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In “Impregnation on the Terrace” the artist has set the action partly outdoors. It is the most illustrative work of the “For Longer” series and it constitutes an antidote for expressionism and abstract art that is usually full of understatements. The artist has put the title impregnation clearly in the foreground, presenting the action with the simplest possible means – a brush and an exterior wood stain. Just as other paintings in the series, this one makes us feel the light-heartedness and joyous expression of the eponymous impregnation. Protecting wood from rain and wind is presented here as a pleasurable activity. A certain dissonance appears only in the background. The artist used plush wild animals and plants to create an image of a city jungle filled with danger, the scale of which is additionally highlighted by blocks of flats in the background of the composition. This formal device was chosen deliberately to evoke fear and concern about furniture that on the terrace is especially threatened by the weather and other harmful factors. The work is therefore the artist’s strong call for wood staining.
In “Impregnation on the Terrace” the artist has set the action partly outdoors. It is the most illustrative work of the “For Longer” series and it constitutes an antidote for expressionism and abstract art that is usually full of understatements. The artist has put the title impregnation clearly in the foreground, presenting the action with the simplest possible means – a brush and an exterior wood stain. Just as other paintings in the series, this one makes us feel the light-heartedness and joyous expression of the eponymous impregnation. Protecting wood from rain and wind is presented here as a pleasurable activity. A certain dissonance appears only in the background. The artist used plush wild animals and plants to create an image of a city jungle filled with danger, the scale of which is additionally highlighted by blocks of flats in the background of the composition. This formal device was chosen deliberately to evoke fear and concern about furniture that on the terrace is especially threatened by the weather and other harmful factors. The work is therefore the artist’s strong call for wood staining.
In “Impregnation on the Terrace” the artist has set the action partly outdoors. It is the most illustrative work of the “For Longer” series and it constitutes an antidote for expressionism and abstract art that is usually full of understatements. The artist has put the title impregnation clearly in the foreground, presenting the action with the simplest possible means – a brush and an exterior wood stain. Just as other paintings in the series, this one makes us feel the light-heartedness and joyous expression of the eponymous impregnation. Protecting wood from rain and wind is presented here as a pleasurable activity. A certain dissonance appears only in the background. The artist used plush wild animals and plants to create an image of a city jungle filled with danger, the scale of which is additionally highlighted by blocks of flats in the background of the composition. This formal device was chosen deliberately to evoke fear and concern about furniture that on the terrace is especially threatened by the weather and other harmful factors. The work is therefore the artist’s strong call for wood staining.
In “Impregnation on the Terrace” the artist has set the action partly outdoors. It is the most illustrative work of the “For Longer” series and it constitutes an antidote for expressionism and abstract art that is usually full of understatements. The artist has put the title impregnation clearly in the foreground, presenting the action with the simplest possible means – a brush and an exterior wood stain. Just as other paintings in the series, this one makes us feel the light-heartedness and joyous expression of the eponymous impregnation. Protecting wood from rain and wind is presented here as a pleasurable activity. A certain dissonance appears only in the background. The artist used plush wild animals and plants to create an image of a city jungle filled with danger, the scale of which is additionally highlighted by blocks of flats in the background of the composition. This formal device was chosen deliberately to evoke fear and concern about furniture that on the terrace is especially threatened by the weather and other harmful factors. The work is therefore the artist’s strong call for wood staining.
In “Impregnation on the Terrace” the artist has set the action partly outdoors. It is the most illustrative work of the “For Longer” series and it constitutes an antidote for expressionism and abstract art that is usually full of understatements. The artist has put the title impregnation clearly in the foreground, presenting the action with the simplest possible means – a brush and an exterior wood stain. Just as other paintings in the series, this one makes us feel the light-heartedness and joyous expression of the eponymous impregnation. Protecting wood from rain and wind is presented here as a pleasurable activity. A certain dissonance appears only in the background. The artist used plush wild animals and plants to create an image of a city jungle filled with danger, the scale of which is additionally highlighted by blocks of flats in the background of the composition. This formal device was chosen deliberately to evoke fear and concern about furniture that on the terrace is especially threatened by the weather and other harmful factors. The work is therefore the artist’s strong call for wood staining.
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Impregnation on the Terrace Painting

Ewelina Sośniak

Poland

Painting, Oil on Canvas

Size: 55.1 W x 70.9 H x 1 D in

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Originally listed for $4,030
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About The Artwork

In “Impregnation on the Terrace” the artist has set the action partly outdoors. It is the most illustrative work of the “For Longer” series and it constitutes an antidote for expressionism and abstract art that is usually full of understatements. The artist has put the title impregnation clearly in the foreground, presenting the action with the simplest possible means – a brush and an exterior wood stain. Just as other paintings in the series, this one makes us feel the light-heartedness and joyous expression of the eponymous impregnation. Protecting wood from rain and wind is presented here as a pleasurable activity. A certain dissonance appears only in the background. The artist used plush wild animals and plants to create an image of a city jungle filled with danger, the scale of which is additionally highlighted by blocks of flats in the background of the composition. This formal device was chosen deliberately to evoke fear and concern about furniture that on the terrace is especially threatened by the weather and other harmful factors. The work is therefore the artist’s strong call for wood staining.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:55.1 W x 70.9 H x 1 D in

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Art “(…) is a very human way of making your life nicer. The practice of art isn’t to make a living. It’s to make your soul grow.”, Kurt Vonnegut once said. Art allows me to arrange the reality in my own, uncompromised way. For me, art is a kind of answer to my various needs, however it is not the answer itself. It is rather a continuous question and a comment on times we live in. I associate many functions with art: emotional, communicative, sometimes purely esthetic, therapeutical and particularly important for me, cognitive and descriptive. I feel the need of self expression and creation and art fully enables me both. When I paint, what undoubtedly fascinates me is the color, the matter, the process of creation. Painting is the most familiar way of expression for me, the one through which I can fully and most naturally express myself. Interesting, that painting is a kind of sublimation of motives, loose ideas, faces, landscapes and images you have seen somewhere before. It’s as when I am asked if I know what my mother looks like. Of course I know. What does my dad look like? I can recognize him easily. So can I my sister. But when I am asked to paint them exactly the way I can remember them, I am unable to do that. And when I recall them in my mind, I can see their faces through particular photos, pictures, portraits taken or painted. We have this tendency of remembering through images of great sharpness, with smallest details. Painting also gives such opportunity, an opportunity of both very complex and very individual remembering. Maybe this is the magic of painting that fascinates me so much.

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