"Fine-Arts" prints on paper
It is a process of printing on art paper using very high-quality pigment inks and printed in very high definition. Its level of conservation is exceptional (more than 100 years), its quality, depth, and richness of nuances exceeds the classic photo print on Argentic paper.
Glossy finish
Apart from its exceptional thickness, the fiber paper is composed of an alpha-cellulose base without acid and it is covered with barium sulphate, and a microporous layer absorption enhancing pigments during printing. A pure white color, non-yellowing to light, this paper is especially designed for resistance and aging. It is used by major museums worldwide as it offers excellent resolution, rendering deep and dense colors.
Art Print "Fine Art" - Glossy finish on a fiber base paper 325 g.
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Constant attention is paid by our master printer, whether in terms of color control or respect for the graphic chain. Our high level of quality requirement is a major asset of ArtMajeur framed art prints.
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Usage: Web Licence
| 1500 px | ||
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1500 px |
| Dimensions of the file (px) | 1500x1500 |
| Use worldwide | Yes |
| Use on multi-support | Yes |
| Use on any type of media | Yes |
| Right of reselling | No |
| Max number of prints | 0 (Zero) |
| Products intended for sale | No |
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Restrictions
All images on ArtMajeur are original works of art created by artists, all rights are strictly reserved. The acquisition of a license gives the right to use or exploit the image under the terms of the license. It is possible to make minor modifications such as reframing, or refocusing the image so that it fits perfectly to a project, however, it is forbidden to make any modification that would be likely to harm the original work In its integrity (modification of shapes, distortions, cutting, change of colors, addition of elements etc ...), unless a written authorization is obtained beforehand from the artist.
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Art image bank-
This work is an "Open Edition"
Digital Arts,
Giclée Print / Digital Print
- Dimensions Several sizes available
- Several supports available (Fine art paper, Metal Print, Canvas Print)
- Framing Framing available (Floating Frame + Under Glass, Frame + Under Acrylic Glass)
- Categories Pop Art
The work presents all manner of signs, symbols, religious taboos and identity issues simultaneously.
The red curtains are drawn and provide a 'reveal'.
• Why the nipple pinching? The hand-shape of the 'pincher' is very close to that repeatedly made by Donald Trump when making speeches - what does it mean?
• Why the shaven half-heads of women of colour at the bottom of the composition?
• Why are the scarf headed figures naked?
• The figure wearing a Union Jack scarf holds a ring by her fingertips?
• What do the national flags of the US and UK mean when they are warn as scarves?
• The figure wearing a burka/chadaree, her partner wears a nun's habit - what are the differences?
The 'burka/chadaree and nun's habit' motif appears again in the unfinished 'Culture Show' painting positioned in front of the couple (Jan van Eyck's - Arnolfini Marriage).
The Culture Show composition itself is based on the LP sleeve cover of Roxy Music's early '70s album, Country Life. This Arnolfini scene appears in a related by the UK Pop Artist, Richard Hamilton.
Related themes
Background
I was born in Newcastle Upon Tyne (UK) in 1954. My mother was Dutch and could draw well. Both of these facts are significant in terms of influences and experiences.
As a teenager, my summer holidays were spent in the Dutch seaside town of Scheveningen (my mother’s birthplace). We would stay with my grandmother and visit relatives... great uncles who collected stamps and painted everyday objects in the style of 17th-century artists... an uncle who was a graphic designer. They had landscape and still life paintings on their walls.
Scheveningen is close to the Hague and Amsterdam an easy train journey away. Both places have world-famous art galleries that I visited with a Dutch cousin. To this day, my experience of seeing Vermeer’s Girl with a Pearl Earring and standing in front of Rembrandt’s The Night Watch has stayed with me.
My art teacher at secondary school was a graduate of Newcastle University. He had been taught by Richard Hamilton (Pop Artist) and Victor Pasmore (Formal Abstraction). We went to exhibitions at the University’s Hatton Gallery to see exhibitions of work by Kurt Schwitters (Merz/Dada Art) and John Heartfield (Anti Nazi Montage/Collage Art).
My work might broadly be described as ‘Art About Art’ - it is multi-layered in construction and in potential meaning.
Practice
I make my artworks by importing pictorial content into two kinds of image manipulating software, the composition is then constructed, developed and finessed digitally.
By fusing history with contemporary additions, I work with the iconic and the cultural, merging them to create new narratives. I quote from the art of the past so as to reinterpret a way of seeing and thinking that I associate with artists as disparate as Vermeer, Velasquez, Ingres, Manet, Duchamp and Richard Hamilton etc. My artworks are, in part, referential in their intent rather than simply appropriated or copied from masterworks. My imitation is a sincere form of flattery. In addition to explicit references, some may find humour in my alterations.
All of my artworks have the potential to be produced on a very large scale.
Abbreviated CV - Education and Career
Born Newcastle upon Tyne 1954
Bachelor of Education Hons Degree - Warwick University 1976
Art Teacher - Saintbridge School, Gloucester 1976-78
Art & Design Lecturer - West Sussex College of Design 1979-86
Head of Art, Design & Media - Bridgwater College 1987-1996
Marketing Manager - Bridgwater College 1996 - 2007
Owner of I More Than Brand - Marketing Business 2007-2014
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Nationality:
UNITED KINGDOM
- Date of birth : unknown date
- Artistic domains:
- Groups: Contemporary British Artists
See more from Gordon Coldwell
