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Last Time I Saw Lisa Painting
United States
Painting, Oil on Canvas
Size: 73 W x 73 H x 3 D in
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About The Artwork
Last Time I Saw Lisa © 1987-2005 Media: oil on canvas with paper map and objects 73 x 53 (186 x 135cm) This painting is divided into two sections. The top portion depicts the close-up view of a brown haired woman with a flower tucked behind her ear, and a bright spring-green treet in the background.. She holds to her lips a champagne glass which is only partially visible in the frame, and. with a smile, gazes to the side. With a distinct stylistic division, a nautical chart covers the bottom portion of the painting, overlaid with collage and loose washes of color to render the sea blue and the land different shades of beige. The text ‘Last Time I Saw Lisa’ is spelled out in a a sqaure pattern of distinctive raised letters. A queen of hearts playing card sits above it. Two prominent round collage objects are in the bottom corner of the painting... a tin lid to a caviar can and a transparent red plastic 45 record.
Details & Dimensions
Painting:Oil on Canvas
Original:One-of-a-kind Artwork
Size:73 W x 73 H x 3 D in
Frame:Other
Ready to Hang:Not applicable
Packaging:Ships in a Crate
Shipping & Returns
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:United States.
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United States
Carpenter was born in 1953 in Greenville, Delaware, U.S.A. He studied with the painter Tom Bostelle near home and then went to the Rhode Island School of Design, where he earned a BFA in Film, in 1976. His work has been shown at the Museum of Contemporary Art, Denver, P.S.1, New York, and the Centre Pompidou, Paris. Carpenter's painting style is a cross between old master techniques and expressionism. He makes marks with flicks of a fully-loaded palette knife, but to a precise rendering of hue and tone in a representational image. The image is built up in countless layers of oil glazes, much as Vermeer worked, only in thick impasto. Peeking through the layers are often the transparent traces of a map or poetry. This idea is borrowed from pentimento, the inherent feature of oil paint that, as it dries, it becomes more transparent, revealing what's underneath.
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