Roma Experience's Insta Boyfriend Is a Professional Photographer Who'll Take Perfect Holiday Photos of You in Rome

Is An Insta Boyfriend Better Than an Actual Boyfriend?

Roma Experience understand the social importance of great holiday pics for the ’gram; so you can inspire healthy jealously in all your desk-bound friends, when they sneak green-eyed side-glances at their phone. Great Insta pics let the whole world know you’re flexin’ on your holiday and you’ve never looked better – which is why they generously launched an Insta Boyfriend service.

Not everyone has an other-half who’s as great a photographer as Mario Testino, or snaps pictures of you as enthusiastically as Kanye snaps Kim. Which is why this Insta boyfriend service exists; so, you can get perfect photos, taken by a professional photographer in Rome, positively glowing, in that perfect Mediterranean light. A professional photographer follows you around the city, snapping pics of you looking positively dashing outside Rome’s top sites.

It’s quite simple; browse the private tours, choose one that takes your fancy and, when you get to the cart, select the Insta Boyfriend service.

Or, if you would prefer to just focus on the right light, pose and angle, check out our full product Insta Boyfriend Rome Private Tour by Car.

Hey, presto – perfect pics and a solid social-media flex.

Not convinced? This is why an Insta Boyfriend might be better than a real one.

Insta Boyfriend Will Never Get Tired of Taking Pics

Unfortunately for the photo-hungry among us, real boyfriends are but human. They do not want to take pictures all day. Sometimes, they experience emotions, such as hunger and boredom. This will stop them taking thousands of pictures of you, at all angles, for as long as you require them too.

In contrast, an Insta Boyfriend will take pictures of you, near-constantly, for the whole 3 hours – and you don’t have to consider his emotional needs!

Most Actual Boyfriends Are Not Professional Photographers

Statistics show it: less than 1% of actual boyfriends are professional photographers. Maybe that statistic is invented, but either way – most of us don’t have a boyfriend with the photography skills to pay the bills. Even if your actual boyfriend is a professional photographer, chances are that he prefers to snap landscapes from hot balloons, than to take stellar social media portraits.

However, an Insta Boyfriend exists to take your picture. He wants to take pictures of you looking fabulous at the Trevi Fountain, in that holiday hat that you’d never wear at home. He wants to take pictures of you looking invitingly toward the camera, reaching your open arm out toward him, with the Colosseum as your backdrop. That’s what your Insta Boyfriend is about, baby.

Insta Boyfriend Will Take Convincing Candids

Have you ever asked an actual boyfriend to take a candid photo? It’s a complete waste of time. Maybe he’ll grumble that it’s impossible to take a truly candid photo, when you asked him to do it. Maybe it’s his lack of faith in the orchestrated candid which is why you always end up looking weirdly like a Moomin.

However, that won’t be a problem with your Insta Boyfriend. A photo of you, brushing your hair from your eyes in the sun? Totally natural. Caught off-guard, smiling under the Roman sunshine? 100% authentic. Insta Boyfriend knows that authentic candids are key to looking truly fab on social media, to make that witch from your high school jelly.

Insta Boyfriend is There for You (For 3 Hours)

Maybe you haven’t met Mr. Right yet, or your girls were too busy for the group-trip this year, so you’re traveling solo. Trekking across Rome on your own isn’t going to be a problem – but who’s going to get pictures of you looking cute in your summer dress?

Insta Boyfriend. That’s who.

We all know traveling alone is fun, until you want to send your Mom a picture of your fab holiday tan and hot new ’fit. Sometimes, an awkward selfie just doesn’t cut it. Insta Boyfriends photos will make the grade. He’s a professional photographer, following you around Rome – he knows how to make you look good, against the perfect backdrop.

Insta Boyfriend Is Committed

Insta Boyfriend has an unwavering commitment to taking fabulous photos of you, looking perfect, on your Roman holiday. For the entire 3 hours, nothing will shake Insta Boyfriend’s core objective. He is entirely committed to making you look gorgeous, babe. You don’t have to kiss him, tell him his new trousers are nice, or anything. He wants to make you happy, by snapping images of you looking your best. That kind of loyalty is rare and precious; enjoy it.

