Slasky - La Contessa di Vilches
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Slasky presents La Contessa di Vilches, a 50 by 50 cm giclée on canvas, signed by hand, from an editioned limited run produced in Italy in 2020 or later, in excellent condition and sold directly by the artist.
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Description from the seller
La Contessa di Vilches – King of Sex
Slasky
Digital collage, Fine Art Giclée print on canvas
Original work: Amalia de Llano y Dotres, Contessa di Vilches, by Federico de Madrazo, 1853
In this work, Slasky reworks one of the best-known masterpieces of Spanish Romanticism, introducing a provocative pop element that completely overturns the aura of caste virtue and aristocratic grace of the portrait.
The original painting by Federico de Madrazo depicts the Contessa di Vilches in a languid and elegant pose, characterized by a half-smile and the soft, vibrant blue ruffles of her evening gown.
Slasky’s digital intervention focuses on the countess’s right hand, which originally rested under the chin in a gesture of composed contemplation. Now, discreetly held between the fingers, there appears a sealed condom sachet bearing the logo "King of Sex," designed in a corporate style that visually echoes the historic fast-food chain Burger King.
This visual insertion serves as a striking and witty symbol of emancipation. The countess’s sweet, knowing gaze suddenly takes on a contemporary, uninhibited connotation: no longer an expression of passive 19th-century charm, but a statement of a self-aware femininity that breaks the taboos surrounding intimacy and safe sex.
The juxtaposition of a refined portrait of the elite with the bold, consumerist aesthetics of mass culture gives rise to a composition that is at once sophisticated and rich in dark humor.
Giclée on Hahnemühle 350 g/m² + certificate of authenticity
« Art is not about representing new things, but about representing them with novelty »
Slasky is a renowned Italian artist whose works have been exhibited in solo and group shows worldwide.
The artist has the ability to fuse classical artworks with contemporary digital art techniques. With his neo-urban classic style, he blends tradition and modernity, placing the protagonists of original artworks into contemporary social and artistic environments.
Institutional highlight: Long Live Rembrandt, Rijksmuseum, Amsterdam, 2026. Work selected by the museum jury from thousands of international submissions for exhibition within the museum’s permanent collection spaces. 15 July — 15 September 2019.
2026
* CI-AO
30 April - 28 May 2026
Via Del Vantaggio 28, Rome
Piazza del Popolo
* FACE2FACE
Laundry Studios · 5 – 9 March 2026
⸻
2025
* Tokyo Open Art | Art on Loop Exhibition
Tokyo · 12 – 16 September 2025
* Art Parallax
London · 15 – 16 February 2025
⸻
2024
* Waterloo — Solo Exhibition
Limassol · 10 – 20 December 2024
* ARTLAB 2024
Munich · 13 – 22 June 2024
* Must Be — Solo Exhibition
Anemi, Limassol · 3 – 10 February 2024
* Contemporary Venice 2024 — 13th Edition — Solo Exhibition
Venice · 12 – 15 January 2024
⸻
2023
* Time Is An Illusion / Le temps est une illusion
Kramfors · 2 – 23 October 2023
⸻
2022
* (UN)FAIR — (UN)DISCOVERED ART
Superstudio Maxi, Milan · 8 – 10 April 2022
⸻
2021
* MIA Fair 2021
Superstudio Maxi, Milan · 7 – 10 October 2021
* Lausanne Art Fair
Lausanne · 30 September – 3 October 2021
* Lille Art Up!
