Bronze Sculpture for Sale
Sans titre 28, 1993
Print : etching · 34 x 31 x 1 cm 13.4 x 12.2 x 0.4 inch · Ready to hang
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Shipped from: France
Delivery to: France Free delivery
Estimated delivery: Less than one week
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Verified Reviews : 9.6/10
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About the artwork
Type
Print : numbered and limited to 100 copies
Condition
Artwork sold in perfect condition, framed, ready to hang
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Stamped
Technique & Support
etching on cotton paper
Dimensions ( cm • inch )
34 x 31 x 1 cm 13.4 x 12.2 x 0.4 inch Height x Width x Depth
Artwork dimensions including frame
40 x 40 x 3 cm 15.7 x 15.7 x 1.2 inch
Sold by
Art gallery
Credentials
Vetted seller since 2014 • Top Seller
Discount
This seller offers discount when you purchase multiple artworks.
Description
Presentation
Shikō Munakata (棟方 志功, Munakata Shikō) was a 20th-century Japanese painter, born on September 5, 1903 in Aomori , died on September 13, 1975 in Tokyo.
Shikō Munakata was a printmaker and illustrator; during his childhood he helped his father at the family blacksmith's shop and then, as an office worker, he began to paint outdoors in his spare time. With friends he founded an art society to exhibit their paintings. In 1924, he left for Tokyo to study the technique of oil painting, but he rejected its uniqueness of expression. Attracted by the engravings of Kawakami (1895-1972), he then turned to woodcutting but devoted himself mainly to Buddhist themes. From 1928 he worked under the direction of Hiratsuka (1895-/).
He also published numerous albums of his woodcuts, copper engravings and lithographs, such as Kegon-fu (Chronicle of the Kegon Sūtra) and Tōhokukyo (Northeast Sūtra) in 1937, where religious concerns are apparent in his work, Uto (Birds of Woe), a set of thirty-one prints in 1938, A Collection of Shiko Munakata's Oil-Paintings in 1942, Bankyo shin, a collection of essays in 1948, Nyonin Kanzeon (Kannon) a set of woodcuts in 1949, three books entitled Hankanki, Hantanni and Ryurisho Hangakan in 1954, a new series of woodcuts, Yũzen suru Nyoshatachitachi (Women in Ecstasy) in 1955, etc. Such is the work of one of the greatest contemporary Japanese printmakers whose realistic style, tinged with naivety, close to folk art, speaks directly to the soul of his country. He himself says that he is not responsible for his work, but participates in a kind of universal creative principle, beyond good and evil and deeply rooted in reality. "The vast and limitless words express the nature of my woodcuts," he says.
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Reviews from our customers
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