251. 弗朗西斯·惠特利(Francis Wheatley)的《瓦伦丁从莎士比亚的《维罗纳的两位绅士》(The Two Gentles of Verona)第五幕第四场《无法无天》(The Outlaws)洞穴中拯救西尔维亚》 高清作品[92%]

Valentine rescuing Silvia from Proteus, from Shakespeares The Two Gentlemen of Verona, Act V, Scene 4, the Outlaws Cave-

图片文件尺寸 : 3238 x 4096px

弗朗西斯·惠特利(Francis Wheatley)的《瓦伦丁从莎士比亚的《维罗纳的两位绅士》(The Two Gentles of Verona)第五幕第四场《无法无天》(The Outlaws)洞穴中拯救西尔维亚》-Francis Wheatley

Valentine rescuing Silvia from Proteus, from Shakespeares The Two Gentlemen of Verona, Act V, Scene 4, the Outlaws Cave--Francis Wheatley (英国, 1747 - 1801)

259. 基思·哈林 拜耳套房6 高清作品[92%]

The Bayer Suite 6

图片文件尺寸 : 4277 x 4461px

Keith Haring:The Bayer Suite
The complete set of six offset lithographs in colours, 1982, on thin wove paper, from the unsigned edition of 70, published by Bayer AG on the occasion of the release of the medication Sali-Adalat, the full sheets, all with the palest of time staining, in very good condition, within their original black frames with the Keith Haring sticker on the backboard

Sheet 299 × 237mm. (11 4/5 x 9 3/8in.) (6)

基思·哈林 拜耳套房6

260. Enrico Castellani,当代艺术I 高清作品[92%]

DO-Enrico Castellani  - 现代艺术 I
图片文件像素:4431 x 4184 px

Enrico Castellani,当代艺术I-

Enrico Castellani * - Zeitgenössische Kunst I-

(Castelmassa, Rovigo 1930–2017 Viterbo)
Superficie bianca, 1999, titled, signed and dated on the reverse, acrylic on shaped canvas, 80 x 80 cm

This work is registered in the Archivio Fondazione Enrico Castellani and is accompanied by a photo certificate of authenticity.

This work will be included in the forthcoming catalogue raisonné being prepared by the Archivio Fondazione Enrico Castellani

Provenance:
European Private Collection (acquired directly from the artist)

Castellani models the surface by acting on the nature of an “extraflexible” canvas. His project is based on one principle: refusing the planarity of the painting and aknowledging the properities of the medium: pliable, elastic, flexible. The materiality of the picture is Castellani’s works first subject.

This is what leads him to multiple experimentations from the most rectillinear geometry to the invention of random patterns scattered at will. The art of Castellani combines measure and rhythm, invention and technique.
Bernard Blisténe, Paris 2011

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251. 弗朗西斯·惠特利(Francis Wheatley)的《瓦伦丁从莎士比亚的《维罗纳的两位绅士》(The Two Gentles of Verona)第五幕第四场《无法无天》(The Outlaws)洞穴中拯救西尔维亚》 高清作品[92%]

Valentine rescuing Silvia from Proteus, from Shakespeares The Two Gentlemen of Verona, Act V, Scene 4, the Outlaws Cave-

图片文件尺寸 : 3238 x 4096px

弗朗西斯·惠特利(Francis Wheatley)的《瓦伦丁从莎士比亚的《维罗纳的两位绅士》(The Two Gentles of Verona)第五幕第四场《无法无天》(The Outlaws)洞穴中拯救西尔维亚》-Francis Wheatley

Valentine rescuing Silvia from Proteus, from Shakespeares The Two Gentlemen of Verona, Act V, Scene 4, the Outlaws Cave--Francis Wheatley (英国, 1747 - 1801)

259. 基思·哈林 拜耳套房6 高清作品[92%]

The Bayer Suite 6

图片文件尺寸 : 4277 x 4461px

Keith Haring:The Bayer Suite
The complete set of six offset lithographs in colours, 1982, on thin wove paper, from the unsigned edition of 70, published by Bayer AG on the occasion of the release of the medication Sali-Adalat, the full sheets, all with the palest of time staining, in very good condition, within their original black frames with the Keith Haring sticker on the backboard

Sheet 299 × 237mm. (11 4/5 x 9 3/8in.) (6)

基思·哈林 拜耳套房6

260. Enrico Castellani,当代艺术I 高清作品[92%]

DO-Enrico Castellani  - 现代艺术 I
图片文件像素:4431 x 4184 px

Enrico Castellani,当代艺术I-

Enrico Castellani * - Zeitgenössische Kunst I-

(Castelmassa, Rovigo 1930–2017 Viterbo)
Superficie bianca, 1999, titled, signed and dated on the reverse, acrylic on shaped canvas, 80 x 80 cm

This work is registered in the Archivio Fondazione Enrico Castellani and is accompanied by a photo certificate of authenticity.

This work will be included in the forthcoming catalogue raisonné being prepared by the Archivio Fondazione Enrico Castellani

Provenance:
European Private Collection (acquired directly from the artist)

Castellani models the surface by acting on the nature of an “extraflexible” canvas. His project is based on one principle: refusing the planarity of the painting and aknowledging the properities of the medium: pliable, elastic, flexible. The materiality of the picture is Castellani’s works first subject.

This is what leads him to multiple experimentations from the most rectillinear geometry to the invention of random patterns scattered at will. The art of Castellani combines measure and rhythm, invention and technique.
Bernard Blisténe, Paris 2011