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Altrhein Neupotz - Limited Edition of 10 Print

Tina Numberger

Germany

Open Edition Prints Available:
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Fine Art Paper

Fine Art Paper

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12 x 9 in ($40)

12 x 9 in ($40)

20 x 15 in ($70)

32 x 24 in ($120)

40 x 30 in ($200)

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White ($80)

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White ($80)

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$120
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About The Artwork

This four-color linoprint is like a still life, that rests in itself. On the one hand, the work invites the viewer to remain contemplative; on the other hand, it captivates him with a clear depth effect. Supposedly, romantic views open up. Longings for summery lingering by the water are awakened. The linear rectangle, which appears like a window to the world, magically attracts the viewer. He feels the need to haptically explore the pictorial space. Through the cutting technique, I create pattern structures, which reveal their very own, new motifs, which, despite all spatial width, develop a compact presence in the image space. With the 4-color printing technique used, only one printing plate exists. This is cut more and more after the printing of each color, so that in the end no more prints are possible (suicide technique).

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:12 W x 9 H x 0.1 D in

Size with Frame:17.25 W x 14.25 H x 1.2 D in

Shipping & Returns

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

born in Ludwigshafen Rhine/Germany lives near Karlsruhe/Rhineland-Palatine/Germany My artistic theme is and has always been nature. It fascinates me as an artist by its originality, and also by its diversity. As for the artists of the Romantic period, the nature surrounding me stands for the all-embracing being, gives me comfort and strength. Already during my studies of art I was enthusiastic about the viniculture in my home country. I wanted to portray the strict geometry with which the vines traverse the landscape. This is how I came to the linoleum printing technique, which is still my preferred printing technique today. In search of motifs, I often roam for hours through the forests of my homeland, collecting impressions, structures and special features. Then I return to my studio "charged" with impressions and process and vary them. The development of my theme - whether it is a print or painting - is characterized by the question of the level of abstraction versus space-creating methods. How many perspective lines are necessary to communicate an impression of space? Where is it sufficient to have one in front and one behind the other? And where do I have to intervene creatively to guide the eye. Which elements must the representation contain, and which colour spectrum must I access in order to take the viewer to my emotional level? Since two years now I am more and more occupied with digital drawing and painting. I would like to invite you to go this way with me.

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