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Missed Painting
United States
Painting, Oil on Canvas
Size: 64 W x 40 H x 2 D in
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About The Artwork
Missed © 1990-2005 oil on canvas with paper map and objects 40" x 64" (102 cm x 163 cm) This painting is compositionally divided into three sections. The top of the painting is sectioned into a thin horizontal strip depicting the panoramic view of the waning sun against the bay. The larger section below is divided into two. The left portion depicts the view of a woman in a batting cage, in the midst of swinging a bat at a softball. The colors she is painted in reflect a yellow, red, and violet glow. The neighboring section depicts a heart painted on a map in red, yellow and orange. The map has been torn into strips and slightly offset collaged together again. In the center of the heart is a collaged softball glove with a softball resting in the bottom left corner of the canvas.
Details & Dimensions
Painting:Oil on Canvas
Original:One-of-a-kind Artwork
Size:64 W x 40 H x 2 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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