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imaginary seastorm Painting

Felix Felbermayer

Austria

Painting, Tempera on Paper

Size: 29.9 W x 22 H x 0.4 D in

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ABOUT THE ARTWORK

This seastorm scene, in part realistic, in part dreamlike and non-realistic, was created purely from imagination. I did not use any reference materials. Because of this it went through many changes, and layer after layer the imagery was altered, sometimes even drastically. The areas of the waves are painted with heavy impasto and after the final layer was applied, the entire painting was varnished. NB: This painting is on paper and due to the thick layers of paint it is a bit wavy. If requested, I could of course glue the paper on canvas or any stiff ground to give it a firm and flat backing.

DETAILS AND DIMENSIONS
Painting:

Tempera on Paper

Original:

One-of-a-kind Artwork

Size:

29.9 W x 22 H x 0.4 D in

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Delivery Time:

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

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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