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abstract seascape, night fall Painting

Felix Felbermayer

Austria

Painting, Watercolor on Paper

Size: 15.7 W x 11.8 H x 0.1 D in

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$400

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ABOUT THE ARTWORK

This painting is also part of the series "glue paintings", and since there is gap between this and the former pictures, its style is markedly different from the ones I created earlier. The scenery is more solid, the attention to detail is stronger, almost over-emphazised, which makes the painting look tight and "overworked", but I like its visual effect. Initially, after having finished this painting, I wanted to work along its lines and create more "night time"-abstract landscapes (see painting "Mount Doom"), but as always the principle of variation which is my unconscious leitmotif, overtook me and my plans, and paintings more different still followed.

DETAILS AND DIMENSIONS
Painting:

Watercolor on Paper

Original:

One-of-a-kind Artwork

Size:

15.7 W x 11.8 H x 0.1 D in

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Born and raised in Vienna, I was trained at the "Künstlerische Volkshochschule Lazarettgasse" in naturalistic, portrait and figure drawing for several years, and was taught oil as well as watercolour painting techniques. Later, I studied Classical Philology and Philosophy at the University of Vienna. My two great passions are visual art and literature. Having said that, I think it necessary to say that I do not mix up my interests in literature with my painting, but rather let them stand and thrive separately. Yet, although my literary and theoretical training may not have an impact on my visual artworks, it plays a crucial role in my artistic thinking, for it helps me to find a way through the sheer impenetrable jungle of contemporary art theories, concepts and ideas that shape our modern thinking of what "good" art is or ought to be. Even if I use a variety of different media and materials, I have a unique and very deep passion for watercolour. This is the medium I discovered first as a child, this is the medium I learned with how to represent reality. Since then, of course, my style expanded beyond realism. Now and then, however, I return to it. But my love for watercolour is still the same. It is my aspiration to find a completely new form, a new visual language for watercolour, as it were, because, looking at watercolour painting today, I surmise that most of it seems stuck somewhere between a formulaic form of realism and an odd revival of expressionism.

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