Luxury Design, Past & Present
The city of Rome and architecture were two crucial elements in Prachensky's life. He was forced by his father to study architecture, but he voluntarily visited “the Eternal City” almost every year since the 1950s. It was only in his last years that he was able to unite these two lifelong companions in his art. In the cycle “Imperium Romanum” he interpreted the Roman ruins through the prism of his abstract style, creating a bridge from classic antiquity to his contemporary art.
Prachensky called the third and last series of the cycle, to which this painting belongs, Farnesina Dixie. The name reveals the sources of inspiration. In the “Casa della Farnesina” in Rome, Prachensky found the harmonious interplay between a dark grey background combined with strong red tones, the color which played a primary role in his art, as he always stressed. In order to recreate this play of colors in his paintings, he chose a grey handmade paper, which he painted with abstract forms in an intermingled red ink.
Prachensky was not a painter who transferred his fleeting thoughts in color. His paintings were based on deep impressions, which he later translated into his own abstract formal language in his studio. While painting he was guided by the sounds of loud music. The second part of the series name reveals that he was inspired by Dixieland Jazz while creating these paintings.