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Orpheus and the Golden Lyre Painting

Stuart Hyde

Spain

Painting, Acrylic on Canvas

Size: 23.7 W x 47.3 H x 0.1 D in

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88 Views
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About The Artwork

A studio piece. I tend to approach pure abstraction with no pre-planned ideas of where the work might take me. This piece started with random mark making in charcoal and ink, followed by muti-layered paint, intuitively applied in a gestural way with little thought of form. I find that form invariably makes itself apparent at some point during such process and it is simply a case of recognising it and allowing it to come into being. Once I recognised the figure here I put Offenbach on the music system and went with the flow. As the work developed I used more and more metallic finishes and vibrant colours. It was one of those rare works where I was really loathe to finish. Once dry the canvas was given two coats of semi gloss varnish for UV protection and to ensure beautiful, long lasting colours. The canvas was rough mounted on a studio stretcher to paint, but the stretcher has since been removed and the canvas has been plastic wrapped and stored flat. It will be despatched rolled, ready for hanging. Dimensions correspond to the painted surface. The canvas is approximately 3 inches wider at each edge, and the stretcher sides were painted black.

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:23.7 W x 47.3 H x 0.1 D in

Shipping & Returns

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

I'm Stuart Hyde, painter and fine art photographer, born in the UK's West Midlands in 1960, but now lucky enough to live and work in the Altiplano badlands of Granada province in Southern Spain. In addition to formal training, I studied with both the renowned British Post War artist Paul Rudall, 'Modern' to the core, and the markedly more traditional but no less successful English landscape painter W.R. Jennings. Even now, years later, my work still seems to veer between their respective, often polarising influences. Maybe more importantly, I still have the same daily joy in painting that these vastly different painters both had, and instilled in me. I consider myself primarily a painter/photographer of my environment, but one who occasionally flips out on the corner to find myself in a field of photographic or painted abstraction. It might be considered a somewhat schizophrenic approach, but I've learned to accept it and embrace the aberrations as they appear. Representative or abstracted, the outer landscape or an inner landscape, both my painted and photographic work is as concerned with subliminal impressions and memory, real or imagined, as it is with sketches and scribbled notes made painting plein air. Photos are interpretive, carefully and consciously avoiding any nods to documentation, while paintings use texture, form, and conscious line balanced against the randomness of intuitive mark making, and the emotional, expressive response to evolving surface and space.

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