N° 1083 Budapest 4. L'incrédulité de Frida., 2019
Painting : oil, canvas · 55 x 46 x 2 cm 21.7 x 18.1 x 0.8 inch
$490
490 $US
Shipping & delivery
Shipped from: France
Delivery to: United States 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
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the artist
Signature
Hand-signed by artist
Dimensions ( cm • inch )
55 x 46 x 2 cm 21.7 x 18.1 x 0.8 inch Height x Width x Depth
Sold by
Independent artist
Credentials
Vetted seller since 2021
Discount
This seller offers discount when you purchase multiple artworks.
Description
From an interesting hiatus, namely painting an inside and an outside not made to be together a priori.
Hovers over all this a crow. Of course you don't find the patrol side by side with the parade riders at Buda Castle. One is outside, it's free. The other is inside, it pays off. In addition, the always even number of hussars was not respected. Frida: And Mathias Corvino's crow isn't even there! R. Cavalié: I simply wanted to bring it up to you.
Hovers over all this a crow. Of course you don't find the patrol side by side with the parade riders at Buda Castle. One is outside, it's free. The other is inside, it pays off. In addition, the always even number of hussars was not respected. Frida: And Mathias Corvino's crow isn't even there! R. Cavalié: I simply wanted to bring it up to you.
Presentation
"Bonpointism" could be her trademark because, born in an unmade bed of teachers in the land of Jaurès, she never stopped creating the images she dreamed of owning as a child.
The work, especially figurative, is aimed at people wishing to live daily with this particular breath in a corner of their living space. As the surface area of homes is shrinking especially in the city, the artist has thus been led to favor medium to small formats. His work, where the significance of an assertive design is concretized, is always carried out in the urgency of a creation that absolutely does not take into account the dictates of fashion or even his personal taste.
The color, the reliability of the line, the enhancement of a light inherent in each subject approached, allow us to recognize an appearance of naive appearance but carrying, perhaps by that very fact, an undeniable finesse in the understanding of our world and its underlying poetry.
The abundance of production and the versatility of the themes show an imaginary in perpetual boiling, nonetheless ordered by a certain rigor which, curiously, turns out not to be devoid of both humor and love.
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