"Bad Moon Rising" Print - Limited Edition of 5
Printmaking, Linocuts on Paper
15.4 W x 22.8 H in
Ships in a Tube
This work will ship in a dent-resistant tube. Rolled works can easily be restretched. Read More
$378
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ABOUT THE ARTWORK
DETAILS AND DIMENSIONS
SHIPPING AND RETURNS
The linocut consists of four plates and four colors. It depicts a grassy landscape in green from a worm's-eye view. In the sky, which changes from yellow to orange, a large, bright orange moon can be seen. I was inspired to create this image when I was lying in the grass with my dog during a walk in...
Year Created:
2023
Subject:
Mediums:
Mediums:
Print, Linocuts on Paper
Rarity:
Limited Edition of 5
Size:
15.4 W x 22.8 H x 0.1 D in
Ready to Hang:
No
Frame:
Not Framed
Authenticity:
Certificate is Included
Packaging:
Ships Rolled in a Tube
Delivery Cost:
Shipping is included in price.
Delivery Time:
Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Returns:
The purchase of photography and limited edition artworks as shipped by the artist is final sale.
Handling:
Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:
Germany.
Customs:
Shipments from Germany may experience delays due to country's regulations for exporting valuable artworks.
Need more information?
Contact us.Need more information?
Contact us.
born in Ludwigshafen Rhine/Germany
lives near Karlsruhe/Rhineland-Palatine/Germany
My artistic theme is and has always been nature. It fascinates me as an artist by its originality, and also by its diversity. As for the artists of the Romantic period, the nature surrounding me stands for the all-embracing being, gives me comfort and strength. Already during my studies of art I was enthusiastic about the viniculture in my home country. I wanted to portray the strict geometry with which the vines traverse the landscape. This is how I came to the linoleum printing technique, which is still my preferred printing technique today. In search of motifs, I often roam for hours through the forests of my homeland, collecting impressions, structures and special features. Then I return to my studio "charged" with impressions and process and vary them.
The development of my theme - whether it is a print or painting - is characterized by the question of the level of abstraction versus space-creating methods. How many perspective lines are necessary to communicate an impression of space? Where is it sufficient to have one in front and one behind the other? And where do I have to intervene creatively to guide the eye. Which elements must the representation contain, and which colour spectrum must I access in order to take the viewer to my emotional level?
Since two years now I am more and more occupied with digital drawing and painting. I would like to invite you to go this way with me.
Recognition:
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