Vincenzo Raimondo - Ballerina






Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
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Vincenzo Raimondo's original 2026 acrylic painting on canvas titled Ballerina, measuring 70 × 50 cm, signed Firmato, in good condition.
Description from the seller
Title: Ballerina
Technique: Acrylic on canvas
Dimensions: 50 × 70 cm
A ballerina, caught in a moment that is neither pose nor pure movement. It is the suspended instant between effort and grace, the moment the audience usually doesn't notice because they're applauding too soon. Here, instead, she stays there, still, and looks at you without looking at you.
The figure is reduced to the essential: a clean black silhouette, almost graphic, that becomes the visual hinge of the work. Around and above it, color does whatever it wants. Red, blue, yellow and white do not describe the body but cut through it, as if dance were not a physical gesture but an emotional condition. The tutu is not a dress; it is a surface on which color explodes, gets stained, errs, and thus works.
The background, deliberately irregular and vibrant, offers no precise location. No theater, no recognizable stage. This shifts the scene from the classic idea of ballet to something more universal: discipline, solitude, beauty born of effort. Finally, elegance with no sugar coating.
It's a work that speaks of balance, not of perfection. In fact, it thrives precisely in the asymmetries, in brushstrokes left visible, in the contrast between the absolute black of the figure and the chromatic freedom that surrounds it.
Title: Ballerina
Technique: Acrylic on canvas
Dimensions: 50 × 70 cm
A ballerina, caught in a moment that is neither pose nor pure movement. It is the suspended instant between effort and grace, the moment the audience usually doesn't notice because they're applauding too soon. Here, instead, she stays there, still, and looks at you without looking at you.
The figure is reduced to the essential: a clean black silhouette, almost graphic, that becomes the visual hinge of the work. Around and above it, color does whatever it wants. Red, blue, yellow and white do not describe the body but cut through it, as if dance were not a physical gesture but an emotional condition. The tutu is not a dress; it is a surface on which color explodes, gets stained, errs, and thus works.
The background, deliberately irregular and vibrant, offers no precise location. No theater, no recognizable stage. This shifts the scene from the classic idea of ballet to something more universal: discipline, solitude, beauty born of effort. Finally, elegance with no sugar coating.
It's a work that speaks of balance, not of perfection. In fact, it thrives precisely in the asymmetries, in brushstrokes left visible, in the contrast between the absolute black of the figure and the chromatic freedom that surrounds it.
