Lease 画作 by Khalid Alzayani

通过购买选项租赁Khalid Alzayani的作品“ Masjed ”

Khalid Alzayani的画作可通过购买选项进行租赁

绘画 标题为“Masjed” 由Khalid Alzayani, 原创艺术品, 油
Masjed
绘画 由 Khalid Alzayani - 31.5x23.6 in
US$1,529

选择您的每月还款额:

每月付款
€130.06
剩余价值
€42.13
节税
€481.94
总成本
€1,251
每月付款
€73.71
剩余价值
€42.13
节税
€504.17
总成本
€1,307
每月付款
€53.37
剩余价值
€42.13
节税
€547.49
总成本
€1,416
每月付款
€41.91
剩余价值
€42.13
节税
€573.42
总成本
€1,480
* 这只是一个指示性模拟。我们的财务合作伙伴研究您的支持文件并验证您的文件后,将向您发送合同提案。

索取租赁信息 "Masjed"

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常见问题

What are the advantages of leasing works of art?

  • Financial Flexibility: You can enjoy exceptional, high-value works of art without a large initial investment.
  • Tax Benefits: Receive potential tax benefits as rents can be deducted as a business expense.

How are the prices of monthly payments for leasing works of art set?

  • The costs depend on the value of the work, the duration of the leasing contract, and any services included such as installation.

Can we buy the work after the leasing period?

  • Yes, on Artmajeur leasing contracts offer a purchase option at the end of the contract, allowing customers to acquire the work at a determined price (residual value).

How are the safety and insurance of works managed?

  • Insurance during the duration of the rental contract is the responsibility of the customer. It is therefore important to check the details of your insurance contract to be sure that your leased works are covered in the event of damage.

What are the conditions for terminating the leasing contract before its end?

  • Unless there are specific conditions, leasing contracts for works of art commit the client to payment of the entire price of the work; payments are therefore due until the end of the lease.

更多信息

Masjed
绘画 由 Khalid Alzayani - 31.5x23.6 in
绘画 标题为“Masjed” 由Khalid Alzayani, 原创艺术品, 油

关于作者

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Khalid’s abstract style, bold and fearless brush work allow him to communicate emotions and mode felt at the moment of painting. His paintings are gestural, impactful and full of movements. Each of his pieces[...]

Khalid’s abstract style, bold and fearless brush work allow him to communicate emotions and mode felt at the moment of painting. His paintings are gestural, impactful and full of movements. Each of his pieces is full of warmth, life and color, which reflects the man behind the brush perfectly.

His lively brush strokes, whether straight or more playfully curving and dancing, always convey a sense of emotions and delight in his art. He obviously loves to paint. The viewer sees this and it is rather contagious, joyful and energizing.

To him creativity is a derivative of mode and ambience during painting sessions. He believes that, the character of a painting reflects the mode of the artist thru brush strokes, texture and color.

He believes that a painting has a life of its own that evolves during painting session. It develops as he draws lines and colours on the canvas.

Artist Statement

I started painting at age of 12. But, I fell in love with painting when I was first introduced to oil paints at the age of 15. It was the first time I had the feeling of a mature painter, when I had to wait for several days for the oil paint to dry on the canvas. At that time, I had to ride on my bike for several miles to an art shop owned by a British woman. It was the only art shop that sold oil paint in my country.

After abandoning painting for several years, I started painting again, but in watercolor, when Paul Cezanne’s still life paintings inspired me. Watercolors were the only medium I used. I painted mostly using a wet-on-wet technique. I fell deeply in love with how watercolor handled and how the paint pigments moved as water dried on the paper.

Then, I abandoned painting again until beginning of 2013 when I arranged an art exhibition for several artists. During the exhibition, I realized that if I had my own paintings, they would have fit nicely among other paintings being displayed. So, I started painting again, but this time, I started painting in acrylics. Since this exhibition, I have been painting continuously in acrylics and oils.

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