Lille Grand Palais · 24 – 27 June 2021
* Works on Paper
Antibes · 18 March – 21 April 2021
⸻
2020
* StreetArt // UrbanArt
Tozzo Atelier · 8 – 30 October 2020
* Work on Paper
Stockholm · 18 March – 21 April 2020
⸻
2019
* Long Live Rembrandt ★ — Jury Selection
Rijksmuseum, Amsterdam · 15 July – 15 September 2019
* Wopart Art Fair
Lugano · 19 – 22 September 2019
* Andy Warhol Exhibition — Group Show
· 14 April – 23 September 2019
⸻
2018
* Neo Urban Classic — Solo Exhibition
MGallery by Sofitel, Kaluga · 16 March 2018
* Anti Donald Trump
Creative Debuts, London · 12 – 18 July 2018
⸻
2016
* Arte Firenze — Sandro Botticelli International Contemporary Art Prize
Florence · 18 – 20 November 2016
* Twitter Art Exhibition
Trygve Lie Gallery · 31 March – 21 April 2016
⸻
2015
* HUMAN RIGHTS? — La Casa della Pace
Fondazione Opera Campana dei Caduti, Rovereto · 31 May – 30 August 2015
Seller's Story
Slasky once again begins to crack open the barriers of time with a work that acts as a refined visual and conceptual short circuit. At the center of the composition emerges the magnetic and indissoluble gaze of a classical feminine portrait, imbued with the meticulous realism typical of the great northern European painting tradition of the Seventeenth Century. The austere dignity of the noblewoman, framed by a lavish frilled white lace collar, is however intercepted, severed, and partially concealed by a geometric pattern of white and black diagonal stripes.
This graphic intervention is not a mere aesthetic overlay, but a powerful statement of urban poetics. Slasky introduces a pattern that immediately evokes the visual codes of contemporary road signage, Optical Art, and modern street graphics. The geometric crossbar acts as a barrier or censoring filter that fragments the face: one half remains faithful to its museum and historical dimension, while the other half dissolves into the cold rationality of the abstract code.
The work thus interrogates the perception of identity in the digital age. The face of the past, guardian of an intimate and solemn historical memory, is reactivated and compelled to dialogue with the syncopated rhythms and the brazen geometries of contemporary culture. To underscore this dichotomy, the choice of frame is decisive: a sumptuous black Baroque profile in relief that envelops the work, transforming the jarring pop contrast into a sacred object of museum-design.
With his unmistakable technical and editorial deftness, Slasky does not destroy the antique, but re-encodes it, proving that classical art belongs not only to the past, but is a living matter, ready to be traversed and re-signified by the symbols of our present.
Translated by Google TranslateLa Contessa di Vilches – King of Sex
Slasky
Digital collage, Fine Art Giclée print on canvas
Original work: Amalia de Llano y Dotres, Contessa di Vilches, by Federico de Madrazo, 1853
In this work, Slasky reworks one of the best-known masterpieces of Spanish Romanticism, introducing a provocative pop element that completely overturns the aura of caste virtue and aristocratic grace of the portrait.
The original painting by Federico de Madrazo depicts the Contessa di Vilches in a languid and elegant pose, characterized by a half-smile and the soft, vibrant blue ruffles of her evening gown.
Slasky’s digital intervention focuses on the countess’s right hand, which originally rested under the chin in a gesture of composed contemplation. Now, discreetly held between the fingers, there appears a sealed condom sachet bearing the logo "King of Sex," designed in a corporate style that visually echoes the historic fast-food chain Burger King.
This visual insertion serves as a striking and witty symbol of emancipation. The countess’s sweet, knowing gaze suddenly takes on a contemporary, uninhibited connotation: no longer an expression of passive 19th-century charm, but a statement of a self-aware femininity that breaks the taboos surrounding intimacy and safe sex.
The juxtaposition of a refined portrait of the elite with the bold, consumerist aesthetics of mass culture gives rise to a composition that is at once sophisticated and rich in dark humor.
Giclée on Hahnemühle 350 g/m² + certificate of authenticity
« Art is not about representing new things, but about representing them with novelty »
Slasky is a renowned Italian artist whose works have been exhibited in solo and group shows worldwide.
The artist has the ability to fuse classical artworks with contemporary digital art techniques. With his neo-urban classic style, he blends tradition and modernity, placing the protagonists of original artworks into contemporary social and artistic environments.
Institutional highlight: Long Live Rembrandt, Rijksmuseum, Amsterdam, 2026. Work selected by the museum jury from thousands of international submissions for exhibition within the museum’s permanent collection spaces. 15 July — 15 September 2019.
