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常见问题
What are the advantages of leasing works of art?
- Financial Flexibility: You can enjoy exceptional, high-value works of art without a large initial investment.
- Tax Benefits: Receive potential tax benefits as rents can be deducted as a business expense.
How are the prices of monthly payments for leasing works of art set?
- The costs depend on the value of the work, the duration of the leasing contract, and any services included such as installation.
Can we buy the work after the leasing period?
- Yes, on ArtMajeur leasing contracts offer a purchase option at the end of the contract, allowing customers to acquire the work at a determined price (residual value).
How are the safety and insurance of works managed?
- Insurance during the duration of the rental contract is the responsibility of the customer. It is therefore important to check the details of your insurance contract to be sure that your leased works are covered in the event of damage.
What are the conditions for terminating the leasing contract before its end?
- Unless there are specific conditions, leasing contracts for works of art commit the client to payment of the entire price of the work; payments are therefore due until the end of the lease.
关于作者
His creative process always stems from the desire to share his thought, his idea. Before approaching the canvas, A - Wibaa makes a long inner journey necessary to define his point of view in order to reach the public.
Then, he looks for colors, materials and style to transfer his emotions to the canvas and start a dialogue with contemporary society.
A - Wibaa is characterized in that each series of works is totally different from the others. He is one of the few living artists who focuses on his creative thinking and not on execution. In an unusual way, He links the latter only to the need to establish, with as few elements as possible, a lively conversation with the community.
The artist was born in Italy, Rome. He is self-taught and he approached painting by attending a course at MoMA in New York - In the Studio: Postwar Abstract Painting – He could learn about the materials, techniques, and approaches of seven New York School artists who made abstract paintings. The “New York School “including De Kooning, Newman, Pollock, Ad Reinhardt and Rothko. A - Wibaa began to understand what a studio means and how ideas develop by looking closely at the paintings.
A - Wibaa paints intuitively using a variety of tools such as brushes, spatulas, sponges, and even his hands. He prefers acrylic and oil colors, mixing them with various other liquids. He does not disdain enamels, sprays, sheaths and charcoals.
Son processus de création découle toujours du désir de partager sa pensée, son idée. Avant d'aborder la toile, A - Wibaa effectue un long voyage intérieur nécessaire pour définir son point de vue afin de toucher le public.
Ensuite, il recherche les couleurs, les matières et le style pour transférer ses émotions sur la toile et entamer un dialogue avec la société contemporaine.
Wibaa se caractérise par le fait que chaque série d'œuvres est totalement différente des autres. Il est l'un des rares artistes vivants qui se concentre sur sa pensée créative et non sur l'exécution. D'une manière inhabituelle, il lie ce dernier uniquement à la nécessité d'établir, avec le moins d'éléments possible, une conversation animée avec la communauté.
L'artiste est né en Italie, à Rome. Il est autodidacte et il s'est approché de la peinture en suivant un cours au MoMA de New York - In the Studio: Postwar Abstract Painting - Il a pu découvrir les matériaux, les techniques et les approches de sept artistes de la New York School qui ont réalisé des peintures abstraites. La « New York School » comprenant De Kooning, Newman, Pollock, Ad Reinhardt et Rothko. A - Wibaa a commencé à comprendre ce qu'est un atelier et comment les idées se développent en regardant attentivement les peintures.
A - Wibaa peint intuitivement en utilisant une variété d'outils tels que des pinceaux, des spatules, des éponges et même ses mains. Il préfère les couleurs acryliques et à l'huile, les mélangeant avec divers autres liquides. Il ne dédaigne pas les émaux, les sprays, les gaines et les fusains.
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