Original watercolor il ratto delle Sabine (set of 2)
“Reinterpretation of a Masterpiece: Alex Righetto’s Diptych Watercolor”
Alex Righetto, a skilled watercolor artist, has created a stunning diptych painting that pays homage to one of the greatest masterpieces of Renaissance art. Inspired by “The Abduction of a Sabine Woman” by Gianbologna, Righetto’s diptych is a massive work of art that showcases his mastery of color, form, and light. In this essay, we’ll examine the process of creating this beautiful painting, exploring each step from the initial sketch to the final brushstroke.
The first step in creating the diptych was to study Gianbologna’s original masterpiece. Righetto was fascinated by the dynamic tension between the figures in the sculpture, and he wanted to capture that energy in his own painting. He carefully analyzed the forms and proportions of the figures, considering the movement and balance of the composition as he worked to develop a new vision that would pay homage to the original while still being true to his own style.
With the initial sketches complete, Righetto began to apply the underpainting, using a series of thin washes of watercolor to establish the basic colors and tones of the painting. This stage was critical, as it allowed him to get a sense of the overall composition and make any necessary adjustments to the proportions and forms. He took his time, blending the colors carefully to create a harmonious effect that would set the stage for the rest of the painting.
As the painting took shape, Righetto began to add the details, carefully layering each element until the painting was complete. He worked with a bold and expressive brushstroke, using his intuition and imagination to bring the diptych to life. The figures in the painting were rendered with a fluid and energetic quality that perfectly captured the spirit of the original sculpture.
For the final stage of the painting, Righetto worked tirelessly to refine the details, using his signature transparent glazes to build depth and luminosity. The end result was nothing short of spectacular, with the colors seeming to glow from within the painting. The diptych was massive in size, allowing him to showcase his skills on a grand scale, and the attention to detail was breathtaking.
In conclusion, Alex Righetto’s diptych watercolor is a triumph of the artist’s skills and imagination, a reinterpretation of a masterpiece that pays homage to one of the greatest sculptures of the Renaissance. From the initial sketch to the final brushstroke, this painting is a testament to Righetto’s commitment to his craft and his passion for art. Whether you’re a fan of watercolor or simply appreciate masterful paintings, this diptych is a must-see, a visual feast that will leave you awestruck.
The statue depicts three nude figures: a young man in the center who has seemingly taken a woman from a despairing older man below him.
“It is ostensibly based on the kidnap of the Sabine Women incident from the early history of Rome when the city contained relatively few women, leading to their men committing a “raptio” (large-scale abduction; the word is rendered as rape in archaic or literary English) of young women from nearby towns and cities.”
Giambologna here was more interested in displaying his immense and virtuosic talent as a sculptor than in creating sculptural historiography.
Indeed, his working titles for this statue at various times included “Paris and Helen,” “Pluto and Proserpina” and “Phineus and Andromeda,”although the naming was not a matter he was preoccupied with.
According to art historian John Shearman, the statue was “an experiment in form rather than content”, and typical of its time, “the expression of artistic qualities”.
The historian Charles Avery described the work as “purely a compositional exercise”
“Giambologna was in need of a title and requested input from a number of writers. The Italian monk, philologist and art collector Vincenzo Borghini suggested the title La Rappia delle Sabine (The Plunder of the Sabine Maidens).
According to art historian Michael Cole, the title may fit in someway, but is essentially unsatisfactory or perhaps meaningless as it does not convey the artist’s real intent. According to Cole “the scene…conforms with what one would expect in a depiction of the Sabines, but nothing there really clarifies the identities of the characters.”
About this artwork
20 × 30 in