19 Views
1
View In My Room
Painting, Tempera on Wood
Size: 15.7 W x 19.7 H x 0.4 D in
Ships in a Box
19 Views
1
The title of this painting is a famous line by Sartre which was the original motivation behind this painting. For Sartre the look other people take at us is fundamentally shameful, as it always objectifies us. The others are only able to judge our outward appearance, the role we are constantly playing and we remain unable to convey our real self, even forgetting it ourselves sometimes. A hell of isolation. That isolation is represented in the painting by a clear dichotomy even involving the colour scheme. However, both parts remain linked through the intense gaze of the woman. The subject of the lonely individual inmidst the crowdy world obtains additional meaning through the corona pandemic during which this painting actually came into being. From a stilistical point of view this work follows the design vocabulary of the 1920s New Objectivity using a rarified layer technique alternating egg tempera and oil colours. This ensures extraordinary colour depth and extreme longevity of the work itself.
2021
Tempera on Wood
One-of-a-kind Artwork
15.7 W x 19.7 H x 0.4 D in
Not Framed
Not applicable
Ships in a Box
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Germany.
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Germany
Eva Genoveva has been a full-time freelance painter since 2010. She lives and works in Munich, Bavaria. Her works are part of numerous private collections in Germany, Liechtenstein and the U.S. and have been publicly exhibited by various institutions, e.g. the Rouka Gallery, the Bavarian state bank and the Bavarian Department of the environment. Her intense studies of the technical aspects of painting resulted in a rather clocked creative process ensuring her works a strong inner light as well as an extraordinary longevity. She confines herself to using solely basic raw materials instead of ready-made products in order to remain in control of the entire origination process. Her approach is an aesthetical as well as analytical one. Overly emphasized compositional lines, queer colors, artificial illumination with strong shadows and backgrounds dissolving into stereometric forms ensure a well-arranged, idealized pictorial impact reminding of the Thirties` Precisionist movement. Focal point of her paintings is a subject that is often out of balance and rendered with the greatest possible psychological truthfulness. As regards her topics she has her eye foremost on the private, emotional, solitary and libidinal in the female experience realm, the reality behind masks, rebellion vs. submission, ubiquitous transcience and the abortive attempt to fight it.
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