![제목이 "All that could have…"인 미술작품 Mike Smoller로, 원작, 아크릴 나무 들것 프레임에 장착됨](https://www.artmajeur.com/medias/standard/m/i/mike-smoller/artwork/17125216_all-that-could-have-been.jpg)
![룸에서 보기 작품: All that could have been . . . .](https://www.artmajeur.com/medias/standard/m/i/mike-smoller/artwork/17125216_all-that-could-have-been.jpg)
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All that could have been . . . . (2020) 미술작품 Mike Smoller 로
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- 포장 (상자 또는 판지 포장) 모든 작품은 세심하게 보호되고 보험에 가입된 프리미엄 캐리어와 함께 배송됩니다.
- 트레킹 소포가 구매자에게 배달될 때까지 주문 추적. 실시간으로 소포를 추적할 수 있도록 추적 번호가 제공됩니다.
- 지연 3~7일 이내에 전 세계 배송 (추정)
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- 추적 가능한 온라인 정품 인증서 진품 인증서는 작품 코드를 스캔하여 언제든지 온라인으로 확인할 수 있습니다.
- 아티스트 가치 인증 전문가는 예술가의 작업과 경력을 연구하고 독립적이고 신뢰할 수있는 평균 가격 값을 설정합니다. 평균 가격 가치는 예술가를 주어진 기간 동안 가격대에 위치시킵니다. 전문가는 특정 작업에 대해 보다 정확한 추정치를 설정하도록 요청할 수도 있습니다.
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상세 정보
-
원작 (One Of A Kind)
미술작품,
캔버스의
아크릴
/
파스텔
- 치수 높이 47in, 폭 35in
- 작품의 상태 작품은 완벽한 상태입니다
- 프레이밍 이 작품은 액자가 없습니다
- 카테고리 회화 {가격} 이하 추상 미술 화려한
관련 테마
I am a self-taught artist and my first works in June, 1975 (“Mirror Image of the Real World – Positive” and “Mirror Image of the Real World – Negative”) look as though they were mimics of Barnett Newman's “zip” paintings of the 1950's (although I did not even know of his work until very recently). I painted in this style for the next 20 years or so, never even considering selling any works or seeking gallery representation.
After a long hiatus, the second phase of my art began in 2012 with a series of works based on the subject of Lies, exploring new methods of expression and materials (“Tapestry of Lies”, “Pyramid of Lies”, “Pack of Lies”, etc.). Experimentation continued with a dot matrix portrait (“Dots Christina”) and even “assemblage” (“Damaged Babies”). But the real rebirth of my artistic vision was a return to the hard edge genre which I had last worked with decades before - the box light sculpture entitled “41” (2013) using acrylic film. I liked it so much that I followed it with an entire series of nine more related box light sculptures, followed by a series of ten "pole" light sculptures using the same materials.
By this point I had been creating abstract art for nearly forty years. In the beginning my works were very precise and technical using hard edge techniques. During that period my artistic vision was sharp, clear and easy to convey. The images were self contained and self defined, and I could imagine the completed work even before pigment ever touched canvas. But in September 2013, as an experiment, I painted “Between Here and There”, a radical departure from my previous expression of abstraction in that it had no hard lines or clear patterns. This led to a continued exploration of this more loosely constrained vocabulary with the “TTH” series of paintings containing eight works. All of my recent works (since 2019) have used this loosened vocabulary. The very first work during this period defines the central question: “How do you know when it's done?” Unlike virtually all of my previous work, there was no preset final image to express. Each painting evolved and matured during the painting process until it reached the point at which I felt that continuing would lessen the work.