All artwork, text and images © James Straffon 2022.
Mitologia Italiana - nel testo
No.19. King Crin
In the following years, la punzonatura would annually occur outside La Gazzetta, on Via Galileo Galilei. Numbers were given to race entrants. And a race was run. During this time, the artistically-inclined Bugatti family would entrust one of their clan to bring to life an iconic motorcar company; some time in fusion with Prinetti & Stucchi, Stucchi & Co., who produced machines for sewing. At the same time, in nearby Turin, a Lancia Beta would roll off onto the roadway. Paradoxically, within this automobile revolution, something of a bicycle renaissance also began to emerge, aided by the outlook of the Touring Club Italiano. Deep in the kingdom of Lombardia there was a grand celebration.
No.39. The Happy Man’s Shirt
The wizard king’s wise words would all play out in truth. And Angelo would ultimately lose his final battle. At the same time, far off in another kingdom, neorealism competed with fantasy. A young woman from Sweden called Ingrid told an older man called Roberto “I am ready to come and make a film with you”. Their scandalous fate is soon sealed on an exploding volcanic rock called Stromboli. And another man of pictures exposes a naive young boy carved from wood, who tries to escape a life under the control of others. Along the way he joins a circus, becomes transformed into a donkey and ultimately is reborn through a miraculous metamorphosis. Where those seeking the allure of the maglia rosa fight to the bitter end, it is rumoured the truly happy man wore no shirt.
No.53. The Devil’s Breeches
At the same time, the beast with horns had his fingers in many pies. In Rome, a group of future-gazing visionaries opened the Cabaret del Diavolo - borrowing from the Florentine Dante Alighieri, the three main rooms went by the names Paradise, Purgatory and Inferno. Other kindred spirits included Fortunato Depero, who founded the Casa d'Arte Futurista. Further devotees joined the movement formed around a ground swell called Futurista. Back in the kingdom of Lombardia Alfonsina had traded her simple bicycle for one with its own power. This new beast, called Guzzi, was coloured scarlet. And he growled the most throaty thunder. One day, returning home from a town in the north, Guzzi became uncontrollable. His grease-splashed bulk fell against Alfonsina. Unable to move she pleaded for air. But the beast took no heed, the Devil had taken the place of him.
No.74. The Daughter of the Sun
No.76. The Florentine
No.95. Water in the Basket
Legend has it the king from the north and the king from the south went head to head for many days and nights. Both were battle-hardened warriors. Both displayed ingenuity, endurance and cunning. Rumour has it the king from the north once declared “Age and treachery will overcome youth and skill.” Furthermore, the king from the south did not trust the methods of his rival. He believed a sly medicine man had bequeathed his foe with some explosive potion, which when imbibed increased the consumer’s powers tenfold. The battle raged on. And on. Eventually, the two passionate kings were almost at a standstill. This is the point where the mists of time grow murky. Some say the king from the south grew pity for his exhausted adversary. Others suggest the king from the north was actually winning, but decided to spare his opposer and offer an olive branch. The only aperture of shared clarity into this tale is a moment witnessed by a man who had no name. And who since has disappeared into thin air. But it is said, he saw through one eye the two kings clutching the same drinking vessel, each in desperate need of libation. But was the king from the south offering his spirit to the man in front? Or was the king from the north reaching back to bequeath a life saving mouthful from his? To this day the myth known as the bottiglia d'acqua remains unresolved. What is understood is their shared moment of kind-hearted altruism saved the land. The outcome was a close one. The kings returned to their queens, and a gifted inventor from the creative hot-bed known as Milano, through his love of a flame-haired temptress called Gilda, built a device which allowed all in the kingdom to express themselves through the drinking of a stimulating dark beverage. Elsewhere, Gilda’s legacy was also strapped to a catalyst of greater potency. But as the storm clouds settled, all lived happily ever after.
No.126. The Five Scapegraces
During his time without trumpeting, Alfredo had wed and produced a family. Encouraged by the need to provide for his offspring he picked up his instrument and returned to the competition, racing this time with a new sound in his ear - the cries of that mad daughter of his.
