n art gallery is a space dedicated to the exhibition and sale of artworks, including paintings, sculptures, photographs, digital art, and more. These spaces serve as platforms for artists to showcase their work to the public and for collectors and buyers interested in discovering and purchasing art.

Art galleries can be either public or private.

Public galleries are often funded by governmental bodies, cultural institutions, or foundations, and are open to the public for free or with a minimal entry fee. They may also have an educational and social mission, offering educational programs and activities that engage the local community.

Private art galleries, on the other hand, are owned by individuals, artistic collectives, or commercial enterprises. These galleries may be managed by professional curators or the artists themselves and may focus on one or more specific artistic genres.

As for their origin, the earliest forms of art galleries can be traced back to ancient Greece and Rome, where artworks were displayed in public buildings such as temples, basilicas, and palaces.

However, the modern concept of an art gallery as a commercial space for the sale and exhibition of artworks emerged during the Italian Renaissance. Noble families and patrons collected artworks and displayed them in their private residences, creating a kind of “private galleries” accessible only to a restricted circle of people.

Over time, the concept of art galleries further evolved, becoming a key institution in the world of contemporary art.

Today, art galleries continue to play a crucial role in promoting and disseminating art, providing a space for both emerging and established artists to exhibit their work and for buyers interested in collecting artworks.

 

The history of art galleries

The history of art galleries is a rich and complex one that dates back many centuries. Here’s a brief summary of their evolution over time:

Antiquity: The roots of art galleries can be traced back to ancient Greece and Rome, where artworks were displayed in public buildings such as temples, basilicas, and palaces. However, the idea of an art gallery as we know it today was still far off.

Renaissance: During the Italian Renaissance, the earliest predecessors of modern art galleries emerged. Noble families and patrons collected artworks and displayed them in their private residences, creating a kind of “private galleries” accessible only to a restricted circle of people.

17th – 18th century: Over the subsequent centuries, art galleries became more widespread throughout Europe, especially in major cultural cities like Paris, London, and Vienna. Many of these galleries were still private and managed by private collectors or nobles.

19th century: During the 19th century, with the increasing interest in art and the emergence of the modern art market, art galleries became increasingly commercial. Some of the first public art galleries were founded during this period, with the aim of exhibiting and selling artworks to a wider audience.

20th century: Throughout the 20th century, with the advent of artistic avant-gardes and modern movements, art galleries became vital venues for the promotion and exhibition of new artistic trends. Contemporary art galleries, as we know them today, emerged during this period, offering space to exhibit works by emerging and innovative artists.

21st century: Today, art galleries continue to evolve to adapt to cultural and technological changes. With the advent of the internet and social media, art galleries have expanded their audience and promotional opportunities, while still playing a crucial role in promoting and preserving contemporary art.

Contemporary art is a vast and diversified artistic field that embraces a wide range of practices, concepts, and expressive modalities. Precisely defining contemporary art can be a challenging task given its fluid and evolving nature, but I’ll try to provide you with a comprehensive overview of this cultural phenomenon.

First and foremost, contemporary art distinguishes itself from the traditional concept of art as it embraces multiple forms of artistic expression, including painting, sculpture, installations, video, performance, conceptual art, digital art, and much more. This diversity reflects the complexity of the modern world and the myriad perspectives and challenges that contemporary artists face.

 

Characteristics of contemporary art

A fundamental characteristic of contemporary art is its continuous questioning of contemporary society’s issues and themes. Contemporary artists often pose questions about politics, identity, the environment, technology, globalization, and many other topics that reflect the context in which they live and work. Through their works, they seek to stimulate critical reflection and evoke emotions and sensations in the audience.

Another distinctive trait of contemporary art is its tendency to challenge the conventions and expectations of traditional art. Contemporary artists are known for experimenting with new techniques, materials, and means of expression. This can lead to works that are provocative, surprising, or even controversial, but at the same time stimulate creativity and innovation in the art world.

