Item #: 14051312949A
Limited edition run of 300
33" x 26"
Order now for delivery by Dec 11 (with Standard shipping) *Continental US Only
Edition of 300
Signed and numbered by the artist
This print is a rare and collectable work of art. As such, it may show minor signs of handling, aging, or original printing defects. It is guaranteed to be in very good condition or better.
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Photos To ART
Decorate with photos you love. With Photos to Art, you can transform your favorite snapshots into one-of-a-kind works of art that you’ll be proud to hang on your wall. Choose from artistic canvas, custom framing, wood mounting and more to update your décor with art that is totally you.
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- The Print
- The Artist
Domenick Turturro, American (1936 - )All-over abstraction tends to lure painters toward heroics. Domenick Turturro's new paintings show all-over patternings, yet he avoids the difficulties of his style admirably. They are covered in a gestural fashion, but the artist's hand is always guided by a notion of shape particular to each work. Sometimes this shape is islandlike and orange, floating in profusion against a dark background. Sometimes the shapes are fan- or flower-like, scraped onto the surface in arcs to achieve an effect of bright translucency. Occasionally, a very subtle reference to printed fabrics is made. Here, low-keyed shapes are repeated across the surface with variations that suggest the play of very soft interior light. Turturro's range of color is extraordinary, from keyed-up, "artificial" aquas and magentas to maroons and ochres which seem almost to have acquired a patina of use. This latter effect is an illusion, a helpful one. It reminds the viewer that paintings do indeed have a use, they are intended to engage the eye. This can be done, as so many allover painters attempt to do by overwhelming the eye. Turturro avoids the grandiose by holding the scale of pictorial incident to a very intimate scale. The eye enters his paintings where shapes float toward each other or touch or overlap in especially interesting ways. The eye stays with "the painting because it is always guided toward variations" on the initial incident whatever it may be in a particular viewing. Sometimes the eye is drawn over this surface. Sometimes it is drawn into the shallow space between shapes.
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