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Lady Cadillac

Lady Cadillac

Lady Cadillac

A girl poses inside her car, an imaginary Cadillac convertible

Technique: oil on canvas

Specifications
Light source - Ex.: Monochromatic, Two-color Polychromatic
Genere - Es.: Fantasy, Still life, Religious, Landscape Portraiture
Subject represented - Ex.: Horses, Fruit, Cats Bust of a woman
Technique used - Ex.: Oil on canvas, Pencil on paper Oil on canvas
Style dell'opera - Ex.: Surrealism, Cubism, Abstractionism Futurism
Artist data
Artist experience - Ex.: Emerging, Expert Expert

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€920.00
Ex Tax: €920.00
  • Availability: Unavailable
  • Dimensions: 70misura x 0misura x 70misura
  • SKU: lomo0015

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LORENZO
Lorenzo Monegato
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Nato nel 1974, Lorenzo Monegato vive e lavora come pittore ed interior designer in Italia a Milano.
Fin dalla prima infanzia, Lorenzo è cresciuto circondato dalle creazioni sartoriali della mamma e della zia, che possedevano un atelier di moda.
Nonostante abbia avuto un forte fascino per le belle arti arti dall'infanzia, Lorenzo ha scelto di seguire la sua passione e trasformarla in una carriera dal 2013, quando fu invitato dalla Gagliardi Gallery di Londra ad esporre alla Biennale di Chianciano Terme (Toscana).

TECNICA

Fin dall'inizio della sua carriera artistica; Lorenzo ha studiato le tecniche pittoriche di molti dei vecchi maestri, li ha modificati e reinterpretati in modi nuovi per creare il suo stile personale unico e la sua finitura contemporanea. Forse è la sua visione futurista con una varietà di dettagli raffinati che costringe il pubblico a fermarsi e focalizzare la propria attenzione sui dipinti.
Tuttavia, c'è qualcos'altro che gioca un ruolo essenziale nella creazione di ciascuno dei suoi dipinti. Ossia "sfumato", una tecnica padroneggiata durante il Rinascimento dai pittori italiani. Lorenzo lo impiega in un modo nuovo, aggiornato per il nostro secolo, con le morbide transizioni tra ogni parte del dipinto, ottenendo passaggi di colori vividi ed accesi.

FILOSOFIA

Lorenzo Monegato è particolarmente interessato alla figurazione fisica e geometrica in uno spazio reale ed irreale dove gli elementi convivono in perfetta armonia, creando una pittura di rigore, dove le molte rappresentazioni ed i soggetti hanno sempre uno scambio. Osservando le sue opere, il pubblico viene catapultato in un mondo o in un universo artistico fatto di colore. I suoi quadri sono un trionfo di timbri cromatici dalle tonalità esplosive e così magicamente integrate che si legge davvero quello che Lorenzo percepisce dell’arte, ovvero una poesia, un testamento dell’anima, un racconto di sé, un’autobiografia affidata solo alle sue creature, ai suoi paesaggi ed alle sue creazioni. Lorenzo governa con tanta sicurezza le occasioni strutturali ed i motivi compositivi tanto da collocare lo stile pittorico come di un manierista moderno, riuscendo a mescolare sulla tela stilemi di tutte le discipline: architettura, scultura, pittura, ma senza sottrarsi al confronto con i tempi moderni, annusati con olfatto finissimo, con richiami cubo-futuristi, che va inoltre ad incontrarsi con la contemporaneità, in originali ammiccamenti alla “Pop Art” americana.

Biennale Chianciano Terme 2013 - Chianciano Terme Art Museum 7/14 September 2013

Biennale Rome 2014 Bramante Halls - Piazza del Popolo Rome 21/30 January 2014

Collective exhibition "The art of telling oneself" - "La Telaccia" Gallery - Turin 29 April/8 May 2014

Collective exhibition "EGOS VII" - ROA Gallery - London 16/22 June 2014

Spoleto International Art Fair - 26/29 September 2014

"World Wide Art LA" International Art Fair - Los Angeles 16/19 October 2014

"Art Shop Carrousel de Louvre" - Carrousel Palace Louvre - Paris 24/26 October 2014