The issue of interpretation is crucial in contemporary art. Works are often open to a multiplicity of meanings and can be interpreted in different ways by different people. This opens the door to a continuous dialogue between the artist, the artwork, and the viewer, with each interpretation contributing to the richness and complexity of the artistic experience.

A significant element of contemporary art is its institutional and commercial context. Art galleries, museums, fairs, and art markets play a fundamental role in determining which works and artists receive visibility and success. This can lead to tension between the creativity and authenticity of art and the demands of the market and the cultural industry.

 

Internet and Contemporary Art

At the same time, contemporary art is also characterized by its global and interconnected nature.

Thanks to the proliferation of the internet and modern means of communication, contemporary artists are able to reach an international audience and participate in a global cultural dialogue.

This has led to greater diversity and interculturality in contemporary art, with artists from all over the world contributing to its richness and vitality.

 

The Future of Contemporary Art

Lastly, it’s important to underscore that contemporary art is in constant evolution. New movements, trends, and artistic approaches continue to emerge, constantly challenging our preconceived notions of what art is and what its limits may be. In this sense, contemporary art is a fertile ground for exploration, innovation, and creativity, offering endless possibilities for those willing to explore them.

 

Some of My Contemporary Artworks

Cinzia Pellin, within the realm of contemporary art, represents an artist dedicated to creating works that reflect and engage with the current cultural and artistic context.

Contemporary art is a vast and diversified artistic field that embraces multiple forms of expression, concepts, and practices. As a contemporary artist, Cinzia Pellin fits into this creative landscape with her personal vision and unique works.

 

In summary, contemporary art is a vibrant, diverse, and ever-evolving artistic field that reflects the complexities and challenges of contemporary society. Through its diversity, experimentation, and ongoing questioning of the issues of our time, contemporary art invites us to reflect, explore, and open our minds to new perspectives and possibilities.

In the heart of the picturesque Amalfi Coast, nestled between mountains and sea, lies a historical treasure of immeasurable value: the Amalfi paper. This ancient artisanal product, symbolizing tradition and craftsmanship, has a fascinating history dating back centuries.

Amalfi paper, also known as “bambagina,” is a type of precious handmade paper characterized by its soft and durable texture. Its production has been passed down from generation to generation, preserving ancient artisanal techniques dating back to the medieval period.

 

The history of Amalfi paper

The history of Amalfi paper has its roots in the 10th century when the city of Amalfi was a significant commercial and maritime center in the Mediterranean. Thanks to contacts with the East, Amalfi became acquainted with paper production, importing techniques and adapting them to local resources. The strategic location of the city, protected by mountains and close to freshwater sources necessary for paper production, favored the development of this flourishing industry.

Amalfi paper quickly became renowned throughout the Mediterranean for its superior quality and versatility. It was used for religious purposes, for writing manuscripts, and for official documents, becoming a symbol of prestige and social status.

During the Renaissance, the art of Amalfi paper reached its peak, with many artisanal workshops producing decorated and personalized paper sheets for nobles and wealthy merchants of the time. Amalfi artisans distinguished themselves for their attention to detail and the beauty of their creations, using ancient processing techniques that gave the paper a unique texture and distinctive character.

However, with the advent of industrial printing and the widespread use of cellulose paper in the 19th century, the art of Amalfi paper experienced a decline. The old artisanal techniques were gradually abandoned in favor of more efficient and less expensive methods. The production of Amalfi paper survived only thanks to the efforts of some passionate artisans who kept the centuries-old traditions alive.

 

Amalfi Paper

Today, Amalfi paper is considered a cultural treasure and a living testament to Italy’s rich artisanal history. Despite the challenges and transformations of time, some artisanal workshops continue to produce paper using the same techniques passed down over the centuries. These small artisanal businesses keep alive the legacy of Amalfi paper, offering high-quality paper sheets appreciated by artists, writers, and enthusiasts worldwide.

Amalfi paper is much more than just a material: it is a symbol of creativity, dedication, and tradition. Through its millennial history, it continues to inspire and enchant those who appreciate the beauty and value of things made by hand with love and mastery.