2026
* CI-AO
30 April - 28 May 2026
Via Del Vantaggio 28, Rome
Piazza del Popolo
* FACE2FACE
Laundry Studios · 5 – 9 March 2026
⸻
2025
* Tokyo Open Art | Art on Loop Exhibition
Tokyo · 12 – 16 September 2025
* Art Parallax
London · 15 – 16 February 2025
⸻
2024
* Waterloo — Solo Exhibition
Limassol · 10 – 20 December 2024
* ARTLAB 2024
Munich · 13 – 22 June 2024
* Must Be — Solo Exhibition
Anemi, Limassol · 3 – 10 February 2024
* Contemporary Venice 2024 — 13th Edition — Solo Exhibition
Venice · 12 – 15 January 2024
⸻
2023
* Time Is An Illusion / Le temps est une illusion
Kramfors · 2 – 23 October 2023
⸻
2022
* (UN)FAIR — (UN)DISCOVERED ART
Superstudio Maxi, Milan · 8 – 10 April 2022
⸻
2021
* MIA Fair 2021
Superstudio Maxi, Milan · 7 – 10 October 2021
* Lausanne Art Fair
Lausanne · 30 September – 3 October 2021
* Lille Art Up!
Lille Grand Palais · 24 – 27 June 2021
* Works on Paper
Antibes · 18 March – 21 April 2021
⸻
2020
* StreetArt // UrbanArt
Tozzo Atelier · 8 – 30 October 2020
* Work on Paper
Stockholm · 18 March – 21 April 2020
⸻
2019
* Long Live Rembrandt ★ — Jury Selection
Rijksmuseum, Amsterdam · 15 July – 15 September 2019
* Wopart Art Fair
Lugano · 19 – 22 September 2019
* Andy Warhol Exhibition — Group Show
· 14 April – 23 September 2019
⸻
2018
* Neo Urban Classic — Solo Exhibition
MGallery by Sofitel, Kaluga · 16 March 2018
* Anti Donald Trump
Creative Debuts, London · 12 – 18 July 2018
⸻
2016
* Arte Firenze — Sandro Botticelli International Contemporary Art Prize
Florence · 18 – 20 November 2016
* Twitter Art Exhibition
Trygve Lie Gallery · 31 March – 21 April 2016
⸻
2015
* HUMAN RIGHTS? — La Casa della Pace
Fondazione Opera Campana dei Caduti, Rovereto · 31 May – 30 August 2015
Seller's Story
Slasky once again begins to crack open the barriers of time with a work that acts as a refined visual and conceptual short circuit. At the center of the composition emerges the magnetic and indissoluble gaze of a classical feminine portrait, imbued with the meticulous realism typical of the great northern European painting tradition of the Seventeenth Century. The austere dignity of the noblewoman, framed by a lavish frilled white lace collar, is however intercepted, severed, and partially concealed by a geometric pattern of white and black diagonal stripes.
This graphic intervention is not a mere aesthetic overlay, but a powerful statement of urban poetics. Slasky introduces a pattern that immediately evokes the visual codes of contemporary road signage, Optical Art, and modern street graphics. The geometric crossbar acts as a barrier or censoring filter that fragments the face: one half remains faithful to its museum and historical dimension, while the other half dissolves into the cold rationality of the abstract code.
The work thus interrogates the perception of identity in the digital age. The face of the past, guardian of an intimate and solemn historical memory, is reactivated and compelled to dialogue with the syncopated rhythms and the brazen geometries of contemporary culture. To underscore this dichotomy, the choice of frame is decisive: a sumptuous black Baroque profile in relief that envelops the work, transforming the jarring pop contrast into a sacred object of museum-design.
With his unmistakable technical and editorial deftness, Slasky does not destroy the antique, but re-encodes it, proving that classical art belongs not only to the past, but is a living matter, ready to be traversed and re-signified by the symbols of our present.
Translated by Google TranslateDetails
Sold by
Direct from the artist
Edition
Limited edition
Artist
Slasky
Title of artwork
La Contessa di Vilches
Technique
Giclée
Signature
Hand signed
Country of origin
Italy
Condition
Excellent condition
Height
50 cm
Width
50 cm
Style
Abstract Expressionism
Sold with frame
No
Period
2020+
