Ohne Titel - aus der Serie: Und Abends blüht die Moldau, 2003

by Eliška Bartek

Photography : C-print, color edition, HD print

120 x 90 x 2 cm 47.2 x 35.4 x 0.8 inch


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About the artwork


Numbered and limited to 3 copies

3 copies available


Signed artwork


Sold with certificate of Authenticity from the gallery

Invoice from the gallery


Photography: C-print, color edition, HD print

Dimensions cm inch

120 x 90 x 2 cm 47.2 x 35.4 x 0.8 inch Height x Width x Depth


Aluminium mounted

Artwork dimensions including frame

121 x 91 x 3 cm 47.6 x 35.8 x 1.2 inch







Artwork sold in perfect condition

Artwork location: Germany

Bengali illuminated orchid and magnolia blossoms: A diabolical provocation

In Eliška Bartek's series, orchid and magnolia blossoms become a sensual intoxication of the senses. Her images present a morbid beauty that takes us into a world of temptation and seduction.

These blood-red orchid flowers and black-violet magnolia calyxes seem to come from another realm, as if they had been twisted into angel wings. Their soft blush glows like blood, while the black stem is reminiscent of an eye shadow that underlines cosmetic seduction.

Bartek's photographs show us a world that is entirely analogue, without the influence of modern technology. She relies on her Pentax camera, light and colour filters to capture the natural beauty of these exotic flowers.

The flowers are selected with a strict hand according to sculptural criteria. Bartek gets them from a Berlin wholesale market or cuts them fresh from a botanical garden in Pila in Ticino. Each flower is carefully chosen to perfect the interplay of detail and panorama, of romance and criticism.

These pictures are more than just flowers. They are terribly beautiful, dangerous, melancholic and romantic all at the same time. With her photographs, Bartek gives us a heavenly experience of rapture and melancholy that captivates and frightens us at the same time.

The aesthetics of these flower motifs are a fascinating play between nature and art, between beauty and danger. Bartek's pictures let us see nature with new eyes and open up a world full of secrets and seductions.

At a time when the world is dominated by digital technology and artificial intelligence, Eliška Bartek reminds us that the beauty of nature is still best captured through the lens of an analogue camera. Her photographs are a striking testament to the timeless power of analogue photography and the infinite beauty of nature.

The series has been shown in group exhibitions at numerous prestigious museums around the world, including the Museum of Modern Art in New York, the Louvre in Paris, the Tate Modern in London, and the Fotomuseum Winterthur in Switzerland. These exhibitions have exposed Bartek's work to an international audience and cemented her reputation as one of the leading contemporary photographers.

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Eliška Bartek, Ohne Titel - aus der Serie: Und Abends blüht die Moldau

Eliška Bartek

Switzerland  • 1950


Eliška Bartek is a Czech photographer, painter and author. She lives and works in Berlin and Ticino.

Bartek fled to the Federal Republic of Germany in 1972. She has been a Swiss citizen since 1975. From 1976 to 1978 she took painting lessons with Fritz Deutsch. From 1979 to 1983 she attended the Zurich University of the Arts and from 1983 to 1986 the private school "Form und Farben" in Zurich. Between 1995 and 1996 she lived in Vienna and received a scholarship from the Federal Ministry of Education, Science and Culture. Since 1997 she has lived and worked in Berlin and Ticino.

Bartek has been working on her abstract photographic works and paintings since the late 1980s. Her photographs, photograms and glass cliché prints are closely linked to the tradition of concrete photography and are influenced by Constructivism and Surrealism. Her work with floral elements has attracted great attention. In the process, she photographs flowers illuminated in different colors in extreme close-ups. Her Neo-Impressionist paintings often thematize classical landscape views and attempt to question their idyll.
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