Daniel Del Orfano

Daniel Del Orfano, nato e cresciuto a Long Island, New York, dopo aver insegnato presso la prestigiosa Scuola Knox Boarding, è stato integrato nel sistema scolastico pubblico, dove ha insegnato arte a bambini di tutte le età.

Ma, anche se estremamente gratificante, questa non era la sua vera vocazione.

Nell'estate del 2005, fonda il "Laboratorio Rinascimento", con l'obbiettivo di espandere creativamente i suoi orizzonti.

Poiché la domanda di lavoro commissionato diventava sempre maggiore, Daniel inizia a guardare il suo stile espressivo, attuando le tecniche che enfatizzano il realismo.

Tiziano Vecellio | Ecce Homo, 1570-1576

Dimension: Height: 100.5 cm.; Width: 100.8 cm.

Medium: Oil on Canvas

Provenance: Royal Collection (Real Monasterio de El Escorial, Madrid, Sala Prioral)

Current location: Museo Nacional del Prado

Christ shown to the People: Ecce Homo, 1570-1576 depicts a passage from the Gospel of Saint John (19, 4-5) which recounts how after Christ had been whipped and crowned with thorns:

"Pilate therefore went forth again, and saith unto them, Behold, I bring him forth to you, that ye may know that I find no fault in him.

Then came Jesus forth, wearing the crown of thorns and the purple robe.

And Pilate saith unto them: Behold the man"!

Pierre-Auguste Renoir | L'ombrelle, 1878

In this radiant painting, Pierre-Auguste Renoir depicts the quintessential Impressionist subject of the fashionably attired Parisienne within a scene of abundantly flowering nature.

Painted in 1878 at the height of Impressionism, the variegated brushwork consisting of thick and swirling impasto and small dabs of spontaneous and audaciously applied paint, make L'ombrelle one of the artist's most experimental works of the latter part of that decade.

Marie Bashkirtseff | A meeting, 1884

When A Meeting was exhibited at the 1884 Salon of Paris, it was acclaimed by both the public and the press. But this success did not satisfy Marie Bashkirtseff at all, who was outraged that she did not receive a medal.

She wrote in her Journal:

"I am exceedingly indignant [...] because, after all, works that are really rather poor have received prizes"

and also

"There is nothing more to be done. I am a worthless creature, humiliated, finished".

Confident of her own talent, she denounces what seemed to her to be an injustice, but also expresses a fear: the fear of being forgotten. Marie was then only twenty-five years old, and knew already that she was condemned to die from tuberculosis; she died on 31 October that same year.

Edouard Vuillard | Young woman at the wind, 1899

Édouard Vuillard, in full Jean-Édouard Vuillard, (born November 11, 1868, Cuiseaux, France - died June 21, 1940, La Baule), French painter, printmaker, and decorator who was a member of the Nabis group of painters in the 1890s.

He is particularly known for his depictions of intimate interior scenes.

Vuillard studied art from 1886-1888 at the Académie Julian and the École des Beaux-Arts in Paris.

In 1889 he joined a group of art students that included Maurice Denis, Pierre Bonnard, Paul Sérusier, Ker-Xavier Roussel, and Félix Vallotton.

They called themselves the Nabis (Hebrew for “Prophets”), and they drew their inspiration from the Synthetist paintings of Paul Gauguin’s Pont-Aven period.

Aime-Nicolas Morot | Le bon Samaritain, 1880

Author: Aimé-Nicolas Morot (French painter, 1850-1913);

Title: The Good Samaritan;

Medium: oil on canvas;

Dimensions: Height: 268.5 cm - Width: 198 cm;

Current location: Musée du Petit Palais, Paris.

Born into a modest, actively Republican family, Aimé Morot pursued an exemplary career after receiving an academic training in the studio of Alexandre Cabanel.

Winner of the Prix de Rome in 1873, he used his stay at the Medici Villa as an opportunity to explore the Roman countryside on horseback.

Edgar Degas | Conversation, 1882-1885

During the mid-1880s, Degas repeatedly explored the motif of two or three women leaning on a wooden railing - at the racetrack, on a pleasure boat, or before a landscape - absorbed in casual conversation..

"Degas was clearly intrigued by the visual possibilities of this moment of female intimacy", Jill DeVonyar and Richard Kendall have written, "making half a dozen variants of the composition with a range of outfits, headgear, and backgrounds" (op. cit., 2007, p. 66).