Some of my works on Amalfi paper

View my works

 

 

The sacred and the profane mix in peculiarly modern works Female seduction is one of the main traits of Cinzia Pellin’s art, which addresses subjects with a narrative approach that goes beyond pure description and focuses on a look, an atitude, or the refined atmosphere of the portrayed story.

In Le tentazioni, the exhibition that has recently taken place at Galata Museo del Mare in Genoa, the sacred and the profane meet in a moment of peculiar modernity;

Christ performs the Eucharistic rite surrounded by contemporary beautiful maidens.

In the exhibition catalogue, Luciano Caprile writes: “TheSaviour, wrapped in a snow-white robe that seems to be there to protect him from the surrounding world, (…) is not disturbed by the seductive attitudes of those around him. His gaze is fixed on us, who look at him with a full understanding of the role of those temptresses, as they are a part of our daily reality”. Caprile is talking about Il sacrificio, one of the most meaningful works featured in the exhibition.

Seductresses whose charms are hardly avoidable, just like those of the mermaids in virgil’s works Images are mainly blackand- white, a feature that enhances gestures and contrasts. Moreover, the background is as dark as night, allowing the artist to avoid spatial references and vanishing points. In this context, some elements – such as the hair, a detail in the garments, or the sensual redness of the lips of some of the portrayed people – are highlighted using red.

 

That’s the case with L’angelo del peccato, a woman who looks at us with eyes of ice and provokes us with vermilion lips and lusbul attitudes that emerge in the showing of a large breast that is barely kept by a corset, and with L’anima e il sangue, where Christ offers a glass of wine that represents the way of salvation as opposed to the skull of everlasting death that lies on the table. But our world is full of deviant occasions and traps that human fragility can hardly avoid:
Seduzione e complicità portrays three examples of seductresses whose charms are hardly avoidable, exactly like those of the mermaids in Virgil’s works.
In this context of seductive provocation, one figure is in contrast with the general atmosphere.

The work is called La luce della speranza and portrays one of these tempting figures trying to make amend for certain reprehensible behaviours by turning her eyes to heaven and donating a rose to it. Cinzia Pellin took the peremptory path of beautiful painting to address a difficult and perennially topical theme whose meanings expand beyond the faith of those who believe in God and reach the steps of a life that constantly offers illusory escapes in the form of ephemeral pleasure.

At the expense of certain incorruptible and inalienable values that are linked to the deepest and most authentic meaning of life itself. A lesson and a warning emerge from the black curtain that surrounds every painting, accompanying the deep mystery of our existence.

 

Envent Gallery

 

 

Paint Gallery

 

Galata Museo del mare

Curated byLuciano Caprile

Was inaugurated by Cinzia Pellin, an extraordinary artist who makes the female universe the heart of her painting.

The numerous visitors were able to admire 15 paintings dedicated to as many women who, as the author said, have successfully achieved their professional or personal goals.

The aim of the exhibition is therefore of a real celebration of the female figure, caught here in the development of its professional skills.

Next to the rider, the only painting in black and white, we find the cycling champion of Lariano Marta Bastianelli, the model, the actress, the singer, the violinist, the classical dancer, the carabiniera and many others, portrayed with a meticulous and careful realism, from which shines out the soul of the women who have posed as models for Pellin. 

Some of them attended the opening of the exhibition and witnessed how being portrayed, for them, has proved to be a truly exciting and engaging experience, since they got in tune with the artist and have known and appreciated her on the human as well as artistic-professional level.

Among them the singer Amara, the violinist Giorgia Rossetti, the actress Annalisa Insardà, the model Stefania Saettone and the marshal Antonella Spagnuolo; were also present the director Michelangelo Pepe, who made a docufilm dedicated to this pictorial exhibition, the journalist Amedeo Goria and the actor Emanuel Caserio.

After a brief introduction by the curator Alberto Dambruoso, a visibly excited Cinzia Pellin took the floor, thanking all the models, each of whom was given a red rose.