No.137. The Thirteen Bandits
No. 145. The Widow and the Brigand
The demise of the king, some say, was a metaphor for change. His actions represented the desire for a more modern morality. When white turned to black, his partiality to the allure of women and power was played out across the front pages of popular culture. But then, from the ruins and poverty a new horizon grew. A man called Gio would build a glorious blue and white palace high up on a cliff overlooking an island in the same Tyrrhenian Sea. And a man of cheap words would openly pursue a saccharine pastime in order to to seek his fortune.
No.160. The Left-Hand Squire
Years later, as he took his battle to the highest mountain in the land, which went by the name of Pordoi, whispers spread that extra gregari had been brought in from far and wide, and these allegiant scamps had assisted, against the race rules, to push and drag the exhausted competitor to the mountain peak. Despite proclaiming “In life, defeats are more likely to happen than wins”, the Third Man’s victories seemed more likely to happen if he deceived. One one similar occasion, he even managed to cheat Death himself - for despite breaking many bones he continued competing in a long and arduous race against the champions of the time. All the healers from the land were sent away, as the challenger rode on, falling again and again; breaking more limbs with each advancement. Unable to properly control his chariot with his hands, he cleverly fashioned a harness that he gripped between his teeth. It was this act of insane, spirited gallantry which eventually melted the animosity of his doubters. The Third Man finished second in the race. Afterwards, slumped in an infirmary bed, he looked down at his broken body and apologised to his wrecked limbs, saying “scusa for the grief I have caused you”.
No.179. The Captain and the General
With eating now a favourite pastime of most people, sharp-eyed members of a family called Salvarani went into business selling boxes, which when connected together could convert any room into a place in which to cook and prepare meals. This brave new apparatus had everyone talking about things which were ‘modular’. The Salvarani family became prosperous beyond their dreams. And everyone in the land turned modular. With more money than they knew what to do with, some was spent bringing music to the populace. In a giant round bowl called Vignorelli they introduced four insects from a far away island, who played their instruments and sang about girls. They also hired a small battalion of skilled riders to capture prizes, riding all the while in a fetching pale blue livery. This legion had both a Captain and a General (neither of which were from Sicilies), and both were very popular victors, much due to their merry disposition. As the people enjoyed the success of this blue battalion, they also were sad at the loss of a brilliant innovator called Enrico, who had lived in a big house called Varramista. Enrico had changed the landscape across the land by designing a small and affordable vehicle with a bulbous rear end and spiky handles for steering. “It looks like a wasp!” declared Enrico. It wasn’t long before everyone was riding on wasps, from Sicily (now in the south) to the north. In recognition of his great idea he was made Commander of all the regiments.
No.194. The Lion’s Grass
Returning to rapturous fanfare, the lion opened a special wooden crate made by the carpenter and out spilled the victor’s spoils. Suddenly the fanfare stopped. The crowd drew back. All was quiet. “Is there a problem?” enquired the lion. The town’s Mayor stepped forward. “Toothpaste? Hand cream? We were expecting sustenance, and rare victuals on which to feast and make merry.” The gentle lion leaned against the wooden box and lit up a cigarette. He had heard the story of the Left-Hand Squire, where this face and hand cream was an alternate currency for people of high culture. Not so those of a rural upbringing, he surmised. “Never mind,” said the carpenter. “Perhaps white teeth and rosy cheeks aren’t for everyone.”
The carpenter returned to making things with wood, and the lion took up residency in the artisan’s workshop attic, painting landscapes of his homeland. “I wouldn’t worry about those folks in the hinterland Mr Lion. You are still king of the beasts to me.” Putting down a brush, and lighting up a cigarette, the lion smiled. In his mind he remained king of the seven crowns.
[Titles, First and Last sentences after 'Italian Folktales' by Italo Calvino]
[Titles, First and Last sentences after 'Italian Folktales' by Italo Calvino]
All artwork, text and images © James Straffon 2022.
Mitologia Italiana - le stampe
An exploration of the Italian cultural landscape, from 1909 to 1960; a work of fiction;
as a reworked appropriation of Italo Calvino’s Italian Folktales.
