Shadows, the hidden, the washed over, forebodings. Sea, expanse, movement, immersion. The work is in three parts. Thin white oil paint moves over a blue pigmented oil paint ground.
This print originates from: 'Svenska Foglar' by Magnus von Wright, published in 1917-1929, printed by A. Bortzells, Stockholm. (The first edition appeared between 1828 and 1837). The lithography on these plates is exquisite and very difficult to distinguish from hand-painting.
Contemporary Art, coal drawing, abstract still life.
A water landscape from a more indeterminable place. In my painting, layers of paint slide over each other. Painting for me is research work in which I ask what holds the world together.
This print originates from: 'Svenska Foglar' by Magnus von Wright, published in 1917-1929, printed by A. Bortzells, Stockholm. (The first edition appeared between 1828 and 1837). The lithography on these plates is exquisite and very difficult to distinguish from hand-painting.
This print originates from: 'Svenska Foglar' by Magnus von Wright, published in 1917-1929, printed by A. Bortzells, Stockholm. (The first edition appeared between 1828 and 1837). The lithography on these plates is exquisite and very difficult to distinguish from hand-painting.
The painting was created in a dynamic act of painting, which is reflected in the immediate expressiveness of the work. The painting thus asserts a nature of its own that is not directly dependent on external impressions.
Beautiful serie of artworks: Swedish Birds by Magnus von Wright Very detailed ornithological prints. Colonia-Art offers personalized framing for these artworks. These prints originate from: 'Svenska Foglar' by Magnus von Wright, published in 1917-1929, printed by A. Bortzells, Stockholm. (The first edition appeared between 1828 and 1837). The...
Figurative drawing from models is indispensable for me, almost like a daily exercise. Small-format works on paper are created in this way. In these paintings I work on paper and use water-soluble paints, various coloured pencils, ink, charcoal, chalks, pigments. I am interested in the figure in space. Does it go beyond the format? Does it merge with the...
"Tranquillity and serenity, depth and beauty, devotion and transcendence, these are some impressions when looking at Annette Selle's paintings. She has taken her time in her studies and observations, she has evaluated and sublimated, "condensing the essential", perhaps the archetypal, in the landscapes."Michael Peter Dinter
The artwork "Composition" by Raffaele de Rosa is extraordinary and an eye-catcher for every room Color screen print Handsigned and numbered Edition: XXV
Figurative drawing from models is indispensable for me, almost like a daily exercise. Small-format works on paper are created in this way. In these paintings I work on paper and use water-soluble paints, various coloured pencils, ink, charcoal, chalks, pigments. I am interested in the figure in space. Does it go beyond the format? Does it merge with the...
This print originates from: 'Svenska Foglar' by Magnus von Wright, published in 1917-1929, printed by A. Bortzells, Stockholm. (The first edition appeared between 1828 and 1837). The lithography on these plates is exquisite and very difficult to distinguish from hand-painting.
This print originates from: 'Svenska Foglar' by Magnus von Wright, published in 1917-1929, printed by A. Bortzells, Stockholm. (The first edition appeared between 1828 and 1837). The lithography on these plates is exquisite and very difficult to distinguish from hand-painting.
This print originates from: 'Svenska Foglar' by Magnus von Wright, published in 1917-1929, printed by A. Bortzells, Stockholm. (The first edition appeared between 1828 and 1837). The lithography on these plates is exquisite and very difficult to distinguish from hand-painting.
This print originates from: 'Svenska Foglar' by Magnus von Wright, published in 1917-1929, printed by A. Bortzells, Stockholm. (The first edition appeared between 1828 and 1837). The lithography on these plates is exquisite and very difficult to distinguish from hand-painting.
On forays through the landscapes, I draw what I see. Later, in the studio, I surround myself with these drawing notes and layer by layer the image of a landscape emerges, a landscape that is not fixed to a particular place.
Like layers of panels, Annette Selle's pictorial themes rise from the silky, pastel-coloured backgrounds of her paintings. Sometimes they are built, sometimes more layered, as collages over impasto underpainted fabric panels. Soaked in shimmering oil paint enriched with pure pigments.
The artwork "Composition 2" by Achim Duchow is extraordinary and an eye-catcher for every room Color offsetlithography Handsigned and dated
Calligraphic drawing, printed in phosphor ink 1984 Publisher: Collectors Club Vienna - Printer: Jaffé, Vienna with white wooden frame
Indian ink and chalk on paper 2013 signed by hand and dated Edition: unique In good condition, holes the size of a pin in the corners
This print originates from: 'Svenska Foglar' by Magnus von Wright, published in 1917-1929, printed by A. Bortzells, Stockholm. (The first edition appeared between 1828 and 1837). The lithography on these plates is exquisite and very difficult to distinguish from hand-painting.
The painting was created in a dynamic act of painting, which is reflected in the immediate expressiveness of the work. The painting thus asserts a nature of its own, not directly dependent on external impressions.
Shadows, the hidden, the washed over, forebodings. Expanse, movement, immersion. Thin white oil paint moves over a dark pigmented oil paint ground.
Like layers of panels, Annette Selle's pictorial themes rise from the silky, pastel-coloured backgrounds of her paintings. Sometimes they are built, sometimes more layered, as collages over impasto underpainted fabric panels. Soaked in shimmering oil paint enriched with pure pigments.
This print originates from: 'Svenska Foglar' by Magnus von Wright, published in 1917-1929, printed by A. Bortzells, Stockholm. (The first edition appeared between 1828 and 1837). The lithography on these plates is exquisite and very difficult to distinguish from hand-painting.
Figurative drawing from models is indispensable for me, almost like a daily exercise. Small-format works on paper are created in this way. In these paintings I work on paper and use water-soluble paints, various coloured pencils, ink, charcoal, chalks, pigments. I am interested in the figure in space. Does it go beyond the format? Does it merge with the...
This print originates from: 'Svenska Foglar' by Magnus von Wright, published in 1917-1929, printed by A. Bortzells, Stockholm. (The first edition appeared between 1828 and 1837). The lithography on these plates is exquisite and very difficult to distinguish from hand-painting.
Water, clouds, rain, solid ground, light, changing colours. A disturbance, a break in this game.
Watercolour 1988 signed and dated by hand Edition: unique in good condition
The artwork "Composition 3" by Achim Duchow is extraordinary and an eye-catcher for every room Color offsetlithography Handsigned and dated
"Waiting for the Phone", pen and ink drawing by the artist Piotr Kamieniarz, signed by hand, dated and titled. Framed unique 2004, Ready To Hang, in good condition. Contemporary figurative art in the tradition of the Polish grotesque: Kamieniarz deals with marginal and taboo themes of society in a direct and blunt pictorial language, from which a...
The painting was created in a dynamic act of painting, which is reflected in the immediate expressiveness of the work. The painting thus asserts a nature of its own, not directly dependent on external impressions.
Color lithograph "Nu Aux Roses Bleues" by Mara Tran Long Handsigned, numbered or labeled Edition: 390 + 600+ 300
The painting was created in a dynamic act of painting, which is reflected in the immediate expressiveness of the work. The painting thus asserts a nature of its own that is not directly dependent on external impressions.