"Arte Forlì" - Palaexpo Forlì Fiere 7/10 November 2014

"Arte Padova" - Palaexpo Padova 14/17 November 2014

"Spectrum Miami Art Fair" - Midtown in Miami 3/7 December 2014

"Arte Genova 2015" - Palazzo Expo Genova 13/16 February 2015

"Art Innsbruck 2015" - Palazzo Expo Innsbruck 20/23 February 2015

"Art Monaco 2015" - Contemporary Art French Riviera - Monte Carlo 9/12 July 2015

"Arte Parma 2015" - Parma Fairs - 3/4 and 9/11 October 2015

"Paviart 2016" - Contemporary Art Fair - Palazzo Esposizioni Pavia, 2/3 April 2016

"Arte Parma 2016" - Parma Fairs - 1/2 and 7/9 October 2016

"Arte Piacenza 2017" - Piacenza Fairs - 14/16 January 2017

"Paviart 2017" - Palazzo Esposizioni Pavia - 8/9 April 2017

Definitive exhibition c/o Innside Hotel Torre Galfa Milan - 10th floor


exhibition at "Il Collezionista" gallery - Rome 7/20 March 2014

exhibition "Metropolis" c/o "Artifact" gallery - New York Manhattan 8/26 July 2015

"Metropolis" c/o Finter Bank Zurick - Lugano 13 November/31 December 2015

exhibition "Metropolis" c/o GalleriArteBagutta - Milan 8/23 January 2018

In the works of Lorenzo Monegato you can breathe his world reflected in current events, in which the formal evidence, in the portraits of women, above all, enhances the measure of the roles, where being and things coexist in mutual respect. The discovery and importance of the direct object does not call into question the authoritative function of the subject. The coexistence between real and unreal space appears possible only on the condition that each part of the artist's work becomes aware of its existential specificity, placing in them the essential conditions for the affirmation and survival of their existence on the surface. Lorenzo Monegato, composes with few figures. His paintings originate from an extremely measured and careful education of taste in selecting objects. It is the logical destination for those who, like our author, have trained in drawing and in the recovery of classical motifs, with a tendency towards painting understood as the construction of scenes and environments that echo classical-‐formal themes.

From this perspective, however, the artist inserts a constant sense of measure which implies the reduction of the number of images to a few essential factors, to develop a continuity of ideas which must be perceived as a theme, constant as the individual representations vary. If the topics, in natural agreement with the pictorial ideas of the new Italian manner, are taken from mythological fables, the structure of the composition is a geometric module that is in some way independent of the topics themselves.

In fact, it is easy to recognize in Lorenzo Monegato's paintings a tendency to build according to the triangular module which implicitly contains the figures and creates necessary connections between the images, in light of a principle of connection which gives a narrative sense. This does not mean that adhering to the New Way was a choice of convenience for the artist or an adaptation to demands that were not his. On the contrary, only within the logic of the New Manner did the painter's artistic aspirations find a precise purpose and a series of formal organization. Lorenzo Monegato's painting is de rigueur, where the many representations and subjects always have an exchange. Observing his works, the user is catapulted into a world or artistic universe made of color. His paintings are a triumph of chromatic timbres with various shades so delicate and so magically integrated that one can really read what Monegato perceives of art, that is, a poem, a testament of the soul, a story of himself, an autobiography entrusted only to his creatures, his landscapes and his creations.

Those figures, those enlarged objects, those structures, plastically faced on a close plane according to a precise geometric scansion, retain their intrinsic explosiveness, and at the same time, allude to classical architecture, to ancient voices that the artist seems to possess and master with planning wisdom. The artist governs the structural occasions and compositional motifs with such certainty that he places the pictorial style as that of a modern mannerist, who manages to mix stylistic elements from all disciplines on the canvas: architecture, sculpture, painting, but without shying away from comparison with modern times, smelled with a very fine sense of smell, along the trails of a second cubo-‐futurism (with some references to De Pero), which also meets with contemporaneity, in original nods to "Pop Art".