There’s already a little bit of buzz around Insta Boyfriend, and rightly – he’s a dreamboat. When you come to Rome, grab some pictures of yourself looking swish and stylish, in the most beautiful city in the world, with an Insta Boyfriend at your side.

by Annie Beverley

Warhol, Pollock, art, Rome, exhibitions, Altare della Patria, Vittoriano, foro romano

Modern American Art in the Heart of Rome’s Historic Centre

I visited the joint Warhol and Pollock exhibitions on a sunny Sunday in Rome. The Vittoriano, the lofty, conspicuous monument built in honour of unified Italy’s first king, Vittorio Emmanuele II, doubles as a museum of Italian unification and host to rotating exhibitions on art and history. These two exhibitions in particular are adjacent to one another, and for a reasonable price, you can conveniently visit both.

Upon entering the Warhol exhibit, I immediately noticed the vibrancy of colour, both from the pieces themselves and the elements of the layout. A series of brash Marilyns graced the entrance. The neon signposts that followed along the way were consistent with the artist’s own vision and style, as were the music and light projections accompanying some of the rooms, creating a textured, multi-layered experience.

Multicoloured, kaleidoscopic flowers form part of the immersive Andy Warhol exhibition

The Pollock exhibition was likewise remarkably immersive. A brief film ran in a small, darkened hall, describing the artist’s famous ‘drip’ technique, in which Pollock seems to dance around his canvas, dipping his brushes in copious paint and letting the colour drip onto the surface. Animated panels demonstrating Pollock’s signature technique lined a narrow corridor leading up to the main exhibition halls. The black walls lit up with bright yellow, red, and white splatters. Quotes from various artists of the New York School and commentators on their work punctuated the pieces. “I have no fear of making changes, destroying the image,” says Pollock, “because the painting has a life of its own.” Indeed, his work evokes movement, spontaneity, and extemporisation, much like the jazz improvisation, or ‘free’ jazz, that was also emerging at the time.

“Animated panels demonstrating Pollock’s signature technique lined a narrow corridor leading up to the main exhibition halls.”

“I have no fear of making changes, destroying the image,” says Pollock, “because the painting has a life of its own.”

Another video showed Pollock at work on his famous Number 27. I could almost smell the paint. I learned an interesting fact from the famous Life magazine article of 1949: Pollock numbered his paintings, rather than naming them, so that viewers would not observe them with “any preconceived notion of what they are.” At another stage in the exhibit was a yellow couch, on which I lied down and looked up at a screen also illustrating the drip technique. It was as though Pollock were standing over me, executing his masterpieces. Upstairs, works by Hans Hofmann, Al Held, Grace Hartigan, Helen Frankenthaler, and William de Kooning graced the walls. The pieces gave off the impression of impulsivity and rapidness, but their production often took weeks and months to conclude, each drop of colour, each brushstroke a studied measure, their combination offering a compelling result. On an interactive screen, I created my own Pollock-esque work with just a wave of the hand.

Pollock’s famous Number 27

The time period that brought to light artists like Andy Warhol, Jackson Pollock, and those of the New York School–and that also birthed the likes of Allen Ginsberg, Jack Kerouac, and Miles Davis–was fertile for radical change. It saw a risky departure from the Old Continent as the standard of influence and a desire to carve out a place for uniquely American art, which, while ruffling the feathers of conservative gatekeepers, eventually succeeded in catapulting the painters to fame. The tension between contemporary artists and the establishment reached its apogee when the Metropolitan Museum announced a new exhibition, one from which artists like Jackson Pollock were excluded. The artists protested, and their legendary open letter to the president of the Metropolitan was published on the front page of the New York Times. “18 Painters Accuse Metropolitan of Being ‘Hostile to Advanced Art’ ” read the headline. The group of abstract expressionist artists was dubbed ‘The Irascibles’. Interestingly, the Congress for Cultural Freedom, backed by the CIA, eventually supported Pollock’s work, seeing it as the ultimate freedom of expression in a global reality coloured by the Cold War. At the opposite pole of this polarised world, in fact, was the social realism of Soviet art, which was to be avoided at all costs. 

