Bronze Sculpture for Sale
Scène d'intérieur, 1974
Print : eau-forte · 41 x 50 x 1 cm 16.1 x 19.7 x 0.4 inch
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Verified Reviews : 9.6/10
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About the artwork
Type
Print : numbered and limited to 25 copies
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
Dimensions ( cm • inch )
41 x 50 x 1 cm 16.1 x 19.7 x 0.4 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2016 • Top Seller
Discount
This seller offers discount when you purchase multiple artworks.
Description
This artwork features an ethereal composition where blurred shapes and brown hues intertwine harmoniously, creating a dreamlike ambiance. The delicate use of shades of brown and cream lends a subtle softness to the whole, evoking a scene of ancient ruins or remains. The fluid and indistinct brushstrokes suggest dynamic movement, as if the painting were capturing a moment of collapse or transformation. The absence of precise details encourages personal interpretation, inviting the viewer to explore the emotions and memories that the image evokes.
Presentation
Born in Moscow (USSR) in 1940, Yuri Kuper studied at the Moscow Art Academy. Major artist, painter, sculptor, decorator, Yuri Kuper - member of the Mémoires group - works around the idea of memory (individual and collective) and is interested in objects of everyday life - brushes, dishes, tools, etc. - which he presents as isolated vestiges of an ancient world. Yuri Kuper exhibits in Paris, New York, Berlin, Tel Aviv, Moscow, Brussels, Tokyo. On the occasion of the reopening of BochoÏ in 2007, Yuri Kuper created the costumes and sets for the opera of "Boris Godunov" by Mussorgsky. “There should be no intermediary between the viewer and the painting. The painting must hypnotize, in the same way that the surface of the thing contemplated hypnotized the painter ”. Yuri Kuper “Yuri Kuper is fascinating when he talks about his still lifes. He describes them entirely in technical terms. Any old object, in his most recent works, a brush, a palette knife, two small paint containers, one rectangular, the other square, can serve as a "theme"; everything else is surface rendered with breathtaking care, with extreme finesse. It's a familiar problem, the old problem of creating the image: how to build the illusion of a three-dimensional figure on a flat background, so that the background supports that illusion, instead of destroying it. This is a subtle task, and Kuper, who is a master of the art, does it better than anyone. Its finished object is highlighted, even when the surface merges with the apparently infinite background. Thus the surface of the object sometimes appears as a magnified detail of the background, especially since the painted objects are Kuper's working instruments, and they are covered with paint. In fact, they seem to emanate from the bottom, and this projection in space gives them a certain depth. Kuper is a modernist painter who walks along the border between gestural abstraction and geometric abstraction. »Donald Kuspit
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