Item 1 Demo

Varenr.: 06438-001-L

"The Finding of Pier Paolo Pasolini's Body" 2020
Oil on linen
390 x 300 cm, 153,5 x 118 in

Nicola Verlato - "The Finding of Pier Paolo Pasolini's Body" 2020 - Oil on linen - 390 x 300 cm, 153,5 x 118 in
Nicola Verlato - "Mishima's Seppuku 2" 2021 - Oil on panel - 70 x 100 cm, 27,5 x 39 in
Nicola Verlato - "Apollon Shooting Arrows Against the Achaeans" 2021 - Oil on linen - 67 x 100 cm, 26,5 x 39 in
Nicola Verlato - "Amabie" 2021 - Charcoal on paper - 99 x 66 cm, 39 x 26 in
Nicola Verlato - "Apollon" 2021 - Graphite on paper - 70 x 100 cm, 27,5 x 39 in
Nicola Verlato - "Mishima's Seppuku" 2021 - Graphite on paper - 100 x 70 cm, 39 x 27,5 in
Nicola Verlato - "Narcissus" 2021 - Graphite on paper - 67 x 49,5 cm, 26 x 19,5 in
Nicola Verlato - "The Falling Angel of Srebrenica" 2021 - Graphite on paper - 100 x 70 cm, 39 x 27,5 in
Nicola Verlato - "Van Gogh Bringing His Severed Ear to the Brothel" 2021 - Graphite & charcoal on paper - 33,5 x 49,5 cm, 13 x 19,5 in
Nicola Verlato - "Van Gogh Bringing His Severed Ear to the Brothel" 2021 - Graphite on paper - 70 x 100 cm, 27,5 x 39 in
Nicola Verlato - "Cosmogony 2" 2020 - Oil on linen - 230 x 152 cm, 90,5 x 60 in
Nicola Verlato - "Skater" 2012 - Photogravure, Ed. of 20 - 50 x 43 cm
Nicola Verlato - ”The Merging” 2017 - Inkjet eco solvent print on 265 grms MLFD grafiprint paper, edition of 30 - 46 x 110 cm, 18 x 43 in
Nicola Verlato - ”Coxeter” 2017 - Resin, edition of 10 - 24.5 x 21.5 x 25 cm, 9.5 x 9 x 10 in
Nicola Verlato - ”Piero Della Francesca” 2017 - Resin, edition of 10 - 24.5 x 21.5 x 25 cm, 9.5 x 9 x 10 in
Nicola Verlato - ”McLuhan” 2017 - Resin, edition of 10 - 24.5 x 21.5 x 25 cm, 9.5 x 9 x 10 in
Nicola Verlato - ”Kurtz” 2017 - Resin, edition of 10 - 30 x 30 x 35 cm, 12 x 12 x 14 in
Nicola Verlato - ”Study for the lower portion of Hooligans” 2017 - Charcoal on canvas - 240 x 720 cm, 95 x 291 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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