sarita nanni
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this is me!

           was born in Rimini (Italy) the 6th of August 1964.


           or most of my life Rimini has been my home and is where I first established myself as a professional artist.
Some people discover their artistic inclinations later in life, but I was in tune with this part of myself from a very early age.
Throughout school I was always involved in whatever art classes were available. My work was always on display, and I was continually receiving awards throughout primary school.
In order to fine tune my talent I pursued my Bachelor in Fine Art in the "Istituto d'arte Scuola del Libro" in Urbino (PU) Italy, the birth place of Raffaello Sanzio.
I attended courses of illustrations for childrens books in Venice under the direction of Emanuele Luzzati and in Sarmede (TV) with Arcadio Lobato.
In year 2000 I discovered the passion for the wall and I went to Florence to attend a course of buon fresco at the "Laboratorio per affresco di Leonetto Tintori".
Since then I almost always worked in buon fresco, because I think it is the most fascinating technique.
Life took me to London (UK) where I lived for almost ten years and where I collaborated with an English company making ceramic swimming pools and murals completely hand-made.
I am currently restoring a variety of ancient frescoes in churches and old palaces in Italy.
I often collaborate with my sister Catia (you can click here to see her web-site) realizing objects d'art, both in ceramic and wood. We opened our own art gallery in Rimini "Pezzo Unico" art and design.


my atelier




Riccione-Italy Tourist Palace
Rimini-Italy Casa Pomposa
Fano-Italy Ex-collegio S.Arcangelo
Cattolica-Italy Tourist Palace
Cesena-Italy Ex-Istituto Comandini
Vigevano-Italy Studio Avogadro
Fano-Italy Rocca Malatestiana
London-U.K. Serpentine Gallery
Rimini-Italy Luisč Art Gallery
Rimini-Italy Central Hospital
Florence-Italy Danny Rock
Cattolica-Italy Town Hall



               he term "fresco" is used to indicate a type of wall painting made with coloured, mixed or water diluted pigments which are spread on a fresh layer of plaster, using lime as white.
The plaster is formed of two layers: the "arriccio", or plaster work, and the "intonachino", or top plaster. The first one is placed directly onto the support wall and it is formed of one part of lime and two parts of sand or, more rarely, of pozzolana. The second one is made of a mixture of lime and a finer sand, used for the plaster work, to which a very finely ground marble powder is sometimes added.
This is applied to the first layer when it is completely dry. The whole scene to be painted is outlined on the plaster work (sinopia). The top plaster needs to remain damp while being worked on and so the painter generally only applies it to the area he can paint in a day (giornata) and you can see the typical joints of the different days of work.
The colouring materials most suitable for frescos, which are those which have good resistance to the lime, are iron oxides, cadmium and natural earths. The fresco technique can give splendid results, but it requires long experience in this specialization and the ability to paint in a confident and rapid manner. Slow progress and corrections are just not possible.
              rescoes can be removed from the wall where they were painted originally. This operation has to be done when the fresco is completely dry. A canvas is stuck on to the wall and then it is pulled up.
By doing this, the painting is removed from the wall and remains stuck on the canvas.
The removed canvas is then glued to another one and the painting is transferred. The first glue is dissolved, the first canvas removed, and the fresco remains on the second one.
The technique is called "Calicot". Finally the fresco is touched up, made old, and put on a frame.



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