Many participants participated from different Italian regions and also from Lariano, the town in which the artist has chosen to live for some years.

 

Videogallery

The liveliness and chromatic richness of the canvases has conquered all the public; moreover, who knows the artistic figure of Cinzia Pellin knows that the artist prefers the large portrait characterized by a meticulous and almost maniacal realism of the details. Above all, then, the choice to color a bright red lips and nails of the protagonists, details that become the focus of the works and which attracts the viewer’s eye.

A special praise goes to the organizers who decided to “revive” the canvases, inviting the portrayed women to perform: in this way the language of the painting has merged with the notes of the violin of Rossetti, the scratchy voice of Amara, the recitation of Insardà; The result was a truly engaging and fascinating osmosis. 

 

Professor Maria Grazia Gabrielli from the newspaper Castelli News

 

Press

 

Photogallery

 

Exhibited works

 

 

Salvatore De Riso inaugurated the Sal De Riso Gourmet restaurant together with his wife Anna De Nunzio, right next to his pastry shop in Minori (Amalfi’s Coast, Italy).

Next to the very famous pastry shop of Sal De Riso (former President of the Academy of Italian Master Pastry Chefs, ndr) on the Lungomare di Minori, a new restaurant comes to life defined by a gastronomic proposal intimately linked to the territory, in an environment characterized by a marked brightness and with bright colours, with an open kitchen supported by the use of cutting-edge technologies.

The venue, from an architectural point of view, is an exaltation of different styles, united by a “Mediterranean” soul, dressed in the colors of blue, white and many particular shades of coral. To embellish the environment there are important works by Italian artists: among all we mention a work by the Roman painter Cinzia Pellin: “Love”, dedicated to the actress Anna Magnani, who filmed some scenes of the film by Roberto Rossellini from the homonymous title.

“She, an unforgettable actress, loved to spend her holidays on this stretch of the coast and, just a few kilometers from here, she experienced her passionate love with Roberto Rossellini.” Anna De Nunzio.

 

I had the honor of participating in the inauguration and, in addition to tasting Sal De Riso’s delicious cuisine, I was able to admire the splendid works of art that embellish this wonderful place. And I am even more honored by the fact that one of my artworks representing Anna Magnani is placed at the center of the restaurant. The work is entitled “L’amore” and is inspired by Rossellini’s film of the same name.

 

Foto gallery

 

Video gallery

 

 

 

It opens on April 1, 2023 from 18.00 at the Museo Venanzo Crocetti in Rome the
solo exhibition by Cinzia Pellin entitled Women’s life curated by Alberto
Dambruoso.

In the exhibition will be presented fifteen paintings that are part of the last pictorial project
developed by the artist in the last year of activity. The absolute protagonists of this new pictorial and exhibition project, as can be seen from the title, are women.  Pellin dedicated fifteen canvases to the single portrait, in some cases double and triple, of women who, reporting his own words: “they decided to succeed, women who made their realization a mantra, who chose to cultivate their passions, their talents and develop them in the work. Women who, beyond the stereotypes in which they have been chained for too long, have decided to realize themselves and have chosen to live 100%”.

In all these paintings highlight the extraordinary ability of the artist to return to the observer the psychological strength of each person portrayed. In fact, of every woman portrayed, Pellin was able to paint not only her figure but more importantly, her soul.
The exhibition will be accompanied by a catalogue with the text of the curator in addition to the
images of the works.

After the presentation by Alberto Dambuoso there will be the screening of the documentary filmed in the artist’s studio by director Michelangelo Pepethe performances of some of the women portrayed in the paintings and a wine tasting of Casale del Giglio, one of the sponsors of the event.

The exhibition will remain open until April 13 at the following times:
Monday to Friday: 11-13 and 15-19 / Saturday 11-19
Monday 10 April the museum will be closed

This is a painting project whose aim is to highlight women and their role in today’s society.

Very often underestimated, women necessarily have to work harder than men to assert themselves and play a decisive and important role in the world of work.

