Les Noyers de l’Altenburg, 2003
Print : lithography · 35 x 24.7 cm 13.8 x 9.7 inch
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Verified Reviews : 9.6/10
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About the artwork
Type
Print : numbered and limited to 40 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 )
35 x 24.7 cm 13.8 x 9.7 inch Height x Width x Depth
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Art gallery
Credentials
Vetted seller since 2016 • Top Seller
Description
Original lithograph signed in pencil by the artist, numbered.
This lithograph is part of the series titled "The Walnut Trees of Altenburg" after a text by André Malraux.
This lithograph is part of the series titled "The Walnut Trees of Altenburg" after a text by André Malraux.
Presentation
In 1960, Vladimir Velickovic graduated from the Belgrade School of Architecture . It is intended actually to painting and held his first solo exhibition in 1963. After the price of the Paris Biennale in 1965 , he moved there the following year and still lives there today. He is with Dado and Ljuba Popovi, artists of the same generation, one of the main three Yugoslav painters coming in France.
It will have represented Yugoslavia at the Venice Biennale 1972; and from 1983 to 2000 it will be foreman at the École nationale supérieure des Beaux-Arts in Paris and will be an important seat . Witness, in his childhood, of the atrocities committed by the Nazis in Yugoslavia, Vladimir Velickovic expresses through painting , pain and violence of this memory.
In the early 1960s , it determines the themes that appear permanently in his work. He paints men or animals (usually rats or dogs) or vanity paintings whose bodies are confronted with dramatic and terrifying situations.
In 1972 , he produced a series of paintings and drawings inspired by the photographs of Eadweard Muybridge (series of "Descent" [ 1989-1991 ] and "hooks" [ 1983-1991 ]) . He " seeks above all to leave a scar" in the memory of the viewer of the painting.
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