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Expressive Abstractionism Artwork - Limited Edition of 20
Brazil
Digital, Digital on Canvas
Size: 35.4 W x 47.2 H x 0 D in
Ships in a Tube
Shipping included
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Artist featured in a collection
About The Artwork
- FINE ART PRINTINGS - Canvas: Canson Museum Pro Canvas 385 gsm 100% cotton - Printed: HP Z9+ DreamColor mineral pigment - Made in brazil The origin of abstract art is closely related to the European artistic avant-gardes of the late 19th century, also called modern art. Such avant-gardes represented movements of artistic rupture, especially in relation to Renaissance, traditionalist and academicist molds. These molds were based on the model of Greco-Roman art, where the concept of “beautiful” is its main characteristic. Movements such as surrealism, cubism, dadaism, expressionism and futurism sought to break with old aesthetic values. From this context, what was later called "abstractionism" emerged, and the artist who started this movement was the Russian Wassily Kandisnky. This painter was interested in studying the effects of color and creation combined with music. Characterized by “non-representation”, this aspect sought to present a new style of art, in which shapes, colors, lines and textures were the artists’ objects of research. * Prints on paper: contact directly by email. (Premium Paper Hahnemuhle RAG 308 100% cotton)
Details & Dimensions
Digital:Digital on Canvas
Artist Produced Limited Edition of:20
Size:35.4 W x 47.2 H x 0 D in
Frame:Not Framed
Ready to Hang:No
Packaging:Ships Rolled in a Tube
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Brazil.
Customs:Shipments from Brazil may experience delays due to country's regulations for exporting valuable artworks.
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Brazil
Photography and conceptual art form a complex pair. If some photographers claim that photography played a mere documentary role, others, on the contrary, point to the use of specific resources, by some artists, which allow the technical image, its visual possibilities and its social meanings to be problematized. I believe that the characterization of photography used by us conceptual artists is, however, accompanied by other considerations that allow us to problematize a relationship that is apparently easy to determine. Thanks to a set of factors, including lightness and fragile material consistency, the decline of the object in favor of attitudes and processes. Faced with the challenge of using matter “in a paradoxical way”, of inventing an art based on the greatest possible economy of means, the conceptual artist uses technical image in accordance with Sol LeWitt's proposition that it is possible to present ideas “through of numbers, photographs or words, or any way the artist chooses, since the form is not important. For me, a photograph needs to have a soul, a voice and overflow with feeling. This is the basis of my photography.
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