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Irene and The Fox
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Irene and The Fox Painting

Maria Kleinschmidt



Size: 16.5 W x 11.6 H x 0 D in

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About The Artwork

Mixed media drawing / painting on gray smooth (not corrugated) cardboard; drawn from two life models dressed in transparent plissé dresses. This work is another one in an ongoing series of studies of figurative drawing motivated by the interaction of clothing and the human body. Signature and date (2018) in the lower right corner. Format: 42 x 29.5 cm (16.6 x 11.6 inch) The artwork can be framed. Very slight creases at the corners of the cardboard. Not severe. The work can still be framed and looks absolutely gorgeous. A frame or hanging device is not included. Please note: The red parts of the painting are painted with fluorescent red acrylic paint, so the red color in the original work is brighter and more glowing than in the digital image presented here ("neon color").

Details & Dimensions

Painting:Gouache on Cardboard

Original:One-of-a-kind Artwork

Size:16.5 W x 11.6 H x 0 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

“My works are drawings or collages or a combination of both. All of them are on paper or cardboard. I like working with rough, found materials, they have a liberating effect on me. I have an extensive collection of old coloured paper which I use more or less like paint: I place patches of paper, draw or paint over it, glue more paper of a different colour on top again and so forth. This technique allows unplanned shaping and endless rearrangement at the same time. — Drawing to me is not as much about the result on paper as it is about the process of close observation. While observing somebody or something as intensely as it takes or as I might, the object becomes strange, unknown, new to me. I like that feeling of entering something new, the attentiveness, the concentration. — I have a certain fascination for faces as well as for the dressed figure: drapery, costumes, wigs, heels, and their articifiality. I prefer working with life models rather than photos which again has to do with the experience of close observation, maybe also with that special silent atmosphere when working with somebody real in front of me.”

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