Camillo Gannelli - Astrazione blu





€290 | ||
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€270 | ||
€250 | ||
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Camillo Gannelli presents Astrazione blu (2022), an original mixed-media acrylic on board landscape in blue, turquoise and brown with gold and silver accents, measuring 50 cm by 70 cm, signed, produced in Italy and sold directly by the artist.
Description from the seller
"Interrupted Horizon" - a balance between matter and abyss
Acrylic on board
It is an abstract that doesn’t need to shout to be heard.
The first thing that strikes is the color. Two deep blues, different: above a more powdery, almost atmospheric turquoise, below a denser, more aquatic cobalt blue. In the middle, like a fault line, a matter fracture.
That central band is the heart of the painting. Rust, bronze, cement gray. It isn’t painted, it’s built. You can see the vertical streaks, the engravings made when the material was still fresh, the oxidation. It looks like a distant city seen through fog, or the trace of a seismograph, or a wreck surfacing.
Technically it’s very interesting. I worked on multiple levels: there’s a soft, shaded brushwork for the blues, and then an almost sculptural intervention in the center, with a spatula, with a highly tactile texture. The light gets trapped inside it and creates real shadows, not just painted ones. It changes depending on where you look.
The emotion it leaves is a calm unease. It’s an inner landscape. It smells of winter sea, of wet metal, of silence after a storm. It’s perfect for a modern, minimalist environment because it carries a depth that doesn’t tire: the more you look at it, the more you find inside.
It’s not decorative. It’s contemplative.
"Interrupted Horizon" - a balance between matter and abyss
Acrylic on board
It is an abstract that doesn’t need to shout to be heard.
The first thing that strikes is the color. Two deep blues, different: above a more powdery, almost atmospheric turquoise, below a denser, more aquatic cobalt blue. In the middle, like a fault line, a matter fracture.
That central band is the heart of the painting. Rust, bronze, cement gray. It isn’t painted, it’s built. You can see the vertical streaks, the engravings made when the material was still fresh, the oxidation. It looks like a distant city seen through fog, or the trace of a seismograph, or a wreck surfacing.
Technically it’s very interesting. I worked on multiple levels: there’s a soft, shaded brushwork for the blues, and then an almost sculptural intervention in the center, with a spatula, with a highly tactile texture. The light gets trapped inside it and creates real shadows, not just painted ones. It changes depending on where you look.
The emotion it leaves is a calm unease. It’s an inner landscape. It smells of winter sea, of wet metal, of silence after a storm. It’s perfect for a modern, minimalist environment because it carries a depth that doesn’t tire: the more you look at it, the more you find inside.
It’s not decorative. It’s contemplative.

