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Summer Forest - Limited Edition of 20 Print

Tina Numberger

Germany

Open Edition Prints Available:
Select a Material

Fine Art Paper

Fine Art Paper

Select a Size

9 x 12 in ($40)

9 x 12 in ($40)

15 x 20 in ($70)

24 x 32 in ($120)

30 x 40 in ($200)

Add a Frame

White ($80)

Black ($80)

White ($80)

Natural Wood ($80)

Metal: Light Pewter ($150)

Metal: Dark Pewter ($150)

No Frame

$120

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ABOUT THE ARTWORK
DETAILS AND DIMENSIONS
SHIPPING AND RETURNS

This print consists of organic and geometric shapes, which create a lively and playful impression on the paper. The basic elements are grid- and line-like structures surrendering reduced and strict forms of expression. Upon closer inspection, a further pictorial level opens up: the finest fragment...

Year Created:

2017

Subject:
Medium:

Print, Giclee on Fine Art Paper

Rarity:

Open Edition

Size:

9 W x 12 H x 0.1 D in

Size with Frame:

14.25 W x 17.25 H x 1.2 D in

Ready to Hang:

Yes

Frame:

White

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?

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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