Item 1 Demo

Varenr.: 06438-001-L

Clash of civilizations: Cave no. 7, 2018
Oil on linen
90 x 120 cm, 35 x 47 in

Nicola Verlato - Clash of civilizations: Cave no. 7, 2018 - Oil on linen - 90 x 120 cm, 35 x 47 in
Nicola Verlato - Falling, 2017 - Materialoil on linen - 91 x 163 cm, 36 x 64 in
Nicola Verlato - Falling II, 2017 - Oil on linen - 91 x 163 cm, 36 x 64 in
Nicola Verlato - Study for Kurtz, 2017 - Charcoal on paper - 102 x 152 cm, 40 x 60 in
Nicola Verlato - Kurtz, 2017 - Resin, edition of 10 - 30 x 30 x 35, 12 x 12 x 14 in
Nicola Verlato - Studio for the lower portion of Hooligans, 2017 - Charcoal on canvas - 240 x 270 cm, 95 x 291 in
Nicola Verlato - The Merging, 2017 - Inkjet eco solvent print on 265 grms MLFD grafiprint paper, edition of 30 - 110 x 46 cm, 43 x 18 in
Nicola Verlato - Brunelleschi, 2017 - Resin, edition of 10 - 24.5 x 21.5 x 25 cm, 9.5 x 9 x 10 in
Nicola Verlato - Clash of civilizations: Cave no. 7, 2018 - Oil on linen - 90 x 120 cm, 35 x 47 in
Nicola Verlato - Falling, 2017 - Materialoil on linen - 91 x 163 cm, 36 x 64 in
Nicola Verlato - Falling II, 2017 - Oil on linen - 91 x 163 cm, 36 x 64 in
Nicola Verlato - Study for Kurtz, 2017 - Charcoal on paper - 102 x 152 cm, 40 x 60 in
Nicola Verlato - Kurtz, 2017 - Resin, edition of 10 - 30 x 30 x 35, 12 x 12 x 14 in
Nicola Verlato - Studio for the lower portion of Hooligans, 2017 - Charcoal on canvas - 240 x 270 cm, 95 x 291 in
Nicola Verlato - The Merging, 2017 - Inkjet eco solvent print on 265 grms MLFD grafiprint paper, edition of 30 - 110 x 46 cm, 43 x 18 in
Nicola Verlato - Brunelleschi, 2017 - Resin, edition of 10 - 24.5 x 21.5 x 25 cm, 9.5 x 9 x 10 in

NICOLA VERLATO

Born 1965, Verona, Italy
Lives and works in Rome, Italy

“Nicola Verlato (b.1965, Verona, Italy) retains a mode of classicism that has traditionally implied conservatism, upholding a neorealist style evocative of Old Master painting, which he puts to use in near-apocalyptic, largely allegorical scenes of soldiers and bodies leaping from crashing vehicles. Verlato appropriates the campy, exaggerated violence common to the High Baroque and contemporary video games to comment on the clash of civilizations played out between polytheism and monotheism, and to underline its consequences for representation: cults of idols (figuration) versus prohibitions on graven images (abstraction). This is an important reminder of the different histories of form and the ideologies that underpin them, whose use depends on local context and other factors.”
 
Suzanne Hudson in Painting Now, 2015


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