his website and blog. Some of his pieces careen towards the avant-guard, exhibiting conceptual and surreal qualities, but most of his artistic output is situated within the traditional framework of landscape, cityscape and people representation, where he strives to express himself in “new perfectly independent compositions.� In my opinion, he achieved his goal at least from one aspect: the illusion of space and volume, and in this review I would like to focus on how these features stand out in his haunting land and cityscapes.

The artist’s creative approach to the empty areas on the surface he works with paradoxically enhances the perception of volume and space in the beholder’s mind’s eye. He concocts an engaging interplay between active and passive zones — and I particularly like the idea of selective passivity, where the nearly blank, discolored parts play a crucial role in enlivening the darker and apparently more substantial regions. This combination reminds me somehow of the negatives we see in photography, and, after a more careful examination, there is indeed something of the photographic negative in these landscapes. As a result, his artwork may be viewed with a double standard — but in the best possible meaning of the phrase.

Consequently, the spring lightweight florals, the denser groves and the concrete structures, they all exhibit a reassuring sense of style and its technical opposite. Moreover, the artist even-handedly combines these themes, placing dainty buds near formidable buildings or deep inside wide landscapes. Slopes and curves, either imaginary or real, further emphasize the sense of space, particularly pastoral — even the cityscapes appear to be stifled by the approaching growth; perhaps this is why the buildings look so abandoned. On the other hand, the inhabitants might just have gone outside to enjoy the flora, and understandably so.

To reiterate, the artist demonstrates adroit utilization and deep understanding of space, to the point of ability to manipulate it: to play and toy with it. He offers breathtaking vistas with an easy hand, and with an almost ironic, and somehow wise touch. He doesn’t tackle the theme, but rather approaches it carefully and assuredly, as if space itself were a frightened and alert wild antelope; he nets it with his brush and the concept behind it. The painter’s style impresses with both lightness and compositional range and solidity: he is a universal artist not only because of the multiple media he works with, but due to what he achieves with it as well.

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