Through the paper-thin, rose-tinted covers of La Gazzetta dello Sport words tell tales of mythological encounters; and a race across the ages. Through revolution and evolution this background vista makes headlines. And as the race goes on, so La Corsa Rosa continues to reflect the shape-shifting society through which it passes.
Discover the Myths HERE
Archival pigment print.
Size 1 - Print size: 60 x 42cm.
Signed and numbered. Limited Edition of 15 Worldwide.
£525
Size 2 - Print size: 100 x 70cm.
Signed and numbered. Limited Edition of 5 Worldwide.
£1,100
Full set of 12 - Print size: 60 x 42cm.
Signed and numbered. Limited Edition of 15 Worldwide.
£4,000
For buying inquires, please email shop@james-straffon.co.uk
No.19. King Crin.
No.39. The Happy Man’s Shirt.
No.53. The Devil’s Breeches.
No.74. The Daughter of the Sun.
No.76. The Florentine.
No.95. Water in the Basket.
No.126. The Five Scapegraces.
No.137. The Thirteen Bandits.
No. 145. The Widow and the Brigand.
No.160. The Left-Hand Squire.
No.179. The Captain and the General.
No.194. The Lion’s Grass.
All artwork, text and images © James Straffon 2022.
Gran Corsa series - Portofino
Portofino. 30 x 23 inches. Acrylic, newsprint and pen on canvas.
The prismatic canvases which comprise Gran Corsa d'Italia series represent a cultural metamorphosis. Each is anchored via an original newsprint front page - that of the noted Italian sports journal La Gazzetta dello Sport; itself first published on April 3, 1896. Much like 'L'Auto' of 2010, these time-spun tableaux each pay homage to a bicycle race - here, not the Tour de France instigated by L'Auto owner Henri Desgrange, but rival Grand Tour - The Giro d'Italia.
Spanning a period beginning in 1949, and ending in the mid 1960s, application of these bygone typographical masterpieces, here specific to cycling road racing, locates the artwork firmly within a period romantically referred to as 'La Dolce Vita' ('the sweetness of life', as depicted by film director Federico Fellini, in 1960). As a consequence, each mixed-media canvas tells more than one story. In simple black and white ink-on-paper we witness the heroic dueling of many 'combattenti di riciclaggio' (Fausto Coppi, Gino Bartali, Hugo Koblet among them), against which an emerging background of translucent paint layers provides a vibrant, polychromatic vista - this Italy's culturally-rich metamorphosis from post-war austerity to a new landscape of open prosperity and optimism - somewhat resonant within our present times, with its own stream of front page neo-realism.
The rose-tinted pastures of the Gazzetta cast light on these new gods, whose heroic exploits embrace an idealism in-synch with a quantum mood shift - one epitomised by Fellini's 1960 masterpiece.
All artwork, text and images © James Straffon 2022.
Gran Corsa series - Madonna
Madonna. 30 x 23 inches. Acrylic, newsprint and pen on canvas.

The prismatic canvases which comprise Gran Corsa d'Italia series represent a cultural metamorphosis. Each is anchored via an original newsprint front page - that of the noted Italian sports journal La Gazzetta dello Sport; itself first published on April 3, 1896. Much like 'L'Auto' of 2010, these time-spun tableaux each pay homage to a bicycle race - here, not the Tour de France instigated by L'Auto owner Henri Desgrange, but rival Grand Tour - The Giro d'Italia.
Spanning a period beginning in 1949, and ending in the mid 1960s, application of these bygone typographical masterpieces, here specific to cycling road racing, locates the artwork firmly within a period romantically referred to as 'La Dolce Vita' ('the sweetness of life', as depicted by film director Federico Fellini, in 1960). As a consequence, each mixed-media canvas tells more than one story. In simple black and white ink-on-paper we witness the heroic dueling of many 'combattenti di riciclaggio' (Fausto Coppi, Gino Bartali, Hugo Koblet among them), against which an emerging background of translucent paint layers provides a vibrant, polychromatic vista - this Italy's culturally-rich metamorphosis from post-war austerity to a new landscape of open prosperity and optimism - somewhat resonant within our present times, with its own stream of front page neo-realism.
