‘ADRIFT’ (Alla deriva) by Ugo Bongarzoni (contact : ubongarzoni@yahoo.it)
‘ADRIFT’ (Alla deriva) by Ugo Bongarzoni (contact : ubongarzoni@yahoo.it)
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Duration: 06:27
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Description
‘ADRIFT’ (Alla deriva) by Ugo Bongarzoni (contact : ubongarzoni@yahoo.it)
(2007-2011 Mixed technique: acrylic, thin wire, sand on canvas 50x60 cm)

The idea of the painting first came up in February 2007 during a stay in rainy Bruxelles. A light drizzle fell gently from an often cloudy sky, dried by a pleasantly strong wind that kept the air fresh and clean from smog and bacteria.
Once, in a square, strong gusts of wind invested me. I couldn’t not even move. Ninety kilos of trained muscles won by a breath of wind.
Unless I was there, Bruxelles appeared to me like a ship in the middle of a storm and its inhabitants, with their raincoats, like busy sailors.
The canvas and first colors were purchased in the old town. When I went back to Italy, the picture, sketched and partly painted, remained in my brother’s flat for a year.
An initial completion (not a definitive one) took place in September 2009. The painting took part in the collective pictorial "Colori in libertà" in the gallery New Ars Italica in Milan and then remained unchanged in its frame for another year.

Further changes began in October 2010 and ended with the version of 10/12/2010. These were:
on the right hand side, a small sleepless country village at the top of the cliff was sketched; bronze cannons were added to the vessel; color and thickness of sails changed; sail tears were accentuated; a siren figurehead was added at the bow; more rigging was untied and let loose in the wind; windows at the stern changed (frames with two lights were added); the lamps on the stern became three and acquired a metallic structure; the keel, originally brown and fairly even, was made irregular and, with the use of mica and pearlescent, it became colored and full of recesses; a wave shaped overlooking was painted above the windows; rocks were highlighted with a hint of light and the use of sand; reflux on rocks and waves were made more full-bodied, and the same was done for the water splashing on the keel and the waves dashing against the cliffs.
With the exception of sand in rocks and of a thin wire used for the rigging, the vessel and the branch of lightning, all shapes have been created exclusively by repeated layers of acrylic color.

Elements which are worthy of note and that might not be immediately evident are:
scales on the mermaid’s tail; the rigging, the mast and the sea that can be glimpsed through the laceration in the largest sail on the bo

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Views: 1,045
Added: 4 years ago
Duration: 06:27
0 Likes, 0 Dislikes
Videos: 6
Subscribers: 2
Description
‘ADRIFT’ (Alla deriva) by Ugo Bongarzoni (contact : ubongarzoni@yahoo.it)
(2007-2011 Mixed technique: acrylic, thin wire, sand on canvas 50x60 cm)

The idea of the painting first came up in February 2007 during a stay in rainy Bruxelles. A light drizzle fell gently from an often cloudy sky, dried by a pleasantly strong wind that kept the air fresh and clean from smog and bacteria.
Once, in a square, strong gusts of wind invested me. I couldn’t not even move. Ninety kilos of trained muscles won by a breath of wind.
Unless I was there, Bruxelles appeared to me like a ship in the middle of a storm and its inhabitants, with their raincoats, like busy sailors.
The canvas and first colors were purchased in the old town. When I went back to Italy, the picture, sketched and partly painted, remained in my brother’s flat for a year.
An initial completion (not a definitive one) took place in September 2009. The painting took part in the collective pictorial "Colori in libertà" in the gallery New Ars Italica in Milan and then remained unchanged in its frame for another year.

Further changes began in October 2010 and ended with the version of 10/12/2010. These were:
on the right hand side, a small sleepless country village at the top of the cliff was sketched; bronze cannons were added to the vessel; color and thickness of sails changed; sail tears were accentuated; a siren figurehead was added at the bow; more rigging was untied and let loose in the wind; windows at the stern changed (frames with two lights were added); the lamps on the stern became three and acquired a metallic structure; the keel, originally brown and fairly even, was made irregular and, with the use of mica and pearlescent, it became colored and full of recesses; a wave shaped overlooking was painted above the windows; rocks were highlighted with a hint of light and the use of sand; reflux on rocks and waves were made more full-bodied, and the same was done for the water splashing on the keel and the waves dashing against the cliffs.
With the exception of sand in rocks and of a thin wire used for the rigging, the vessel and the branch of lightning, all shapes have been created exclusively by repeated layers of acrylic color.

Elements which are worthy of note and that might not be immediately evident are:
scales on the mermaid’s tail; the rigging, the mast and the sea that can be glimpsed through the laceration in the largest sail on the bo