After the Flagellation (of Jesus Christ . . . by Piero Della Francesca), 2000
Tony Alcock
Mixed media : Oil, acrylic and encaustic on board
Original Painting, 157 x 96 x 8 cm
AMA Artworks
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All return shipping costs are borne by the buyer. These would include any customs fees, brokerage fees, duties, taxes, etc. These are buyer's responsibility for transit BOTH ways. Concerning a returns request to be accepted, please note the following : If you are not completely happy with the work, it must be returned within the 7 days from reception, and certainly in the same condition as it was dispatched. Please note artworks for return shipment must be carefully prepared and packed in their original packaging in order to qualify for a refund. It is therefore important that you take care when unpacking the artwork on reception. After receiving the returned artwork safely, a refund for the price paid for the artwork will be promptly and willingly provided.
About Tony Alcock
I was born in Nottingham (UK) in June 1947. My post school art education included a Pre-Dip at Loughborough followed by studying Fine Art / Painting at Leicester Polytechnic. After graduating and producing my 'Light Organ', I enjoyed a couple of years being recognized as an original and practicing artist in the UK. However, I chose to pursue life as a teacher, gaining a PGCE from Bristol University, where I later briefly lectured in Art education.
Circumstances changed and I found myself working as a musician, became a music shop owner and eventually worked in a successful graphics based company, MOGO UK. From 1993, I was able to reactivate my artistic ambitions, identifying myself as AMA, I've always liked the symmetry of my initials. Most all the work on this Artlimes website will have been produced after 1993.
I hope you enjoy and get into the work you see, it can then speak for itself.
By the way, whatever you think about the art, I'm very good at wrapping up, packaging and dispatching the finished article!About the Product
Only when this picture was finished was I minded of Piero della Francesca's masterpiece, ‘The Flagellation of Christ’ (1476?). This title came about through responding to certain similarities in its spatial organisation and balance of physical presence and spiritual calm. It is suitable for the word, 'Flagellation' to find its way into the title, portraying, as it does, the wonderfully contrasting ideas of religious discipline and sexual stimulation. The picture deliberately set out to combine the opposing elements of intellectual activity and sensual pleasure.
As in other works of the period, the numerals ’0′ and ’1′represent the idea of female and male whilst the embryonically shaped 5 is half the one and half the other. The figure 5, having its own identity, underlies the composition, even with its mirror image being barely discernible int he central dark panel.
The tactile, discarded violin and 'cello necks together with the perfectly formed ping-pong balls carry sexual overtones and are intended as a synecdoche for people. These characters have been precisely and individually placed within a visually defined space, similar in intention to, but in a different language from the Italian renaissance masterpiece.