The rose-tinted pastures of the Gazzetta cast light on these new gods, whose heroic exploits embrace an idealism in-synch with a quantum mood shift - one epitomised by Fellini's 1960 masterpiece.
All artwork, text and images © James Straffon 2022.
Gran Corsa series - Gio
Gio. 30 x 23 inches. Acrylic, newsprint and pen on canvas.
The prismatic canvases which comprise Gran Corsa d'Italia series represent a cultural metamorphosis. Each is anchored via an original newsprint front page - that of the noted Italian sports journal La Gazzetta dello Sport; itself first published on April 3, 1896. Much like 'L'Auto' of 2010, these time-spun tableaux each pay homage to a bicycle race - here, not the Tour de France instigated by L'Auto owner Henri Desgrange, but rival Grand Tour - The Giro d'Italia.
Spanning a period beginning in 1949, and ending in the mid 1960s, application of these bygone typographical masterpieces, here specific to cycling road racing, locates the artwork firmly within a period romantically referred to as 'La Dolce Vita' ('the sweetness of life', as depicted by film director Federico Fellini, in 1960). As a consequence, each mixed-media canvas tells more than one story. In simple black and white ink-on-paper we witness the heroic dueling of many 'combattenti di riciclaggio' (Fausto Coppi, Gino Bartali, Hugo Koblet among them), against which an emerging background of translucent paint layers provides a vibrant, polychromatic vista - this Italy's culturally-rich metamorphosis from post-war austerity to a new landscape of open prosperity and optimism - somewhat resonant within our present times, with its own stream of front page neo-realism.
The rose-tinted pastures of the Gazzetta cast light on these new gods, whose heroic exploits embrace an idealism in-synch with a quantum mood shift - one epitomised by Fellini's 1960 masterpiece.
All artwork, text and images © James Straffon 2022.
Gran Corsa series - Piero
Piero. 30 x 23 inches. Acrylic, newsprint and pen on canvas.
The prismatic canvases which comprise Gran Corsa d'Italia series represent a cultural metamorphosis. Each is anchored via an original newsprint front page - that of the noted Italian sports journal La Gazzetta dello Sport; itself first published on April 3, 1896. Much like 'L'Auto' of 2010, these time-spun tableaux each pay homage to a bicycle race - here, not the Tour de France instigated by L'Auto owner Henri Desgrange, but rival Grand Tour - The Giro d'Italia.
Spanning a period beginning in 1949, and ending in the mid 1960s, application of these bygone typographical masterpieces, here specific to cycling road racing, locates the artwork firmly within a period romantically referred to as 'La Dolce Vita' ('the sweetness of life', as depicted by film director Federico Fellini, in 1960). As a consequence, each mixed-media canvas tells more than one story. In simple black and white ink-on-paper we witness the heroic dueling of many 'combattenti di riciclaggio' (Fausto Coppi, Gino Bartali, Hugo Koblet among them), against which an emerging background of translucent paint layers provides a vibrant, polychromatic vista - this Italy's culturally-rich metamorphosis from post-war austerity to a new landscape of open prosperity and optimism - somewhat resonant within our present times, with its own stream of front page neo-realism.
The rose-tinted pastures of the Gazzetta cast light on these new gods, whose heroic exploits embrace an idealism in-synch with a quantum mood shift - one epitomised by Fellini's 1960 masterpiece.
All artwork, text and images © James Straffon 2022.
Gran Corsa series - Nuova
Nuova. 30 x 23 inches. Acrylic, newsprint and pen on canvas.
The prismatic canvases which comprise Gran Corsa d'Italia series represent a cultural metamorphosis. Each is anchored via an original newsprint front page - that of the noted Italian sports journal La Gazzetta dello Sport; itself first published on April 3, 1896. Much like 'L'Auto' of 2010, these time-spun tableaux each pay homage to a bicycle race - here, not the Tour de France instigated by L'Auto owner Henri Desgrange, but rival Grand Tour - The Giro d'Italia.
