Umetniška dela, prikazana na tej strani, so zaščitena z avtorskimi pravicami, kar pomeni, da po zakonu ne moremo ustvarjati ali prodajati identičnih reprodukcij. Ta zaščita se izvaja v skladu z mednarodnimi sporazumi, kot so Bernska konvencija in po nacionalnih zakonih, vključno s tistimi, ki jih določa Zakon o avtorskih pravicah ZDA – naslov 17.
Ta način v celoti upošteva zakonodajo o avtorskih pravicah, saj ne vključuje kopiranja ali podvajanja zaščitenga umetniškega dela. Namesto tega gre za kreativno preinterpretacijo – novo sliko, ki je navdihnjen rezultat originala, vendar ni z njim identična.
Giclée ali platnati odtis muzejske kakovosti z hitro proizvodnjo in prilagodljivimi možnostmi končne obdelave. (
Kupite ročno slikano delo Preklop na digitalno sliko)
Izberite eno od naših vnaprej določenih velikosti, ki ustrezajo prvotnim proporcijam umetničkega dela.
Vnesite širino in višino, ki jih potrebujete za svoj okvir ali steno. Tiskanje se lahko le odreže, vendar ga ni mogoče narediti večjega od slike, zato format z drugačno obliko pomeni izgubo dela slike. Pred tiskanjem vam pošljemo digitalni predogled za potrditev. Slika, prikazana na tej strani, ne prikazuje dejanskega izrezka — le predogled to omogoča.
Globalna dostava () v 2 tednih namesto standardnih 4/5 tednov. (19 november)
Orange dot
Velikost reprodukcije
The work, titled Orange dot, is an oil painting executed on hardboard. It was completed in 1953. The composition centers on a singular, circular form set against a background of varied tones. This central element is characterized by a specific orange hue that contrasts with the surrounding field. The surface of the painting exhibits the physical properties of oil paint, where the application of pigment creates a tangible presence on the hardboard substrate. The arrangement of shapes and the distribution of color define the visual structure of the piece.
The artist utilized oil on hardboard to achieve the specific textures present in the work. The interaction between the medium and the support influences the way light hits the surface. The following details characterize the physical nature of the object:
The application of the paint suggests a controlled hand, focusing on the relationship between the central orange shape and the negative space that surrounds it. The edges of the dot are defined by the transition of color, creating a clear boundary between the subject and the background.
This painting is held within the collection of the Art Gallery of NSW. It was acquired by the institution in 1953. The work is categorized as a painting and is currently not on display. The piece exists as a part of the permanent record of the gallery, having been identified by the accession number 8732. Its presence in the collection links it to the mid-twentieth-century period of Australian art history.
Originalno delo "Orange dot" lahko vidite v muzeju Art Gallery of New South Wales, Sydney, Avstralija.
"Orange dot" pripisujemo John Passmore.
Priporočena uporaba za "Orange dot" avtorja John Passmore je Conversation, lahko pa služi tudi drugim namenom.
Born in Redfern, Australia, John Richard Passmore began his professional life as a signwriter's assistant after leaving school at thirteen. He pursued formal training at the Julian Ashton Art School, where he studied alongside Jean Bellette and Paul Haefliger. Seeking further education, he traveled to England to study at the Westminster School of Art under Bernard Meninsky and Mark Gertler. During his time in England, which included service as a conscript in the Royal Air Force, he worked as a layout artist with Lintas. While staying in a cottage in Suffolk, he produced landscape compositions that were strongly influenced by Paul Cézanne.
Upon returning to Australia in 1951, Passmore became a significant educator, teaching at the Julian Ashton School, the Newcastle Technical College, and the East Sydney Technical College. His teaching philosophy encouraged students to view subjects through a lens of mathematical shapes, facets, and a connection of rods, emphasizing tone and structure. His own body of work occupied a space between expressionism and abstraction.
Passmore's later years were marked by a period of reclusive painting following a heart attack in the early 1960s. His final weeks were spent in a home for the destitute near his birthplace. In a notable turn regarding his estate, Passmore left his collection of 270 paintings to an acquaintance, Elinor Wrobel, while his son was left £70,000. This bequest was subject to an out-of-court settlement, after which Wrobel retained control of the estate, eventually leading to the opening of a museum displaying over forty of his works.
His artistic legacy is preserved in several major institutions, including:
1904 - 1984 , Australia
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Možnost stekla je na voljo le za velikosti pod 110 cm
