其中的一种
艺术家签名的艺术品
包含真实性证书
准备挂起
安装在木质担架架上
这件艺术品出现在4集
-
原创艺术品 (One Of A Kind)
绘画,
丙烯
/
数字油画
在帆布上
- 外形尺寸 高度 19.7in, 宽度 19.7in
- 艺术品状况 艺术品完好无损
- 是否含画框 此作品未装裱
- 分类 画作 低于US$500 形象艺术
Evers lives and works in the region of Huy, Belgium. Trained in painting and sculpture at the Academy of Fine Arts in Liège, she returned to brushes in 2011 to give her work a turn that is both intimate and deeply committed to feminist themes; these have only been affirmed since then, without giving his work a rhetorical aspect. Sensitivity takes precedence[...]
Evers lives and works in the region of Huy, Belgium. Trained in painting and sculpture at the Academy of Fine Arts in Liège, she returned to brushes in 2011 to give her work a turn that is both intimate and deeply committed to feminist themes; these have only been affirmed since then, without giving his work a rhetorical aspect. Sensitivity takes precedence above all else in the work of Evers: sensitivity to the frame and to the light, sensitivity to the other and to oneself, concern for the finished work as well as for the position and the sensation of the viewer. Off-framing, allusions, back or three-quarter poses: many things in the choices of Evers who practices almost exclusively acrylic on canvas - say modesty and restraint, but signal at the same time an immense attention to detail, a a certain taste for meticulousness, an attraction for large formats. In many respects, the seemingly contradictory interplay of purpose and form, or even proportion, conveys this mixture in her of restrained celebration and exaltation, this need to marvel and this need to preserve. Her predilection for feet and hands is a way of not sexing the attributes of contact, the expression of tenderness: By playing on the ambiguity of female hands/male hands, I open the door to gender equality, the right of everyone to do as they please, whether the activity is basically considered feminine or masculine. In my 'Transparencies', I use my hands, but strangely the paintings inspire masculine moments. I realize that few spectators are ready to hesitate, to impute the moment described to a man or a woman without a priori. However, the loneliness described is intended to be asexual.
相关主题
Evers Cynthia 是当代比利时画家。在她的作品中,敏感度高于一切:对框架和光线的敏感度,对他人和自己的敏感度,对完成的作品以及观众的位置和感觉的关注。离框、典故、后背或四分之三姿势:Evers 的选择中有很多东西,他们几乎完全在画布上使用丙烯酸树脂——比如谦虚和克制,但同时也表明对细节的极大关注,对一丝不苟的某种品味, 对大尺寸的吸引力
Evers Cynthia 是当代比利时画家。在她的作品中,敏感度高于一切:对框架和光线的敏感度,对他人和自己的敏感度,对完成的作品以及观众的位置和感觉的关注。离框、典故、后背或四分之三姿势:Evers 的选择中有很多东西,他们几乎完全在画布上使用丙烯酸树脂——比如谦虚和克制,但同时也表明对细节的极大关注,对一丝不苟的某种品味, 对大尺寸的吸引力
通过玩弄女性手与男性手的模糊性,她打开了性别平等的大门,让每个人都可以自由地做自己想做的事,无论这项活动通常被认为是女性的还是男性的。她对脚和手的偏爱是一种不区分接触属性和温柔表达的方式。