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United States
Printmaking, Giclée on Canvas
Size: 45 W x 30 H x 0.1 D in
Ships in a Crate
This is one of Clark's larger paintings, and it's a remarkable one. It's from Southern Mexico, painted 1980, at the height of his powers. This painting has something for every Hulings aficionado: rigorous composition, that complicated tree and all those cane stalks at every angle, a donkey and cart, a woman with a head scarf, men with straw hats, lots of texture and light patterns. It even ties together the Southwest and Louisiana influences on Clark's subject matter. That sugarcane is the star of the work, even though it has to compete with all those active figures, including the burros. All giclées are limited edition, stretched on canvas, numbered, stamped and registered by the Clark Hulings Estate. Yours will arrive with a certificate of authenticity. Our museum-quality giclée images are produced using the Cruse Scanner: the most technologically advanced, large format, high resolution scanner in the world. Printing is done with the Epson 9800, a 44" wide format featuring 8 ink cartridges using the UltraChrome K3 archival inks. At 30 x 45" this is the larger giclée option for this beautiful work (see separate listing for the mid-sized 24x36" ).
Printmaking:Giclée on Canvas
Artist Produced Limited Edition of:1
Size:45 W x 30 H x 0.1 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Crate
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
Clark Hulings (1922-2011) was born in Florida and raised in New Jersey. Over his lifetime, he resided in New York, Louisiana, and throughout Europe before settling in Santa Fe in 1972. Clark’s ability to see beauty in daily human gestures and activities won him the appellation “master” on numerous occasions. His celebration of textures as expressed through light, shadow, and atmosphere “describes the air itself,” according to the Christian Science Monitor. His range of subject matter was astonishing, “No one does as many things as well,” proclaimed Southwest Art. His modesty in the face of such acclaim was legendary. Throughout his career he maintained a personal profile far lower than his national reputation.
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