Marshall painter of capricci and Roman views, not only as a painter of the frescoes that decorated many of the Rediscovering a Baroque Villa in Rome: rooms, but also as co-ordinator of the design of the Cardinal Patrizi and the Villa Patrizi more adventurous interiors, and his progress from employee to friend and collaborator of the family. This material includes tion inthrough to the demolition of the Casino building documentation, inventories, and above all in and the levelling of the site. These letters provide struction and destruction of the villa are the lives of a unique insight into the decision-making processes the individual members of the Patrizi family includ- involved in such a large-scale enterprise, in particular ing the women : their marriages, alliances, and their the hiring of artists and the decoration of individual preoccupation with succession and inheritance. We rooms. These rooms included a Gallery inspired by learn how a Roman family organised itself between the Galleria Colonna, a romitorio, or fictive hermit- its principal residences: the Villa Patrizi outside Porta age, a Mirror Room anticipating those created later in Pia, the Palazzo Patrizi palace opposite the church the century, and one of the first Chinoiserie interiors of S. Luigi dei Francesi in Rome, and the palace at in Rome. The Villa Patrizi emerges as perhaps the Castel Giuliano. The wealth of evidence that is drawn most important secular project in the barocchetto upon provides a unique insight into the motivations of manner, a distinct design sensibility prevalent in the Cardinal Patrizi and his brothers, who was preoccu- early decades of the eighteenth century that was ori- pied with the signs of status appropriate to a cardinal, ented towards modern taste to be found in Northern the constraints of etiquette, and above all his desire Italy and Franceas opposed to the antiquarianism to leave a building that would enhance the status of of Cardinal Albani, whose Villa Albani it faced across his family, and would be a blessing and not a burden the valley.
In Patch We Trust! And so art and illustration started to achieve some garments of several facets and different styles-targets. Hundreds of youth figures, rock-band names and all kinds of claims were applied to elephant-leg jeans and jackets, just like to backpacks and bags, characterising this way a whole generation which went through the contestation years with a new wish to unusually stand out to the rhythm of the newborn disco-music. Per me alcune delle maggiori influenze iniziali son state le opere di gente del calibro di Larry Clark col adatto libro Teenage Lust e Nan Goldin con The Ballad Of Sexual Dependency - questi due book son diventati famosi perché quelle persone scattavano le loro stesse scene. A dire il vero tengo quelle grafiche skate e le tele abbastanza separate. Mentre i personaggi TM vengono da un nuvoletta che disegnavo tanto per divertirmi, credenza siano dovuti al fatto che son pigro; il personaggio è super agevole da disegnare, è tipo un circolo con un occhio e mani a chela, tutto di lui è agevole e facile da fare, infatti la critica che gli veniva fatta è che era facile da disegnare! È cambiato tutto.