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Original Modernism Floral Drawing by Andrew Harrison
Original Modernism Floral Drawing by Andrew Harrison
medium-01
Original Modernism Floral Drawing by Andrew Harrison
medium-02
Original Modernism Floral Drawing by Andrew Harrison
medium-03
Original Modernism Floral Drawing by Andrew Harrison
Original Modernism Floral Drawing by Andrew Harrison
Original Modernism Floral Drawing by Andrew Harrison
Original Modernism Floral Drawing by Andrew Harrison
Original Modernism Floral Drawing by Andrew Harrison

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"Black Tulips " Fine Art Print

Andrew Harrison, United Kingdom

$222

Material
  • Archival acid-free canvas
  • Laminated with protective lustre surface
  • Hand-stretched over 100% renewable solid pine stretcher bars, 1.25" thick
Canvas
Size
14 x 21 in ($222)
Select a Canvas Wrap
Black Canvas
Frame
No Frame

Archival-grade Materials

Fade-resistant Inks

Professionally Printed

ABOUT THE ARTWORK
DETAILS AND DIMENSIONS
SHIPPING AND RETURNS

vase of black tulips in white room

Year Created:

2011

Subject:
Medium:

Print, Giclee on Canvas

Rarity:

Open Edition

Size:

14 W x 21 H x 1.25 D in

Ready to Hang:

Yes

Frame:

Not Framed

Canvas Wrap:

Black Canvas

Packaging:

Ships in a Box

Delivery Cost:

Calculated at checkout.

Delivery Time:

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

Returns:

All Open Edition prints are final sale items and ineligible for returns. Visit our help section for more information.

Handling:

Ships in a box. Art prints are packaged and shipped by our printing partner.

Ships From:

Printing facility in California.

Need more information?

Need more information?

I have been mark-making for many years, inspired by three-dimensional sculptural and natural forms. A jumping off point has often been a conversation with formal experiments of people like Braque and Brancusi - but also there has been the influence of colourists, from Heron and Matisse. I have recently been struck by Sean Scully's idea of seeking 'structure without coercion'. I am fascinated by the way in which you cannot have form without tension. 'I sketch and experiment as a way of finding out, trying different things, seeming to repeat myself, so that things build and overlap, rubbing out and changing, leaving the ghosts of earlier lines.' I am interested in the idea of a 'studio-state-of-mind' - observational, provisional, looking out of the corner of the eye as well as gazing, intent. Whenever I am making art, I wonder 'can we not think of the aim of life as being simply to see?' I work intuitively, and have found that I need to proliferate images in order to find where they are going.

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