VIEW IN MY ROOM
Germany
Drawing, Pencil on Other
Size: 8.7 W x 11.8 H x 0.4 D in
Ships in a Crate
Artist Recognition
Artist featured in a collection
I drew this picture in 2005. Its pencil on Paper It is signed on the back On my blog (tmheppworks.blogspot.de) I've hung six of these images in a block. You can see there together. If you are interested in a picture which is not offered here, you can contact me, then I will put it in the Saatchi online gallery. I am selling the picture without a frame. If desired, the picture can be also let framed. It would be a very narrow high quality wooden frame (color: natural). The frames I get from a craftsman who is also working for the Munich museums. The cost of this frame would come to the sale price.
Drawing:Pencil on Other
Original:One-of-a-kind Artwork
Size:8.7 W x 11.8 H x 0.4 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Crate
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Germany.
Customs:Shipments from Germany may experience delays due to country's regulations for exporting valuable artworks.
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Germany
Landscape - that is first thought and then made and then painted and then redone, and in the end it looks and is treated like pure nature This title of a newspaper article from the Frankfurter Allgemeine Zeitung by Hans Jörg Küster from 2000 inspired me how landscape could find a new artistic expression in my painting. The knowledge of my Prof. Axel Kasseböhmer about the inability of trees to be paintable was one aspect of my intensive study of the topic of a landscape shaped by urbanity. The multifaceted presentation possibilities of the composition of my pictures, which is constantly rediscovering itself, allow the viewer a multitude of interpretation possibilities. Again and again I am concerned with how I can paint a landscape in time today in 2020. So over the years I have always brought new aspects into my painting. Be it excerpts from old paintings, be it motifs from maps, the freezing of movements played a role. Among other things, I always use it to create new references to existing images or artists' points of view. In the spirit of Andre Malraux about his knowledge of the imaginary museum. Every landscape that surrounds us has been created by people. The natural / wild landscape (primeval landscape) no longer exists. The forests that surround us are artificially created and date from the 17th century. After the Thirty Years' War there were virtually no forests in Germany. Designed landscape was always a sign of unlimited power of the rulers, especially in times of absolutism. The creation of strictly geometric gardens, the cutting of shrubbery was a sign of absolute power over nature. The ruler showed that even the plants must obey him. This has always been an expression of the oppression of the people. Only with the advent of humanism did the garden design change. Parks and landscape gardens were now allowed to develop more naturally, the gardens blended into the landscape smoothly. in English garden design. It was always an expression of the liberation of the individual. Expression for the freedom of art, So I see my fictitious landscapes as an expression of my individual, artistic and intellectual freedom.
Artist featured by Saatchi Art in a collection
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