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«Gaze into tomorrow» (2008) 图画 由 Pavel Bunas
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“艺术”在纸上打印
这是使用非常高质量的颜料墨水在美术纸上打印并以很高的清晰度打印的过程。它的保存水平非常出色（超过100年），其质量，深度和细微差别超过了在Argentic纸上的经典照片打印。
光面漆
纤维纸除了具有非凡的厚度外，还由不含酸的α-纤维素基底组成，并覆盖有硫酸钡和在印刷过程中具有微孔层吸收作用的颜料。这款纸色为纯白色，不泛黄，特别设计用于抵抗老化。它具有出色的分辨率，呈现深沉的色彩，因此已被世界各大博物馆所采用。
Art Print“美术”-在325 g纤维原纸上的光泽处理。
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艺术图片银行-
原创艺术品 (One Of A Kind)
图画,
铅笔
/
石墨
在纸上
- 外形尺寸 高度 53.2in, 宽度 40.8in
- 艺术品状况 工作状况非常好
- 是否含画框 此作品未装裱
- 分类 画图 低于US$5,000 形象艺术 男性裸体
Pavel Bunas’s monumental pencil drawing (103.5x135 cm) is a meditation on human ambition. The male figure, captured mid-breath between thought and action, doesn’t just look at the horizon — he dissects it. The fabric in his hands flows like liquid determination, blurring the line between physical form and metaphorical flight.
Why this work matters:
• Eyes as storytellers: The hyper-detailed gaze holds galaxies — there’s calculation, daring, and a hint of impatience with the present.
• Anatomy as poetry: Every muscle fiber is a stanza about strength-in-waiting, while the drapery’s chaos contrasts with the figure’s stillness.
• Background as a canvas for interpretation: The abstract geometric shape could be a doorway, a cage, or a mirror — its meaning evolves with the viewer.
Perfect for:
• Collectors who value art that combines technical brilliance with existential depth.
• Spaces needing a focal point that sparks conversation — executive offices, modern galleries, or avant-garde homes.
• Anyone who sees art not as an object, but as a lens to reimagine reality.
The artist's idea:
The artist did not draw a person, but the moment before the jump - that very second when fear turns into excitement.
«L’avenir se construit dans le silence des traits de crayon» (Tomorrow is built in the silence of pencil strokes).
Materials: Graphite pencils, paper
相关主题
“Master of Portraits That Breathe” (A Biography Written in Paint)
How a Blue Crow Gifted Me the Universe
At five years old, I drew a bird. Not just any bird—a blue crow on a scrap of wallpaper. My mother cried. Not from delight—she thought I was colorblind. But for me, it became the first lesson: art must stir a storm, even if it’s a hurricane of misunderstandings.
From then on, I never let go of my pencil. Dragons from children’s books, the faces of kindergarten teachers, clouds outside the window — I “digested” them all in sketchbooks like an alchemist seeking the formula for perfection. My parents gave up: at seven, I entered art school, where instead of primers, I studied Rembrandt.
Apprenticeship to the Rhythm of Commuter Trains
Glebovskoe School. Here, I discovered that people are the finest “landscapes.” Every morning, I rode to class in a packed train, turning the carriage into a laboratory. Passengers never suspected their wrinkles, smiles, and gestures were becoming sketches. I absorbed them like a sponge, then blended them with the ancient science of Ninsho-Goku — the art of face-reading practiced by Kyoto’s geishas. My secret? I don’t paint portraits. I decipher them.
— A wrinkle at the temple: the trace of sleepless contemplation.
— A spark in the eyes: an unspoken dream.
— Uneven lipstick: haste before an important meeting.
Teachers threatened expulsion for failing history but turned a blind eye when I exhibited portraits. “These aren’t paintings”, one said. “These are confessions”.
The Academy, or When Masterpieces Become Neighbors
At the Art Academy, I lived on two floors:
1. First floor — the studio, where I copied Vrubel and Serov. Sometimes, I felt the ghosts of masters standing behind me, nodding: “Don’t be afraid. Steal from us. But make it better.”
2. Second floor—reality. Exhibitions where strangers approached and said: “Paint my daughter. She’s gone, but I want her to live here.”
That’s when I understood: my paintings are not decorations. They are bridges between worlds.
_______________
P.S. If you’ve read this far—you’re ready for a dialogue. Let’s create not just a painting — an artifact that will outlive us.
_______________
Your artist,
Pavel Bunas
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