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Spinges in front of gate Print

Felix Felbermayer

Austria

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About The Artwork

This is an older picture from 2008 in my "surrealistic phase". However, there is a funny story to this painting: I was out in the Belvedere garden in Vienna with a friend of mine. We both intended, in order to hone our drawing skills, to draw the stone sphinges, being several of them in the garden, from a tricky angle. And as we were sketching away, a lady and two men came to the spot where we painting. One of the men started to talk to us, in a rather patronizing way, and advised we should draw somethng else, because the shape and perspective of these monuments is very difficult. To give his words more gravitas, he mentioned that he used to be an art teacher and knows how tricky those sphinges are to draw. We, unimpressed by this slight, did not act upon the man's advice, and cooly worked on, assuring him we are perfectly capable of drawing them. Then, he spoke to his friends in English, telling them that he just tried to dissuade us from taking on such a difficult subject matter which will frustrate us due to the poor results we would be able to achieve. But we remained unperturbed. Finally, in a sort of grandiose promise, again rather condescendingly, he exclaimed he would return to this spot and see what we accomplished. After a couple of hours, we had drawn our sphinges, got the perpective right and everything, and the man indeed kept his promise. He came up to us, circled around us, silently, a couple of times, and then withdrew. Obviously, he was dissappointed, for we were indeed able to draw them, even if it was a tough angle. His dissatisfaction, not with our work, but with his own hurt self-importance, was palpable. Once he was gone, we had a good laugh. 99 times out of a 100 nobody will say anything unpleasent when you paint plein-air, they might look curiously over your shoulder, sometimes praise your work, but normally people are even too shy to come close to you, as you paint, let alone say something. This was the only time where somebody said somehing which a beginner would find negative. We were confident enough, and had a good laugh afterwards. The measurements given are related to passe-partout size, the actual paper is slightly bigger.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:12 W x 8 H x 0.1 D in

Size with Frame:17.25 W x 13.25 H x 1.2 D in

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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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