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- Painting Number 1 : 90 days from B to C: Life in a nutshell, 2007.
Painting Number 1 : 90 days from B to C: Life in a nutshell, 2007.
SKU:
€2,165.00
€2,165.00
Unavailable
per item
Limited edition of 250, signed by the artist and numbered.
Available edition now is 1/250.
Maximum size reproduction at the moment can be done in 60" x 143" (including 3" blank border all around)
Original canvas measures 182 x 487 cm (6 x 16 feet appx)
The limited editions are reproduced on archival Hahnemuhle Monet Canvas. H. Monet Canvas is a heavy 100% cotton canvas with a woven pattern. Its natural white colour is perfect for art reproduction, 410 gsm, imported from Germany.
Epson 11880 printer and pigmented UltraChrome K3 inks from Epson are used for printing.
Pigment inks do not fade over long periods of time, unlike dye inks. As a precautionary measure, Hahnemühle Protective Spray is sprayed to protect the digital Fine Art prints from external influences. The aerosol spray lays a fine film, without changing the media structure. It fixes colours of pigment ink and prevents an eventual colour fading. Also the intensity and the high brilliance of the colours stay permanent. The coating increases the abrasion resistance of Fine Art editions, so the risk of fingerprint marks and scratches are reduced. Protective Spray makes the sealing of the surface water repellent. Yellowing of the print due to the spray does not happen.
Certificate of authenticity is provided with each edition.
The Hahnemühle Certificate of Authenticity is designed to protect the security and genuineness of your limited edition art works and reproductions to reduce the risk of forgery.Each certificate is made of premium deckle edged mould made paper with a Hahnemühle watermark and fluorescent security fibres. A serialized numbered hologram is affixed. A second, identically numbered hologram is then applied to the reverse side of the artwork.
The combination of certificate and hologram assures that each Certificate of Authenticity relates to one particular piece of artwork.
The canvas is sent by DHL/FedEx or Indian postal international service, rolled in a tube.
Shipping, insurance, taxes etc to be borne by the buyer/collector.
Allow 7-10 days of processing time.
Available edition now is 1/250.
Maximum size reproduction at the moment can be done in 60" x 143" (including 3" blank border all around)
Original canvas measures 182 x 487 cm (6 x 16 feet appx)
The limited editions are reproduced on archival Hahnemuhle Monet Canvas. H. Monet Canvas is a heavy 100% cotton canvas with a woven pattern. Its natural white colour is perfect for art reproduction, 410 gsm, imported from Germany.
Epson 11880 printer and pigmented UltraChrome K3 inks from Epson are used for printing.
Pigment inks do not fade over long periods of time, unlike dye inks. As a precautionary measure, Hahnemühle Protective Spray is sprayed to protect the digital Fine Art prints from external influences. The aerosol spray lays a fine film, without changing the media structure. It fixes colours of pigment ink and prevents an eventual colour fading. Also the intensity and the high brilliance of the colours stay permanent. The coating increases the abrasion resistance of Fine Art editions, so the risk of fingerprint marks and scratches are reduced. Protective Spray makes the sealing of the surface water repellent. Yellowing of the print due to the spray does not happen.
Certificate of authenticity is provided with each edition.
The Hahnemühle Certificate of Authenticity is designed to protect the security and genuineness of your limited edition art works and reproductions to reduce the risk of forgery.Each certificate is made of premium deckle edged mould made paper with a Hahnemühle watermark and fluorescent security fibres. A serialized numbered hologram is affixed. A second, identically numbered hologram is then applied to the reverse side of the artwork.
The combination of certificate and hologram assures that each Certificate of Authenticity relates to one particular piece of artwork.
The canvas is sent by DHL/FedEx or Indian postal international service, rolled in a tube.
Shipping, insurance, taxes etc to be borne by the buyer/collector.
Allow 7-10 days of processing time.
Eric G. C. Weets on the idea behind this painting
Inspired by my earlier pen drawings, (the idea to make these pen drawings came about during the years I was in India in the late 80’s, after I saw the South Indian temples) I started drawing small figures and objects juxtaposed randomly, almost automatically, as they were flowing out the drawing pen. These chaotic looking pen drawings, when seen from a distance, look like grey abstract, the effect of which I compared to the Earth, seen from space where you just see abstract patches of colors. Its only on close inspection, the abstract begins to manifests itself in clearly defined details.
In an attempt to create an illusion of the entire world on one single surface, where the viewer is confronted with the immensity of all the aspects that makes the world, the pen drawings were falling sharply short because of their smaller sizes and the final result was nowhere close to what I expected. Intuitively, I felt there was something missing.
So in the year 2007, I started working on a large scale painting. Everything that came up in my mind at that particular time, put itself on the canvas without my involvement. I did not think twice, redo or repair anything in my works.
