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towards heaven (orig.: Gen Himmel) Drawing

Felix Felbermayer

Austria

Drawing, Pastel on Paper

Size: 13.8 W x 20.5 H x 0.1 D in

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ABOUT THE ARTWORK

This is aconsiderably old painting. I did it about ten years ago, in my what I would call surrealistic phase, although it is not, strictly speaking, surrealistic. It was almost entirely drawn plein-air, Indian ink serving as underpainting, on top of which I worked with pastels. The imagery, though realistic in principle, has something unreal and dreamlike, which is why I labelled it "surrealistic". Of all the paintings I did around this time, this is the one which is dear to me the most. The measurements refer to the passe-partout sizes, the actual paper is slightly bigger, and given that there is no varnish on the top layer to ensure that the vividnees and luminosity of the pastel pigments are preserved, I strongly recommend to frame it with glass.

DETAILS AND DIMENSIONS
Drawing:

Pastel on Paper

Original:

One-of-a-kind Artwork

Size:

13.8 W x 20.5 H x 0.1 D in

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Born and raised in Vienna, I was trained at the "Künstlerische Volkshochschule Lazarettgasse" in naturalistic, portrait and figure drawing for several years, and was taught oil as well as watercolour painting techniques. Later, I studied Classical Philology and Philosophy at the University of Vienna. My two great passions are visual art and literature. Having said that, I think it necessary to say that I do not mix up my interests in literature with my painting, but rather let them stand and thrive separately. Yet, although my literary and theoretical training may not have an impact on my visual artworks, it plays a crucial role in my artistic thinking, for it helps me to find a way through the sheer impenetrable jungle of contemporary art theories, concepts and ideas that shape our modern thinking of what "good" art is or ought to be. Even if I use a variety of different media and materials, I have a unique and very deep passion for watercolour. This is the medium I discovered first as a child, this is the medium I learned with how to represent reality. Since then, of course, my style expanded beyond realism. Now and then, however, I return to it. But my love for watercolour is still the same. It is my aspiration to find a completely new form, a new visual language for watercolour, as it were, because, looking at watercolour painting today, I surmise that most of it seems stuck somewhere between a formulaic form of realism and an odd revival of expressionism.

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