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Details about  RARE MASSIMO TIZZANO ORIGINAL "Salvator Mundi", after Leonardo da Vinci PAINTING

RARE MASSIMO TIZZANO ORIGINAL "Salvator Mundi", after Leonardo da Vinci PAINTING
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Last updated on  22 Feb, 2015 14:10:49 GMT  View all revisions
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Item specifics

Seller notes: Original
Original/ Repro: Original Medium: Oil


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A rare opportunity to acquire a truly stunning original Massimo Tizzano painting  "Salvator Mundi", after Leonardo da Vinci 


salvator mundi tizzano

"Salvator Mundi", after Leonardo da Vinci by Massimo Tizzano



by the internationally acclaimed Artist Massimo Tizzano.



Tizzano's works are appreciated worldwide and collected for his deep knowledge of age old secret techniques used in ancient oil painting that give to his Old Masters a high quality feel. His renditions capture the true and authentic atmosphere of the originals. All his paintings are unique e.g only one of its kind in the world. He never paints the same painting twice so buying this painting you will acquire the one and only.

Commission prices for Tizzano's works and general price range is £4,500 to £45,000, depending upon size and the complexity of the subject matter.

Massimo is fastidious about his work: he prepares everything by hand starting from the canvas imprimitura, the preparation of mediums and varnishes, the hand grinding of colours prepared with natural pure pigments. His paintings demand extremes in hard work: very hard study, very expensive materials and the application of traditional Renaissance techniques adhered to by only a handful of the world's contemporary painters (He grinds his own colours and as shown in the video, he prepares his own supports for the paintings...etc...). The art history period and the painters he loves have been characterized by a very slow process in painting made by glazes on glazes which Massimo repeats: this gives the craftwork a very precious quality.

A wonderful investment !





  Measurements;  26 inches x 18 inches (66 cms x 46 cms)  (94 cms x 75 cms in frame)       

 Including Frame - Handmade by Massimo himself.



 Oil on Walnut Wood




Click on the image below of Massimo painting "Judith beheading Holofernes" to see a stunning video of him painting

 Untitled 4


Tizzano's brushwork is breathlessly adept: fluid strokes make the Renaissance Ladies' clothing dance weightlessly in the wind; hard-edged ones keep them from melting into nothing!



 Untitled 7




Investment  images 3


 " An Amazing Blue Chip Investment Opportunity to Acquire an Original Massimo Tizzano Painting" ..

Invest in one of our paintings, rather than risky bank investments, where you can actually touch your investment. Take pleasure in looking at it and watch it appreciate in value over the years!! Remember we guarantee every painting sold is unique, original e.g only one of it's kind in the world!!!

 Scarcity alone guarantees the investment  !!!!

Asgard Arts offers works of art which will not only look fantastic in your home or offices (One Investment Bank in particular has purchased paintings from us for their offices see Bull paintings) but will also be a sound financial investment for the future.  Art has long been regarded as a strong and safe investment.  Investment in paintings was discussed recently on Bloomberg television as a sound investment as a hard asset like Gold, Platinum Silver etc. Also Ellen Kelleher a personal finance journalist for The Financial Times recently wrote an article recommending the purchase of Art, particularly in the $500 - $50,000 range as a sound long term investment with an impressive current average annual increase of 9.7 percent.  Go to Latest Art news on Asgard Arts and see Hang your investments on the wall by Ellen Kelleher Published October 22 2010 in the Financial Times.




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Massimo Tizzano

Artist Profile 

Massimo Tizzano is a contemporary figurative painter.
He is active in oil painting reproductions of masterworks dated between the XV and the XVII centuries.

Also working in portraiture and in narrative paintings fields.
Untitled 6

His education in visual arts started in year 2000, with Shodo (Japanese calligraphy) practice, under the guidance of Norio Nagayama Sensei.

This is a link to view some of his shodo works:
Untitled 8
Click image below to see Massimo Tizzano!
Tizzanos paintings in room
Above an example of Massimo Tizzano's work in a Corporate setting!

He studied oil painting traditional techniques being studio assistant in Norway, of the renewed contemporary painter, master Odd Nerdrum and refers himself to the Kitsch Dogmas. Massimo was also a understudy of Norio Nagayama!
Untitled 11
Da Vinci Oeuvre in progress not for sale!

"Virgin of the rocks", after Leonardo da Vinci by Massimo Tizzano


Massimo Tizzano

Leonardo, Giorgione, Antonello da Messina, Caravaggio, Tiziano, Andrea del Sarto, Rembrandt...: so many undiscussed and unmatched painters....

After a long period training Shodo (Japanese Calligraphy), under the guidance of Norio Nagayama Sensei, I came back to my native iconographic tradition and started studying the Old Masters oil painting techniques. My oeuvre demonstrates the result of this long training, after I can finally say their modus operandi as well as their immortal poetry became at least clearer to me. This has been possible also for the unique opportunity I had in my life to become a student of one of the greatest painter ever existed: my dear friend, master and mentor, Odd Nerdrum.

I think is something related to the intimate relation that everyone of us has with himself, the deepest experience of our own body, of our face: is something also related with the heart. Anyway this doesn't affect me too much, since I want to realize a work which is sincere, that also shows something of me and that has its own dignity. Independent but still bound to the original.


First of all I have to say that my studies start from a real love and a sort of devotion I have for the Old Masters. I learned this respect, by the slow, constant, unremitting study of the old masters writing styles you have to do practicing the Japanese Calligraphy Art, which is the only way to start your soul resonating with the rhythm and the spirit of the great masters of the past. This is very important and very clear in the eastern world, where the scholars use to engrave in the stone the old examples of very good calligraphies from the past, to preserve their spirit by the unavoidable deterioration of the rice paper: They do know what is the respect of the experience of the old masters, his precious value and they continue to have it as their first point of reference. That's why, as I started to learn as the old masters oil painting techniques, I began studying their life, their techniques, the materials they used (this is often also different from painting to painting). So what I try to do is to really establish a deep contact with them, with their historical moment, with their feelings, with their spirit. All this research and study goes together to the recovery of the drawings and everything I'm able to find about the work I'm going to reproduce. Sometimes I need to buy books to better understand some technical aspects of their methods, colours and materials f.e.  technical reports after restorations etc... These instruments are essential if you have the target to create a rendition with a real taste, not just a flat appearance of similarity. After that I proceed with drawing studies of the parts of the painting I consider more difficult and then I prepare the support for the painting. This is a very delicate part of the process, since I want to respect at the maximum the creating experience that the Old Master had while painting that particular picture. To do that I spend a long time searching for special materials, canvases or the right wood panels, and color/mediums/varnishes equipments that will help me to re-create the special effects of light and colors of the originals.

After creating the ground I transport the basic drawing lines os the painting using the old simple method of the grid. In many cases, since the paintings I reproduce are mostly dated between the XVth and the XVIIth centuries, I make a grisaille with tempera or with oil  and only then I start putting on the colors which are for the most part prepared by myself with pure natural pigments, using different recipes for the medium and the varnish... In many cases I use to realize by myself also the frames on the design of the originals.




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