A obra de arte exibida nesta página é protegida por leis de direitos autorais, o que significa que não podemos criar ou vender legalmente uma reprodução idêntica. Esta proteção é aplicada por meio de acordos internacionais, tais como a Convenção de Berna e pelas leis nacionais, incluindo as estabelecidas por Lei de Direitos Autorais dos EUA - Título 17.
Este método cumpre plenamente as regulamentações de direitos autorais, pois não envolve a cópia ou duplicação da obra protegida. Em vez disso, trata-se de uma reinterpretação criativa — uma nova pintura que é influenciada pela original, mas não idêntica a ela.
Impressão giclée ou em tela de qualidade de museu, com produção rápida e opções flexíveis de acabamento. (
Comprar pintura feita à mão Alternar para Imagem Digital)
Escolha entre os nossos tamanhos pré-definidos que respeitam as proporções originais da obra de arte.
Insira a largura e a altura desejadas para se ajustarem à sua moldura ou parede. Uma impressão pode ser apenas cortada, nunca ampliada além da imagem original; portanto, um tamanho com proporções diferentes resultará na perda de parte da imagem. Enviamos uma maquete digital para sua aprovação antes de realizarmos a impressão. A imagem exibida nesta página não mostra o corte real — apenas a maquete o faz.
Entrega mundial () em 2 semanas, em vez das 4/5 semanas padrão. (9 Novembro)
Tiles
Tamanho da Reprodução
In the mesmerizing abstract composition titled Tiles, the viewer is invited into a world where geometry meets spontaneity. Created in 1945 by the visionary Thomas Jorge Farkas, this work transcends simple pattern-making to become a profound exploration of rhythm and repetition. The piece is dominated by an array of circular motifs that march across the canvas in horizontal rows, yet they refuse to adhere to a rigid, mechanical uniformity. Instead, each circle possesses its own unique character, varying slightly in size, orientation, and spacing. This subtle irregularity breathes life into the composition, transforming what could have been a static design into a dynamic, pulsing arrangement that feels as though it is in constant, quiet motion.
The visual language of Tiles is strictly monochromatic, relying entirely on the evocative interplay between black and white. This lack of color strips away any potential distraction, forcing the eye to focus solely on the structural elegance of the lines and the depth created by overlapping shapes. The technique suggests a hand-drawn quality, where thin, slightly irregular lines define each orb, hinting at the artist's direct, physical engagement with the medium. There is an undeniable charm in these imperfections; they suggest a sense of human touch within an abstract framework, bridging the gap between calculated design and Abstract Expressionist freedom.
Beyond its surface beauty, Tiles offers a meditative experience for the observer. The repetitive nature of the circular elements can evoke a sense of profound order and tranquility, much like the rhythmic patterns found in nature or the architectural cadences of a modern cityscape. Yet, there is also an underlying tension within the work—a subtle complexity born from the way the circles overlap and intersect, creating new, unexpected shapes within the monochrome field. This duality makes the piece particularly captivating for collectors and interior designers alike; it functions as both a calming anchor in a room and a sophisticated focal point that invites deep, prolonged contemplation.
For those seeking to integrate this masterpiece into a curated space, Tiles serves as a timeless testament to the power of minimalism. Its ability to harmonize with diverse environments—from the sleek lines of contemporary galleries to the textured warmth of a classic study—is unparalleled. As a reproduction of an oil painting, the work retains a sense of tactile depth, where the interplay of light and shadow across the black and white planes creates a perceived dimension that transcends its flat plane. It is not merely a decoration, but a window into a mid-century exploration of form, capturing a moment in history where the boundaries of abstraction were being beautifully redefined.
"Tiles", de Thomas Jorge Farkas é uma composição em Landscape. Vale a pena conferir as proporções antes de escolher o tamanho da impressão.
"Tiles" data de 1945. A data situa a obra na carreira de Thomas Jorge Farkas e em sua época.
A imagem de "Tiles", de Thomas Jorge Farkas pode ser baixada na página de download da obra: Download download de imagem digital em alta resolução.
Born amidst the historical weight of Budapest, Hungary, in 1924, Thomas Jorge Farkas would eventually become one of the most vital visual chroniclers of the Brazilian soul. His journey from the landscapes of Europe to the vibrant, pulsating energy of São Paulo shaped a perspective that was both an outsider’s keen observation and an insider’s profound empathy. Though his academic beginnings were rooted in the structured world of engineering at the University of São Paulo, the call of the visual narrative proved irresistible. This transition from the precision of mathematics to the fluid storytelling of photography allowed him to develop a unique eye—one capable of capturing the structural grandeur of Brazil's burgeoning architecture alongside the delicate, fleeting nuances of its people.
Farkas’s artistic evolution was deeply intertwined with the socio-political currents of mid-century Brazil. As a prominent member of the Foto Cine Clube Bandeirante, he found himself at the heart of a movement that used the camera as a tool for both art and social commentary. During the challenging years of Brazil's authoritarian regime between 1964 and 1985, his work took on a layer of quiet resistance. Through his lens, the struggle for identity and the realities of daily life were documented with a journalistic integrity that refused to look away. His mastery of black and white photography became his primary language, utilizing light and shadow to create compositions that felt both timeless and urgently contemporary.
The significance of Farkas extends far beyond the borders of his individual frames; he was a foundational architect of the Brazilian photographic community. His 1968 expedition across the vast expanse of Brazil served as a transformative pilgrimage, providing him with the raw material for a lifetime of documentation. This journey culminated in the establishment of the São Paulo Foto Galeria in 1979, a sanctuary for visual expression that provided a much-needed platform for emerging talents and helped solidify photography as a respected fine art within the country. His commitment to the medium was matched by his dedication to education, as he spent years nurturing the next generation of artists at the University of São Paulo's School of Communications and Arts.
The technical brilliance of his work lies in its seamless blend of the monumental and the mundane. He possessed a rare ability to capture the sweeping, modernist lines of Brasília with the same reverence he applied to a candid street scene in the bustling heart of São Paulo. His style is defined by:
Ultimately, the work of Thomas Jorge Farkas remains an indispensable archive of a nation in flux. His images do not merely record history; they breathe life into it, offering a window into an era of profound change. Through his meticulous attention to detail and his unwavering commitment to truth, he ensured that the faces, the streets, and the very atmosphere of 20th-century Brazil would be preserved with an enduring, poetic grace.
1924 - 2011 , Hungary
Explore the profound spiritual depth of geometric abstraction. From Malevich's Suprematism to modern masters, our expert guide reveals how pure form and color command presence in fine art collections.
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