Retro Art No 28" x 20" Plum Perfect/Cognac/Warm Sand/Pine Cone/Cameo Rose

Item number: 100-N-RA 01001-O4

Individual works which aren't part of any series

Category: Modern Lithografies

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2.350,00 €

including 19% VAT., plus shipping

Delivery status: shipping in 2 weeks after receipt of payment

Shipping time: 7 - 14 workdays



Description

Ralf Metzenmacher call his style of art Retro Style because he harks back to the tradition of classical still-life painting.

Colour: The idea of the artist is a representational still life representation of the femininity of the woman of today to fuffill many aspects. This subject can be found in the different images and their consideration at any point mentioned one finds a symbolic representation; such as crowns, mussels and snails.
Artist: Ralf Metzenmacher Biography
Art style: Retro-Art
Sale/Shipping: Ralf Metzenmacher
Technique: lithoart process
Material: handmade paper Picture sample rallipan®
Numbered: roman
Signature: hand-signed (RALLI/month/year)
Frame: No
Theme: Various
Additional Information: The story:

I do not call my style of art Retro Style a propos of nothing, but because I consciously hark back to the tradition of classical still-life painting. This extends as far back as Francisco de Zurbarán, who in the first instance simply shows us pots, for example. The world of the 'great Zurbarán will remain closed off to those who do not take the trouble to enquire after these objects' symbolism. Those who go the extra mile of realization will be able on the other hand to recognize the analysis of the contemporary social background in Spain in the deceptively simple painting ? the gut-wrenching poverty of large parts of the population in 17th-century Spain, the Spain in which Zurbarán lived and worked. A look at more recent periods of still-life painting similarly raises "epochal" consciousness and reinforces the tradition.
Take Andy Warhol's soup cans, for example, to some, they will always remain soup cans, great to hang because of their colorfulness and the sheer beauty of the art object. And I am glad, and I'm sure Andy Warhol would share this gladness, for everyone who approaches art from this purely aesthetic perspective and integrates it into his life. Yet I am even more glad for everyone who is willing to read Warhol?s cans as a metaphor for industrialized consumerist society. For that?s what it is about, and it is precisely this double meaning that makes the oeuvre of Andy Warhol an important part of the history of still life painting as defined earlier.
Thus, I consciously think of myself as following in the footsteps of these masters with my Retro Style. In doing so, I combine the techniques of classical painting with the modern, lets call it that, of Warhol. My paintings contain both Willem Kalf?s multi-layering as well as the boldness of Pop Art. In addition, I have been never rejected the serial aspect of artistic production as established by Warhol. Quite the opposite, in fact: my own career, from being a PUMA designer to being Retro Styles Pinselartist® has brought me to this position exactly. And I hope to be able to prove that painting still lifes remains a sensible pursuit for a contemporary artist, too. My painting on Retro Style is something like an historical bracket and my own classification of my art. It shows Zubaráns historical vessels and Andy Warhol?s soup cans in one work. Framed by two epochs: the baroque frame of the old master and the modern part of the here and now. Both are complementary for me. No contradiction, but a trajectory.
This positive tension, by the way, is also responsible for my use of the heavy baroque frames around my paintings, which are modern in color and content. And modernity gets a further dimension in that the colors of my prints deviate from the original oil paintings. With their tones, they adapt to peoples different lifestyles as an offer to integrate themselves into them. This I regard as a contribution to the democratization of art: the profound expression of the artist is contained not only in the originals hanging in the museums, after all, but also in the reproductions. In addition, the various gradations in price and quality make them affordable to everyone.

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