Andy Warhol was another revolutionary, a provocative artist on a post-war stage that was ripe for experimentation, irreverent innovation, upheaval and the assertion of new values onto the artistic scene. With the advent of new forms of mass communication and mass production, the commodity and its advertisement became pervasive and were peddled to the consumer on levels hitherto unseen. This new, rather aggressive form of capitalism, along with its extreme counterpart, communism, served as inspiration for the artist Warhol to explore the meaning of art, objectification, violence, and value. Warhol took the mundane, elevating it to the height of art, and brought art down to the ordinary, rendering it accessible, imitable, commodifiable, to be displayed on T-shirts, in the metro, in alleyways, and under scaffolding. Perhaps best illustrating this is Warhol’s reproduction of the instantly recognisable Joconda, or Mona Lisa–an unapologetic elimination of the hierarchy of fine art.

“Marilyn”

At the heart of much of his work is the relationship between art and consumption. The repetition of many of his most famous pieces, like the Marilyns, are reminiscent of advertising campaigns, identical posters in succession, running down streets and along bridges. The Marilyns are deducted from the inimitable, world-renowned starlet and reduced to copies that almost look like negative afterimages, each employing garish colours transposed upon one another in such a fashion as to mask the actress’s beauty. Warhol also applied this same technique to Mao Zedong’s famous portrait. Bright pink and red colour Chairman Mao’s lips–bold and cheeky. Did Warhol wish to draw a parallel between dictatorships and propaganda? Or perhaps even a parallel between capitalistic advertising and propaganda? ‘Mao’ reminded me of ‘Drag Putin’, the portrait of Vladimir Putin in heavy makeup–false lashes, blue eye-shadow and red lipstick–with a rainbow flag as his background. Banned in Russia.

Chairman Mao

“At the heart of much of his work is the relationship between art and consumption.”

Warhol’s affinity for the equalising potential of consumerist culture, however, was clear. He famously stated: “You can be watching TV and see Coca-Cola, and you can know that the President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke, too. A Coke is a Coke and no amount of money can get you a better Coke.” At the end of both tours, there were little gift shop where one can purchase such memorabilia as biographies, canvas bags, sketchbooks, little Warhol dolls, Campbell soup cans, and notebooks with a quote from Warhol that is uncannily relevant to our times: “In the future, everybody will be world famous for fifteen minutes.” Remarkable intuition. 

Souvenirs with a hint of irony.

Outside the Vittoriano, a street artist sat on the sidewalk and spray painted sci-fi inspired landscapes in bold shades of purple, pink, orange, blue, and green–otherworldly sunsets, oceans, and forests. All for sale at a negligible sum. The poetry of the moment was absolute. I was at the intersection of some of Rome’s most important streets, including Via del Corso and Via dei Fori Imperiali, the latter of which leads to the Colosseum. Behind me was a late nineteenth century monument, striking to our modern eyes–a veritable symbol of Rome now–but which was mocked for its garishness by contemporaries to its construction! Off to the side, on Via dei Fori Imperiali, were the ancient ruins of the Roman Forum. The Via itself was a product of Mussolini’s imperialistic ambitions and delusions of grandeur. He had razed to the ground medieval houses and buildings to pave the way for the immense boulevard. He had used the piazza to deliver speeches to his crowds. It was overwhelming to be in the presence of so much history and to consider modern Rome in light of its past. As an American in Rome, it was especially humbling to see our artists represented in one of the world’s most celebrated and enduring capitals of art –a testament to the success of these daring visionaries.

“Outside the Vittoriano, a street artist sat on the sidewalk and spray painted sci-fi inspired landscapes in bold shades of purple, pink, orange, blue, and green–otherworldly sunsets, oceans, and forests. All for sale at a negligible sum. The poetry of the moment was absolute.”

Whether you are an art lover or simply curious, visiting the Pollock and Warhol exhibitions is a rewarding and enriching experience, offering you an excellent way to spend an afternoon in Rome and leaving you the better for it. The exhibitions are located in the Ala Brasini wing of the complex, on Via dei Fori Imperiali and will be hosted until February 3 (Warhol) and February 24 (Pollock). For more information, visit the official site of the Vittoriano, which is available in both English and Italian. If you wish to visit the ancient ruins near the Vittoriano, you can do so in a variety of ways. Visit the links for more details.