Inspired by my earlier pen drawings, (the idea to make these pen drawings came about during the years I was in India in the late 80’s, after I saw the South Indian temples) I started drawing small figures and objects juxtaposed randomly, almost automatically, as they were flowing out the drawing pen. These chaotic looking pen drawings, when seen from a distance, look like grey abstract, the effect of which I compared to the Earth, seen from space where you just see abstract patches of colors. Its only on close inspection, the abstract begins to manifests itself in clearly defined details.
In an attempt to create an illusion of the entire world on one single surface, where the viewer is confronted with the immensity of all the aspects that makes the world, the pen drawings were falling sharply short because of their smaller sizes and the final result was nowhere close to what I expected. Intuitively, I felt there was something missing.
So in the year 2007, I started working on a large scale painting. Everything that came up in my mind at that particular time, put itself on the canvas without my involvement. I did not think twice, redo or repair anything in my works.
A promise - 1962
My weekly visits to the Royal Palace of fine arts were a bit chaotic at first. I never bought a catalog or something to guide me. Going by my feeling, I went from one exhibition hall to another, without any guidance. I ran, in an hour or two, through the art history and back. Paintings, which said something to me I watched, others, I simply ignored. Slowly, I selected out the ones those made an impression on me and the ones I disliked. Also being dyslexic made me a selective reader and I read only what I thought was interesting.
In the museum, I just read the names of paintings, artist’s names I skipped because they were not present in the museum to impress me with their beings. These artist, who made this fantastic stuff and most probably were admirable geniuses, their names did not say me much, I mean they were all dead, centuries ago, so their personality could not be met and hence did not interest me, but their works seized me, having an indelible impact. Here, it must be said that from childhood, I had a serious lack of idol worship. Except that I wanted to lead a life of Gauguin or Pater Damiaan, I had no fascination for admiring idols. Even as a teenager, I did not have posters of footballers, cyclists, movie stars or singers on my room wall.
On the very first visit to the museum, I got mesmerized by and I had no clue who made it, was, “Virgin and child surrounded by angels”. Between the so many other ones, this one caught my attention. Time and again, I stood in front of this work, trying to figure out what was going on in it. Intuitively, I knew that it had nothing to do with religion. Being brought up in a Roman Catholic home, Madonna and child I already seen enough and my fascination with the painting had nothing to do with them. There was something else going on and I wanted to know what. I could not figure out if the red child like figures were angels, devils or simply child like figures with wings. This particular painting gave me the impression of ‘no way out’.
After regular weekly visits for 2 - 3 months, my focus narrowed down to one single painting, “Christ’s entry into Brussels”. Each time I was in the big Palace again, I stood there for at least an hour or two, in front of this painting. For me, this work was an ‘all saying masterpiece’. What I saw in front of me, was my world. I recognized everything in it, I was one of them. I could walk around in the painting, without losing my way.
Every time I left the museum, I promised myself to make one painting in my lifetime, that should have the same impact on a person, as this masterpiece had on me.
My weekly visits to the Royal Palace of fine arts were a bit chaotic at first. I never bought a catalog or something to guide me. Going by my feeling, I went from one exhibition hall to another, without any guidance. I ran, in an hour or two, through the art history and back. Paintings, which said something to me I watched, others, I simply ignored. Slowly, I selected out the ones those made an impression on me and the ones I disliked. Also being dyslexic made me a selective reader and I read only what I thought was interesting.
In the museum, I just read the names of paintings, artist’s names I skipped because they were not present in the museum to impress me with their beings. These artist, who made this fantastic stuff and most probably were admirable geniuses, their names did not say me much, I mean they were all dead, centuries ago, so their personality could not be met and hence did not interest me, but their works seized me, having an indelible impact. Here, it must be said that from childhood, I had a serious lack of idol worship. Except that I wanted to lead a life of Gauguin or Pater Damiaan, I had no fascination for admiring idols. Even as a teenager, I did not have posters of footballers, cyclists, movie stars or singers on my room wall.
On the very first visit to the museum, I got mesmerized by and I had no clue who made it, was, “Virgin and child surrounded by angels”. Between the so many other ones, this one caught my attention. Time and again, I stood in front of this work, trying to figure out what was going on in it. Intuitively, I knew that it had nothing to do with religion. Being brought up in a Roman Catholic home, Madonna and child I already seen enough and my fascination with the painting had nothing to do with them. There was something else going on and I wanted to know what. I could not figure out if the red child like figures were angels, devils or simply child like figures with wings. This particular painting gave me the impression of ‘no way out’.
After regular weekly visits for 2 - 3 months, my focus narrowed down to one single painting, “Christ’s entry into Brussels”. Each time I was in the big Palace again, I stood there for at least an hour or two, in front of this painting. For me, this work was an ‘all saying masterpiece’. What I saw in front of me, was my world. I recognized everything in it, I was one of them. I could walk around in the painting, without losing my way.
Every time I left the museum, I promised myself to make one painting in my lifetime, that should have the same impact on a person, as this masterpiece had on me.