The women who have been involved in my new painting project will pose in various photoshoots.

The photos I will take of them will serve as the basis for the works that will be shown in a personal exhibition.

These women carry out different activities and are seemingly distant from each other, but what they have in common are their determination and independence.

I will represent these women in their private and working lives, whether they are chatting over coffee or working.

From cashier to entrepreneur, from model to dance teacher, from singer to actress,

from artist to sports champion, from dancer to gardener, winning women dedicated to their work and their passions.

 

I think that there are enough artists who talk about discomfort and violence in their work, I don’t think art should express only violence.

I don’t think that art has to light the negative aspects of society.

Sometimes it can also send a positive message, and that is my goal.

 

Foto gallery dei lavori in sviluppo

 

 

Video gallery dei lavori in sviluppo

 

From September 11th to October 10th, 2020, the Galata Museo del Mare exhibition gallery will host an exhibition by Cinzia Pellin, entitled “The temptations”.

The event, which proposes about twenty oils on canvas, is curated by Luciano Caprile who critically introduces the catalog with its text.

Inauguration: Thursday September 10th at 5.30pm. With the participation of Nicoletta Viziano, President of Mu.MA, together with the artist and the curator. Some of the protagonists of the canvases will speak too.

Screening of Michelangelo Pepe’s video.

Cinzia Pellin paints the figure of Jesus surrounded by tempting women in an atmosphere between the sacred and the profane. The extraordinary interpretative ability of this Roman artist, manages to enhance the seductive qualities of the female protagonists thanks to a technique of refined elegance where black and white prevails to leave the role of narrative underlines with rapid touches of color.

The protagonist is the light that creates suggestive contrasts and makes the represented scenes three-dimensional. The expressiveness of the faces and the poses of the characters, thus reach a strong emotional charge.

The exhibition shows a male figure who interprets Christ while he is performing the Eucharistic rite of the Last Supper “wrapped in a white garment that seems to want to defend him from the surrounding world”. It is a Christ, as Luciano Caprile writes, who “is not disturbed by the seductive behavior of those around him. His gaze is turned to us, who looks and understand perfectly the role of temptresses, since they belong to our daily reality”. It can also be considered as a reflection on a modern Jesus, who transforms himself from a sacred figure to a deeply human one. Other portraits of splendid women constitute the corollary of an exhibition where female beauty assumes the role of constant visual and perceptual attraction.

Cinzia Pellin was born in Velletri (Rome) on July 19th, 1973. After the Artistic Lyceum she attended the Academy of Fine Arts in Rome, graduating in scenography with full marks. She worked exclusively for the Old Art Galleries of Padua. In Holland she collaborated with the Van Loon Galleries in Vught where she held her own personal exhibition, while today she works exclusively for Belgium and the Netherlands with the Cafmeyer Gallery, in England it is linked to the Different Gallery and has exhibited together with the master Berlingeri at the Moorehouse in London. In 2017 her works were exhibited at the Villa Reale in Monza in the anthology “The Women Beauty” promoted by Caloni Transporti s.r.l. of which she became a testimonial.

Luciano Caprile was born in Genoa on January 14th, 1941. He currently writes on “Il Secolo XIX” in Genoa and on the magazine “Arte in world”. He has curated important exhibitions in numerous private and public spaces in Italy and abroad.

 

11/09/2020 – 10/10/2020

Galata Sea Museum, Genoa

We would like to thank: the curator of the exhibition Luciano Caprile, the director Michelangelo

Pepe and all those who made the success of this great event possible;

the official sponsors Palazzo Ai Capitani Hotel and Model Stefania Saettone;

the technical sponsors Arte Limpida and Caloni Trasporti S.r.l.;

the models represented in the works Stefania Saettone, Emanuele Abbafati, Vanessa Pellin, Martina Bauco, Cristina Maser;

and all the participants at the opening and the numerous visitors.

THE TEMPTATIONS by Cinzia Pellin / Galata Museo del Mare, Genoa