Spanning a period beginning in 1949, and ending in the mid 1960s, application of these bygone typographical masterpieces, here specific to cycling road racing, locates the artwork firmly within a period romantically referred to as 'La Dolce Vita' ('the sweetness of life', as depicted by film director Federico Fellini, in 1960). As a consequence, each mixed-media canvas tells more than one story. In simple black and white ink-on-paper we witness the heroic dueling of many 'combattenti di riciclaggio' (Fausto Coppi, Gino Bartali, Hugo Koblet among them), against which an emerging background of translucent paint layers provides a vibrant, polychromatic vista - this Italy's culturally-rich metamorphosis from post-war austerity to a new landscape of open prosperity and optimism - somewhat resonant within our present times, with its own stream of front page neo-realism.
The rose-tinted pastures of the Gazzetta cast light on these new gods, whose heroic exploits embrace an idealism in-synch with a quantum mood shift - one epitomised by Fellini's 1960 masterpiece.
All artwork, text and images © James Straffon 2022.
Gran Corsa series - Guiseppe
Guiseppe. 30 x 23 inches. Acrylic, newsprint and pen on canvas.
The prismatic canvases which comprise Gran Corsa d'Italia series represent a cultural metamorphosis. Each is anchored via an original newsprint front page - that of the noted Italian sports journal La Gazzetta dello Sport; itself first published on April 3, 1896. Much like 'L'Auto' of 2010, these time-spun tableaux each pay homage to a bicycle race - here, not the Tour de France instigated by L'Auto owner Henri Desgrange, but rival Grand Tour - The Giro d'Italia.
Spanning a period beginning in 1949, and ending in the mid 1960s, application of these bygone typographical masterpieces, here specific to cycling road racing, locates the artwork firmly within a period romantically referred to as 'La Dolce Vita' ('the sweetness of life', as depicted by film director Federico Fellini, in 1960). As a consequence, each mixed-media canvas tells more than one story. In simple black and white ink-on-paper we witness the heroic dueling of many 'combattenti di riciclaggio' (Fausto Coppi, Gino Bartali, Hugo Koblet among them), against which an emerging background of translucent paint layers provides a vibrant, polychromatic vista - this Italy's culturally-rich metamorphosis from post-war austerity to a new landscape of open prosperity and optimism - somewhat resonant within our present times, with its own stream of front page neo-realism.
The rose-tinted pastures of the Gazzetta cast light on these new gods, whose heroic exploits embrace an idealism in-synch with a quantum mood shift - one epitomised by Fellini's 1960 masterpiece.
All artwork, text and images © James Straffon 2022.
Gran Corsa series - Enzo
Enzo. 30 x 23 inches. Acrylic, newsprint and pen on canvas.
The prismatic canvases which comprise Gran Corsa d'Italia series represent a cultural metamorphosis. Each is anchored via an original newsprint front page - that of the noted Italian sports journal La Gazzetta dello Sport; itself first published on April 3, 1896. Much like 'L'Auto' of 2010, these time-spun tableaux each pay homage to a bicycle race - here, not the Tour de France instigated by L'Auto owner Henri Desgrange, but rival Grand Tour - The Giro d'Italia.
Spanning a period beginning in 1949, and ending in the mid 1960s, application of these bygone typographical masterpieces, here specific to cycling road racing, locates the artwork firmly within a period romantically referred to as 'La Dolce Vita' ('the sweetness of life', as depicted by film director Federico Fellini, in 1960). As a consequence, each mixed-media canvas tells more than one story. In simple black and white ink-on-paper we witness the heroic dueling of many 'combattenti di riciclaggio' (Fausto Coppi, Gino Bartali, Hugo Koblet among them), against which an emerging background of translucent paint layers provides a vibrant, polychromatic vista - this Italy's culturally-rich metamorphosis from post-war austerity to a new landscape of open prosperity and optimism - somewhat resonant within our present times, with its own stream of front page neo-realism.
The rose-tinted pastures of the Gazzetta cast light on these new gods, whose heroic exploits embrace an idealism in-synch with a quantum mood shift - one epitomised by Fellini's 1960 masterpiece.
All artwork, text and images © James Straffon 2022.
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