Lorenzo Monegato's colors, so aggressive, bruised and alternative, are not the colors of the classics and Italian tradition. These works are distinguished by complex multiple-figure compositions, many with severe black and white strokes, while others are decidedly strong with a generous palette of contrasting warm and cool colors. The painter continues his exploration of the themes of alienation, loneliness, computer short circuit, rampant technology, industrial aggression, artistic ambition, commercial tricks, hypocrisy, empty idolatry, the mechanical production of art, of the pressure for production as an end in itself, and of the compartmentalization of the human soul.

Lorenzo Monegato thus asserts himself with a construction of the image of female protagonism aimed at affirming the "devouring" model of the virago woman, "amazon" or "black widow" cynically accustomed to the incessant and ritual "consumption" of occasional lovers , which prefigures a new form of subjectivity capable of drowning the classic male-female dualism in a potentially androgynous symbolic identity. This ideal desire for "anthropological" overcoming, with the advent of the "superfeminine" as an implemented expression of the modernity of futurist customs, does not seem to contrast the legacies of the romantic-‐symbolist mythologies embodied in the disturbing "eccentricity" of the femme damnè or fatale . This specific representation, which allocates the dislocation of an emerging dark and "demonic" side in the feminine sign to the destructive exercise towards the masculine, delegates the expansive value of the potential for emancipation to a mere will to annihilate the other from oneself. The constructive strategies of subjectivities are thus detached from any horizon of the meaning of gender, narrowing the vision of the process of rediscovering the sexual status to a primitive conflictual synthesis in which the parties recognize each other in the reciprocity of their respective and crystallized symbolic function, without therefore questioning and rather by strengthening the constraints of the patriarchal hierarchy expressed in the balance of hegemonic/subaltern role. Monegato seems to move in a mental habit aimed at incorporating aesthetic realization as a product of necessary conjugation with the vitalistic cycle of his own existential quality, in which the theatricality of the gesture takes on the decadent rituality of a sublime event, of constitutive literary action in nuce, according to the suggestions D'Annunzio built around the narcissistic lyricism evoked by the figure of the poet-‐vault but also with the emulative contribution of Futurist histrionics.


In these works there also appear precise references to the anatomical emphasis that characterizes the female iconography of some Paleolithic sculptures (and therefore generically identified as Venuses) found in Italy, France and Austria.

However, discarding the pure ideal of naturalistic beauty longed for by the great French artist, in the sculptural vividness of the "blocked" figurations and in the alteration of the compositional proportions the artist finds confirmation in the feared formal deformation, disharmonically disarranging the composition in an objective representation that declines the I refuse to enslave myself to the prosaic “dictatorship” of photographic reality. The maintenance of the volumetric plasticity of the woman in the foreground, however, denotes the mortgage of a decorative translation with an intellectual flavor, aimed at disregarding the geometrization of the cubist deconstruction brought to the object iconography.

Monegato's pictorial style is appropriately combined with the ideals of an art experienced as an external means of communicability and oriented by cold and controlled abstraction methods, cerebrally intended to provide itself with a simple but original realization device, specifically based on a curved compositional line and serpentine, modeled through clear and marked contours built on decidedly reduced chromatic bases, and finally aimed at overcoming any tension driven by sentiment or by the tumultuous engagement of passion.

The artist's canvases propose suggestions linked to the contemporary world, offering the user metropolitan landscapes with references to high fashion, where elegant ladies parade through the streets like Status Symbols. but alongside the apotheosis of modernity we can see the contradictory nature of a parallel process of evolution of Pontormian mannerism which leads to the recovery of neo-baroque formal attitudes.

In a gradual but irreversible procedure, oriented towards the thinning of the volumes and an unusual accuracy of the aesthetic details, he recovers through the serpentine line the manneristic language of crossed glances and the construction of a narrative sequence. The marble carving of the forms dissolves into visible architecture of the proportions and turns the images into a naturalistic instance, also verifying an assimilation of the erotic expression within cold and abstract syntheses of sentimental impulses. The cumbersome plasticity of the clothes renounces the monolithism of the body wrapping, the realistic movement of the flowing air passages, also acting as a means of revealing the underlying anatomical forms through the ambiguous play of subtle transparencies.

The artist Lorenzo Monegato performs commissioned works regarding portraiture and personalized works

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