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covert and discovered history 31 - christ on the cross - limited edition 2 of 5 Painting
Austria
Painting, Spray Paint on Aluminium
Size: 19.7 W x 35 H x 0.2 D in
Ships in a Box
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About The Artwork
Photo print (mat) on aluminium backing 89 x 50 cm Günter Konrad 2011 Signed and dated on the back. Limited to 5 pieces. overpainting, mixed media... Fujicolor Crystal Archive Paper - highest quality paper for gallery prints - last longer and minimise fading - brilliant colors for 75 years - laser exposure system (Durst Lambda) A solid aluminium backing - 3 layers - brand quality from Germany - Lumabond Pro III® - using a special adhesive - using a precision CNC cutter Hanging elements included - includes hooks and spacers - i even affix them for you - you can hang your work immediately www.guenterkonrad.com info@guenterkonrad.com I wanted to juxtapose this wonderful work by Francisco de Zurbarán with rough, wild overpaintings lettering and tags as if the picture came straight from the street. Different new levels of interpretation emerge through the new context. Facts about the art historical painting: Francisco de Zurbarán 1627, oil on canvas, 290 × 168 cm Chicago, Art Institute Object history - (Wikipedia) Painted for the sacristy of the Dominican monastery San Pablo el Real, Seville 1810: placed on deposit at Palacio Real, Seville, on the order of Joseph Bonaparte, King of Spain acquired by General Jean Toussaint Arrighi de Casanova, Duc de Padoue (died 1853) 1853: inherited by Ernest Louis Hyacinthe Arrighi de Casanova, 2nd Duc de Padoue, son of General Jean Toussaint Arrighi de Casanova, Duc de Padoue 1876: acquired by Father Stanislas Du Lac S.J. (died 1909), rector of the Collège Saint Geneviève, Paris, in thanks for his spiritual assistance to the duke's wife 1880 - 1897 probably taken by Father Du Lac to St. Mary's College, Canterbury and likely remained at Canterbury when St. Mary's College was replaced by a Jesuit school for noviciates 1897 - 1951 apparently moved from Canterbury to Laval along with the Jesuit novices' school, transferred to the Jesuit seminary of Saint Louis at Jersey 1951 transferred with the seminary to Chantilly 1954: purchased by Art Institute of Chicago
Original Created:2011
Subjects:Religious
Details & Dimensions
Painting:Spray Paint on Aluminium
Original:One-of-a-kind Artwork
Size:19.7 W x 35 H x 0.2 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Box
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Austria.
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Austria
Fragments get a new code. The best subversion is to disfigure codes instead of destroying them. see - Roland Barthes - In my artistic work I am talking about the ongoing change, connection and communication between the inner and outer worlds, and about the inevitable bond between art and human life in general. I feel drawn to the tension between opposites, the grey areas between black and white, the confusion and contemplation, stereotypes and prejudice. Décollages - ripped or lacerated posters - are part of everyday aesthetics. In their wildness, rejection can be deciphered - a manifestation of the spontaneous and direct expression. Artists like Raymond Hains and Jacques Villeglé recognized the quality of this un-conventional form of art. I try to transform this method into our contemporary digital age. I‘m currently working on a series of digital décollage and digital overpaintings titled „covert and discovered history“. Here I merge digitalized, famous single works of art history with my own photographs of anonymous, collective decollages, tags and urban fragments. In the melting pot of bits and bytes I liquefy the contrasting codes and add them together to a new whole. On the one hand you have the art historical artifacts of high culture from the past eras and on the other hand the wild, unbridled, credible expression, the codes, the inscriptions of the current visual grammar combined with my own paintings and writings. My aim is to connect those two antithetical approaches to art in my work and so create something utterly new.
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