Pink Mood I, 2026
Anastassia Skopp  

Painting : acrylic, mixed media · 60 x 60 x 2 cm 23.6 x 23.6 x 0.8 inch

$642 642 $US
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Shipped from: Germany

Delivery to: United States , $ 93

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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 gallery

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cm • inch )

60 x 60 x 2 cm 23.6 x 23.6 x 0.8 inch Height x Width x Depth

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Description

In 1757, the Sèvres porcelain manufactory created a pink so particular it needed her name: rose Pompadour. Madame de Pompadour hadn't asked for restraint. She wanted a colour dense enough to signal wealth from across a room.

In Pink Mood I, roses cluster rather than scatter — pink-white, lavender, and deep plum blooms crowding into one corner, built with palette knife in layer after layer until each flower holds real weight and shadow.

Series: Pink Mood (Part I)

Dimensions: 60 × 60 × 2 cm / 23.6 × 23.6 × 0.8 in

Medium: Acrylic on 100% linen

Year: 2026

Signed and dated by the artist

Comes with Certificate of Authenticity

Abstract

Floral

Garden

3D

Bouquet

Branches

Plants

colorful

Navy blue

Green

Anastassia Skopp, Pink Mood I
Germany  • 1977
125 followers

Presentation

Anastassia Skopp is a contemporary artist whose botanical paintings explore presence, intuition, impermanence, and the delicate balance between control and surrender.

Flowers, branches, leaves, and shifting light provide the recognizable vocabulary of her work, but nature is never treated simply as a decorative subject. Skopp is interested in what happens when sustained attention changes the way an ordinary moment is experienced.

Since 2017, her study of Eckhart Tolle's teachings has influenced both her thinking and her painting process. She frequently works without detailed preparatory sketches, allowing a composition to develop through response rather than through the execution of a fixed plan. A branch may change direction, a flower emerge unexpectedly, or an open area remain untouched.

Her blossoms are often constructed through dense, sculptural strokes that rise physically from the surface. These tactile forms contrast with atmospheric fields of color, sprayed passages, delicate lines, and areas of visual silence. The result is a tension between material weight and ephemerality.

Across bodies of work including Spring Smells, A Summer Garden, Komorebi, and Wabi-Sabi Fragments, Skopp returns to ideas of transience and imperfect beauty. Light filtering through leaves, changing seasons, and irregular natural forms become reminders that experience cannot be permanently held.

Her paintings ultimately invite the viewer to slow down and return attention to the present — not as an escape from life, but as a way of encountering it more fully.

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