Série "Derrière des arbres", image numéro 4, 2014
Photography : pigment ink · 40 x 53 x 0.5 cm 15.7 x 20.9 x 0.2 inch
€1,000
1 000 €
Shipping & delivery
Shipped from: France
Delivery to: Italy , € 49
Estimated delivery: One to two weeks
Free returns within 14 days, full refund
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Verified Reviews : 9.6/10
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About the artwork
Type
Photography : numbered and limited to 5 copies
1 copy available
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Not Signed
Technique & Support
Dimensions ( cm • inch )
40 x 53 x 0.5 cm 15.7 x 20.9 x 0.2 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2017 • Top Seller
Discount
This seller offers discount when you purchase multiple artworks.
Description
Pigment inks on Hahnemühle 308 gr pure cotton paper mounted in aluminum Dibond
Ready to hang.
Available also 60 x 80 cm and 80 x 100 cm prints.
Through the happy fog of the almond trees, it is no longer quite sure that it is the light that I see blooming, but an old, anguished face that I happen to surprise under mine, in the mirror. , with astonishment.
Behind the trees, in this confused grey, taking advantage of the cracks that are widening in an imprecise and blurred landscape, it is gradually full of shadows that seek their way, when they still have the strength, the desire.
Even at this distance, it's scary; but to speak of shadows is still to veil, to coax the real horror, which would stain the words if we were forced to approach. (And we will be forced to do so one day).
Philippe Jaccotet,
Through an orchard
(page 24 Fata Morgana edition)
Ready to hang.
Available also 60 x 80 cm and 80 x 100 cm prints.
Through the happy fog of the almond trees, it is no longer quite sure that it is the light that I see blooming, but an old, anguished face that I happen to surprise under mine, in the mirror. , with astonishment.
Behind the trees, in this confused grey, taking advantage of the cracks that are widening in an imprecise and blurred landscape, it is gradually full of shadows that seek their way, when they still have the strength, the desire.
Even at this distance, it's scary; but to speak of shadows is still to veil, to coax the real horror, which would stain the words if we were forced to approach. (And we will be forced to do so one day).
Philippe Jaccotet,
Through an orchard
(page 24 Fata Morgana edition)
Presentation
Stéphane Spach's photos are beautiful. Of that obvious beauty, which escapes the decorative, the necessary beauty stripped of simple things. Stripped but may not be ascetic. A touch of sensuality, a soft chromaticism readily inhabits the work of the melancholy photographer. Looking at these photographs, we see that there is day in the night, it is a night to which our eyes are not accustomed, a dull and deaf night, preserved from luminous halos and hostile headlights. Everything is in nuances, as if the exhibited objects gave off their own phosphorus, their own interior light. Rather, it would be the light of day distilled into the night, subtle, almost intimate images, where one is never in halogen.
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