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W44 Print

Philip Leister

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14 x 21 in ($129)

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ABOUT THE ARTWORK

A supernova remnant (SNR) is the structure resulting from the explosion of a star in a supernova. The supernova remnant is bounded by an expanding shock wave, and consists of ejected material expanding from the explosion, and the interstellar material it sweeps up and shocks along the way. There are two common routes to a supernova: either a massive star may run out of fuel, ceasing to generate fusion energy in its core, and collapsing inward under the force of its own gravity to form a neutron star or a black hole; or a white dwarf star may accrete material from a companion star until it reaches a critical mass and undergoes a thermonuclear explosion. In either case, the resulting supernova explosion expels much or all of the stellar material with velocities as much as 10% the speed of light (or approximately 30,000 km/s). These speeds are highly supersonic, so a strong shock wave forms ahead of the ejecta. That heats the upstream plasma up to temperatures well above millions of K. The shock continuously slows down over time as it sweeps up the ambient medium, but it can expand over hundreds or thousands of years and over tens of parsecs before its speed falls below the local sound speed. One of the best observed young supernova remnants was formed by SN 1987A, a supernova in the Large Magellanic Cloud that was observed in February 1987. Other well-known supernova remnants include the Crab Nebula; Tycho, the remnant of SN 1572, named after Tycho Brahe who recorded the brightness of its original explosion; and Kepler, the remnant of SN 1604, named after Johannes Kepler. The youngest known remnant in our galaxy is G1.9+0.3, discovered in the galactic center. 
 Stages:
 An SNR passes through the following stages as it expands: 1. Free expansion of the ejecta, until they sweep up their own weight in circumstellar or interstellar medium. This can last tens to a few hundred years depending on the density of the surrounding gas. 2. Sweeping up of a shell of shocked circumstellar and interstellar gas. This begins the Sedov-Taylor phase, which can be well modeled by a self-similar analytic solution (see blast wave). Strong X-ray emission traces the strong shock waves and hot shocked gas. 3. Cooling of the shell, to form a thin (< 1 pc), dense (1 to 100 million atoms per cubic metre) shell surrounding the hot (few million kelvin) interior. This is the pressure-driven snowplow phase. The shell can be clearly seen in optical emission from recombining ionized hydrogen and ionized oxygen atoms. 4. Cooling of the interior. The dense shell continues to expand from its own momentum. This stage is best seen in the radio emission from neutral hydrogen atoms. 5. Merging with the surrounding interstellar medium. When the supernova remnant slows to the speed of the random velocities in the surrounding medium, after roughly 30,000 years, it will merge into the general turbulent flow, contributing its remaining kinetic energy to the turbulence. Source: Wikipedia

DETAILS AND DIMENSIONS
Print:

Giclee on Canvas

Size:

14 W x 21 H x 1.25 D in

Size with Frame:

15.75 W x 22.75 H x 1.25 D in

SHIPPING AND RETURNS
Delivery Time:

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

I’m (I am?) a self-taught artist, originally from the north suburbs of Chicago (also known as John Hughes' America). Born in 1984, I started painting in 2017 and began to take it somewhat seriously in 2019. I currently reside in rural Montana and live a secluded life with my three dogs - Pebbles (a.k.a. Jaws, Brandy, Fang), Bam Bam (a.k.a. Scrat, Dinki-Di, Trash Panda, Dug), and Mystique (a.k.a. Lady), and five cats - Burglekutt (a.k.a. Ghostmouse Makah), Vohnkar! (a.k.a. Storm Shadow, Grogu), Falkor (a.k.a. Moro, The Mummy's Kryptonite, Wendigo, BFC), Nibbler (a.k.a. Cobblepot), and Meegosh (a.k.a. Lenny). Part of the preface to the 'Complete Works of Emily Dickinson helps sum me up as a person and an artist: "The verses of Emily Dickinson belong emphatically to what Emerson long since called ‘the Poetry of the Portfolio,’ something produced absolutely without the thought of publication, and solely by way of expression of the writer's own mind. Such verse must inevitably forfeit whatever advantage lies in the discipline of public criticism and the enforced conformity to accepted ways. On the other hand, it may often gain something through the habit of freedom and unconventional utterance of daring thoughts. In the case of the present author, there was no choice in the matter; she must write thus, or not at all. A recluse by temperament and habit, literally spending years without settling her foot beyond the doorstep, and many more years during which her walks were strictly limited to her father's grounds, she habitually concealed her mind, like her person, from all but a few friends; and it was with great difficulty that she was persuaded to print during her lifetime, three or four poems. Yet she wrote verses in great abundance; and though brought curiosity indifferent to all conventional rules, had yet a rigorous literary standard of her own, and often altered a word many times to suit an ear which had its own tenacious fastidiousness." -Thomas Wentworth Higginson "Not bad... you say this is your first lesson?" "Yes, but my father was an *art collector*, so…"

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