"Fine-Arts" prints on paper
It is a process of printing on art paper using very high-quality pigment inks and printed in very high definition. Its level of conservation is exceptional (more than 100 years), its quality, depth, and richness of nuances exceeds the classic photo print on Argentic paper.
Glossy finish
Apart from its exceptional thickness, the fiber paper is composed of an alpha-cellulose base without acid and it is covered with barium sulphate, and a microporous layer absorption enhancing pigments during printing. A pure white color, non-yellowing to light, this paper is especially designed for resistance and aging. It is used by major museums worldwide as it offers excellent resolution, rendering deep and dense colors.
Art Print "Fine Art" - Glossy finish on a fiber base paper 325 g.
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Constant attention is paid by our master printer, whether in terms of color control or respect for the graphic chain. Our high level of quality requirement is a major asset of ArtMajeur framed art prints.
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Usage: Web Licence
| 1498 px | ||
|
1500 px |
| Dimensions of the file (px) | 1498x1500 |
| Use worldwide | Yes |
| Use on multi-support | Yes |
| Use on any type of media | Yes |
| Right of reselling | No |
| Max number of prints | 0 (Zero) |
| Products intended for sale | No |
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All images on ArtMajeur are original works of art created by artists, all rights are strictly reserved. The acquisition of a license gives the right to use or exploit the image under the terms of the license. It is possible to make minor modifications such as reframing, or refocusing the image so that it fits perfectly to a project, however, it is forbidden to make any modification that would be likely to harm the original work In its integrity (modification of shapes, distortions, cutting, change of colors, addition of elements etc ...), unless a written authorization is obtained beforehand from the artist.
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Art image bank-
This work is an "Open Edition"
Digital Arts,
Giclée Print / Digital Print
- Dimensions Several sizes available
- Several supports available (Fine art paper, Metal Print, Canvas Print)
- Framing Framing available (Floating Frame + Under Glass, Frame + Under Acrylic Glass)
- Categories Conceptual Art War
e spierà le case, e sulla città graverà:
un inganno v'è certo. Non vi fidate, Troiani.
Sia ciò che vuole, temo i Dànai, e più quand'offrono
doni.»
Eneide, Publio Virgilio Marone.
Spesso, nella storia della civiltà occidentale, i dono vengono portati appresso al vessillo della guerra, ma la presunta grazia di quei doni non cancella la violenza, le atrocità e le ingiustizie che li hanno preceduti nella loro venuta. "Timeo danaos et dona ferentes" disse Laocoonte dinanzi al cavallo di Troia, carico di soldati.
La stessa terribile sorte si sta riproponendo in Ucraina, ove un conflitto inumano e insensato sta distruggendo la vita di milioni di persone, e dove un nuvolo di soldati muoiono per una causa che magari nemmeno conoscono o, se la conoscono, che non sostengono. Non ci saranno dei vinti, non ci saranno dei vincitori, ma soltanto due nazioni sconfitte dal dolore della guerra. La campagna condotta per democratizzare o denazificare l'Ucraina è il cavallo di Troia con cui la Federazione Russa ha deciso di innescare un'operazione militare che, a detta degli organi di stato, sarebbe dovuta essere tanto alacre quanto efficace, ma così - com'è evidente - non è stato.
Il conflitto si protrae, la guerra miete nuove vittime e risveglia vecchi demoni assopitisi alla fine del conflitto mondiale. I civili uccisi e lasciati a terra lungo le strade di Bucha sono un monito, un'importantissima avvertenza: l'uomo sta risvegliando demoni che dovrebbero continuare a dormire. Ma chi sarà Laocoonte, chi cercherà di mettere in guarda l'umanità dal dramma imminente che si sta inesorabilmente dispiegando sul palcoscenico della nostra storia contemporanea?
Related themes
Matteo Bona was born on January 1st, 1997, in Asti (Piedmont, Italy). He studied at the Public Scientific Lyceum Francesco Vercelli. Now he studies Foreign Languages and Modern Literature at the Università del Piemonte Orientale. He published his first poems' collection “Oltre la Poesia - Anche la creazione muore” during 2015 and “Il senso del nulla” (Eng. "Nothingness sense") in January 2018. He received the Roma 3 Academic Prize “Apollo Dionisiaco” for the Unpublished Poem and the “Cesare Beccaria” Prize for the Figurative Art, both during 2016.
He has published the 'Cesare Beccaria' prizewinner artwork into the Garfield Lake Review (2018 Issue), paper journal of the Olivet College (Michigan State, USA).
Other artwork's publications accepted in American journals and magazines: "Boredom and other human vices", 805 Lit+Art; "Verlangen", Mangrove Journal (Miami University); "Die Lebensmüdgkeit", Memoir Magazine; "Die Lebensmüdgkeit", GNU Journal; "Die Vernichtung", Tenth Street Miscellany; “Verlangen”, New Plains Review (Central Oklahoma University); “The Aesthetic of the Renewal”, Waxing & Waning; "Urban Nietzsche", Rebel Satori Press; "Onyria", Sink Hollow; "Das Sezieren bei Lebensmüdigkeit", Oakland Review (Carnegie Mellon University).
In July 2018, he published "Preludi" (Montag Editore), a collection of stories dealing with the troubles in the contemporary existentialism. At the end of November 2018 he published “Le feritoie d’alabastro” (Ofelia Editrice). The author published in 2018 a graphic project for Cold Mountain Review called “Die Vernichtung” and he won the Appalachian State University Readers’ Choice Award for that project.
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Nationality:
ITALY
- Date of birth : 1997
- Artistic domains:
- Groups: Contemporary Italian Artists
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