Tautheon - by Emanuele Dascanio

08/04/2026

🎨🎨 ✏️ Workshop di Disegno Iperrealista con Emanuele Dascaniobrera - Milano, Italia | 8, 9, 10 maggio 2026

• ✨ aperto a tutti: principianti, amatori, studenti e professionisti

• ⏳ 18 ore totali, 6 ore al giorno in full immersion

Benefici:
• 🎯 più metodo, più controllo
• 🧠 più visione, addio confusione
• 👁️ impari a leggere le references
• ✍️ dimostrazioni guidate passo dopo passo
• 🔥 pratica reale fin dall’inizio
• ✏️ uso corretto di strumenti e materiali
• 🎓 feedback diretto sui tuoi errori
• 🖼️ inizi la tua opera personale
• 📈 miglioramento concreto nei risultati
• 🎁 materiali inclusi da sponsor selezionati
• 🚀 possibilità di proseguire con lezioni private e tutoraggio

Giorno 1, 6 ore - Masterclass: €200
Giorni 2 e 3, 12 ore - Workshop Intensivo: €350

Il workshop di 2 giorni è riservato a chi partecipa alla masterclass.

Posti limitati: fino a 30 per la masterclass, massimo 20 per il workshop.

🎨 Per prenotare il tuo posto, seguimi e clicca il link in bio 🔗

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01/04/2026

01/04/2026

“The rose said: I prick you, so you will remember me forever.”

Rosa Rutila was born from that wound.

The rose is not only beauty. It is desire, fragility, ambition, and pain. It is what calls you, tests you, and asks something in return.

Through art, I was trying to reach something pure, necessary, almost sacred. But every true conquest has a price. Every ascent asks for a loss.

Maybe that is the moral:
what we most deeply long to reach cannot be touched without wounding and being wounded.

01/04/2026

🎨 ✏️"Rosa Rùtila"
Charcoal and graphite on Schoellershammer paper - 90 x 65 cm

“The rose said: I prick you, so you will remember me forever.”

Rosa Rutila was born from that wound.

The rose is not only beauty. It is desire, fragility, ambition, and pain. It is what calls you, tests you, and asks something in return.

Through art, I was trying to reach something pure, necessary, almost sacred. But every true conquest has a price. Every ascent asks for a loss.

Maybe that is the moral:
what we most deeply long to reach cannot be touched without wounding and being wounded.

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Instead of conventional limited-edition paper prints, this work can be reproduced as an ultra-exclusive edition of only 4 TAUTHEON tattoos.

DM for details.📩

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masters

30/03/2026

The artwork “Allegory of the Sublime” 69.5 x 49 cm is my way of exploring the quiet beauty, the sublime one hidden in small things, mystery, and introspection.

With graphite, dust, and patience, I've try to turn fragility into the strength of art.

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Instead of conventional limited-edition paper prints, this work can be reproduced as an ultra-exclusive edition of only 4 TAUTHEON tattoos.
DM for details.📩

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28/03/2026

🎨 "De Natura Universi"
Charcoal and graphite on Schoellershammer paper
250 x 250 cm

And I came to understand this essential truth: you, who behold this artwork, are a miraculous and unrepeatable event in the universe.

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24/03/2026

600 hours.

600 hours of slavery to one's own inner necessity, toward a flame that burns.

Is love freedom or slavery?

The process. The choice to return every day, without guarantees, without applause, without certainty that the next gesture will not destroy the one before.

"Libertas?" does not celebrate freedom. It questions it.

The real question, after 600 hours spent on 78 x 70 cm of paper, is not whether you are free. It is whether you had the courage to choose your own chain: that of self-discipline, absolute commitment, determination that does not negotiate with exhaustion.

To be a slave to what you love, to risk everything for it: that is the only form of freedom that does not betray.

Hours do not add up. They sediment.
A single gesture carried out with fullness can orient an entire existence.

"Libertas?"
Charcoal and graphite on Schoellershammer paper.
78 x 70 cm.

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24/03/2026

My charcoal and graphite drawing “Libertas?” is not born merely from 600 hours of work, but from years of studying art history, painterly discipline, and an absolute love for the act of making.

Every inch of this work was earned through the severity of hatching, in dialogue with the legacy of the Italian Renaissance and the visionary precision of the Northern European Flemish tradition.

To achieve an image capable of evoking an extreme sense of reality, I had to go through an ex*****on process that was slow, rigorous, exhausting, and poetic. A process that was physically draining and mentally all-consuming, in which charcoal dust and graphite are arranged on the paper with radical patience, until they are transformed into the presence I sought to evoke.

Here lies one of the work’s paradoxes: in order to give visual form to the idea of freedom, I had to accept the harshest discipline. Every step forward passed through sacrifice, concentration, and absolute dedication.

For this reason, “Libertas?” is not merely a final image, but an open question. Very often, the answer lies precisely within the question itself.

“Libertas?” is my answer, my question, and the very body of time, rigor, and will that calls everything into question.

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