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Transcription of Pieter de Hooch’s Man Handing a Letter to a Woman in the Entrance Hall of a House
View In My Room

VIEW IN MY ROOM

Transcription of Pieter de Hooch’s Man Handing a Letter to a Woman in the Entrance Hall of a House Print

Zsuzsanna Gesztelyi Nagy

Hungary

Printmaking

Size: 15.7 W x 19.7 H x 0.1 D in

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About The Artwork

y series of paraphrases, which are transcriptions of Dutch golden age paintings, mostly from Pieter de Hooch – my modest attempts to embrace his supreme artwork. After years of admiration I dared to explore the secrets of beauty and harmony within these paintings through our shared love for grids, proportions, scale and light.

Details & Dimensions

Printmaking:Linocuts on Paper

Original:One-of-a-kind Artwork

Size:15.7 W x 19.7 H x 0.1 D in

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

Although my series are quite different, my approach is always abstract-figurative. After all, my goal is always to catch the present, to grasp it, and for us to recognize ourselves , to realize ourself and the nature of our destiny. I try to depict the real events of the soul. Art is the motion from the spirit and the soul. Our senses grasp something from this motion when defining moments of our lives happen. I explore the emblematic representativeness of these defining moments of existence. I have had the honour to exhibit my artworks in some of the most prestigious Galleries and Museums of Hungary (e.g. Műcsarnok, KOGART), have received among others KOGART, Barcsay, Pro Urbe awards, and have some of my artwork in collections among others in South-Korea, Luxembourg, Romania, Slovakia and of course Hungary. Inward Balcony Series (2016 - today) : My favorite topic for years: the balcony as metaphor, which allows me deal with the archetypal dualities such as: inside - outside, limited – limitless; hidden - open; individual - collective; integrity - exposure, unity – disintegration. All life begins with the hope of perfect unity of inside and outside, but it’s good if it is realizes for moments. That initial hope for unity is the only fulcrum in my life, but that point has shattered beneath me, it became elusive. During the years I dealt with this metaphor, a narrative has emerged: landmarks have flashed, certain threads have been built, which are then confused, and over time the ‘outside’ terrain has also become a kind of internal, meaning it reflects the interior. Not only were the two poles torn apart, but the identifiable elements of the also became questionable; they collapsed on their own, torn apart. The Never Passing Past Series (2019 – today) : Every family has its own saga – and behind the stories and memories there are the photos, which build the identity of the family and its members. Iconic moments become eternal, and trivial moments caught – become iconic and determining. I had to go back to these photos because I really feel like the past is not gone, I had to look behind its surface and look at the inenarrables. What force radiates from these photographs? Do we carry with us the lives of our ancestors? I also want to erect a monument to my loved ones.

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