HERE’S A FRAMED SIGNED AND DATED 1988 ORIGINAL VINTAGE MODERN MINIATURE 5” X 3 1/8” OIL-ON-BOARD PAINTING CREATED BY ITALIAN STUDIO POTTERY ARTIST AND SCULPTOR PAOLO STACCIOLI (B. 1943-) THAT DISPLAYS A SEATED YOUNG GIRL DOLL WITH HER LEGS AND ARMS OUTSTRETCHED RENDERED IN WHITE AND GRAY!
Please Note: This signed vintage miniature oil-on-board painting still retains its original linen mount and wooden frame, most likely selected by the artist. In addition to the frame being made from wood, it is also encased with a thick layer of handmade paper.
Dimensions: The miniature painting itself measures approximately five inches (5”) in height by three and one eighth inches (3 1/8”) in width. The overall measurements of the wooden frame are approximately ten and one half inches (10 1/2”) in height by nine inches (9”) in width.
Signature: The painting, which is rendered on thick artist’s board, has stamped signatures along the bottom margin that read:
PISTOIA – GENNAIO 1988
In addition, there is a hand-written signature located in the bottom right corner of the painting that is presumably the artist’s last name (but is looks like an indecipherable scribble).
Lastly, there is a gallery paper label on the frame’s backside that reads:
GALLERIA D’ARTE / C. & A. SCHWICKER / Piazza Pitti 40r. – Tel. 211851 / FIRENZE
Condition: The oil-on-board painting itself is in excellent and clean condition – absolutely beautiful! The handmade paper covered wooden frame is in generally in excellent and clean with mild wear and some minor faint staining along the underside bottom edge.
Please see the other Paolo Staccioli painting currently for sale in a separate listing.
Domestic buyer pays calculated shipping for secure packing and USPS priority within the United States. I no longer ship internationally due to the high volume of scams taking place. Sorry.
(the following information is courtesy the artist’s own website)
Born in Scandicci in 1943, Paolo Staccioli became involved in the art world at the beginning of the 1970’s, when he began to exhibit his paintings in the Florence area. But, his artistic vocation seemed to clarify itself twenty years later when the artist began a veritable formative process in Faenza, acquiring, over the years and with determination, the technical expertise that brought him to a language better suited to his creativity: sculpture and ceramics.
The apprenticeship rapidly led to his first successes: after a first series of appearances in solo and group exhibitions, principally in the Florentine area, Paolo Staccioli suddenly captured the favor of the critics and collectors thanks to his graphic ability and freshness of execution. His expertise in transforming clay into form, as well as his ability to endow it with luminous vibrations and reflections of “luster ware” colors, interrupted only by graphic drawing marks, quickly brought Paolo Staccioli to his greatest creative season, uninterrupted, from the 1990’s up to today.
In ceramics, Paolo Staccioli found the fertile ground to express in complete freedom that creative vein that identifies him today as one of the artist who has created one of the most original and interesting formal repertoires in contemporary ceramic art.
From the first vases, where, for the first time, the first processions of horses appear (a theme to which the artist will always remain attached), lead by the mood of a dreamy and fairytale like imagination, Staccioli moved on to experimenting with new forms, modeled with lightness and irony; and thus appear the first harlequins, warriors, travelers, and dolls, that free themselves from the two dimensional surface of the vase becoming sculpture.
His creativity is now completely liberated, ready to find an outlet in the thousands of sculptural inventions and combinations that are created in the studio-atelier in Scandicci. His character and talent bring him to attempt a particular synthesis between what he has always recognized as his cultural heritage (the Etruscan world, with a formal elegance and the fresh expressiveness of pre-classical languages) and the observation of the modern world, arriving at the creation of an iconographic repertoire that goes beyond the limits of time, to deliver itself to modernity as an expression of playfulness and demystification, perennially putting his trust in the variety and multiplicity of linguistic declinations. Sustained by a continually fluctuating inventiveness, Staccioli amusedly watches the characters, dear to his imagery, emigrate from the sculpture’s pedestal to reappear aboard Argonaut ships and little carts, or mounted on a swing, suspended in a metaphysical balance.
Sculptures that, over the years, acquire an even greater plastic mass, achieving a majesty without sacrificing immediacy; they are regenerated by washes of color that continually renew and reflect the development of the forms.
Over the years, Staccioli, indulging his by now consolidated sculptural vocation, dedicates himself to the exploration of the formal properties of bronze, a material, like ceramics, that finds a perfect correspondence with the formal, synthetic and stylistic structure of his creations.
The studio in Scandicci, where we find Paolo Staccioli working still today, is a hotbed in constant activity, an open worksite where it is possible to renew a sense of wonder in front of a clay model, multicolored steles, and sculptures longing to be shown on the privileged stages of an exhibition and in collections, that ever more punctuate Paolo Staccioli’s artistic and professional journey.
(the following information is courtesy the website for Liquid Art System)
Staccioli began painting as a teenager, and held his first solo exhibition in 1973. He worked in ceramics and terracotta bas-reliefs at the end of the 1980's, experimenting with glazes and oxygen-reduction firing, and moved on to lustres, employing clays oxides and salts, under the guidance of the master-craftsman Umberto Santandrea from Faenza. Staccioli eventually gave up painting altogether to focus on ceramic-based artwork, transferring his subjects to vases and other ceramic objects. During the 1990's, he began to experiment with plastic, producing interesting results.
To inaugurate the Museum Park of Poggio Valicaia in 2000, Staccioli molded a large horse ridden by a winged putto. He continues to work in his studio at Scandicci and Montelupo, molding figures of warriors, travelers on carts and boats, and, mosty recently, cardinals. His new figures are painted with lustres on ceramic objects and vases.
Staccioli is inspired by the Old Masters, and seeks to create a link between the ancient and traditional and his unique forms of expression. Though not formally trained in art, his natural skill and extraordinary imagination make him an outstanding self-taught painter, sculptor, and ceramist. For example, Staccioli includes classical fragments from Paolo Uccello's "La Battiglia of San Romano" or objects from his childhood in his newly-constructed visual language, creating dream-like spaces and compositions.
This technical curiosity combined with creative vitality has led Staccioli to explore the expressive potential of ceramics, with its innate material malleability. He begins a piece by working with fragments rather than full forms, then deconstructs, molds, cuts, and re-arranges the fragments into shapes and spaces which reflect the imaginary forms that emerge from his soul and are completed by his treatment of the brush to give them even more dimension.
Staccioli's decisive strokes and delicate contrasts between opaque and bright tones define his “pulcinelle” (small hens), horses, dolls, or cherubini. He is able to create shadings which allow light to enter the dull material and create delicate effects of depth and atmosphere. The figures that appear to emerge from fantasy worlds which populate his sculptures are created by high relief, bas-relief, or paint. The liberal expressiveness of these figures is always a delight and surprise, even when they appear repeatedly on his works, and express a serene solitude without reference to divinities or mythology.
Horses are a subject that Staccioli particularly loves, and are represented as virtual and immortal survivors of a battle, rising as tormented giants with bellies swollen from the strain. He poses his horses on a vertical axis in all his works, emphasizing the sense of upward movement that creates a sensation of relief and liberation.