“艺术”在纸上打印
这是使用非常高质量的颜料墨水在美术纸上打印并以很高的清晰度打印的过程。它的保存水平非常出色（超过100年），其质量，深度和细微差别超过了在Argentic纸上的经典照片打印。
光面漆
纤维纸除了具有非凡的厚度外，还由不含酸的α-纤维素基底组成，并覆盖有硫酸钡和在印刷过程中具有微孔层吸收作用的颜料。这款纸色为纯白色，不泛黄，特别设计用于抵抗老化。它具有出色的分辨率，呈现深沉的色彩，因此已被世界各大博物馆所采用。
Art Print“美术”-在325 g纤维原纸上的光泽处理。
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ArtMajeur仅使用从知名造纸商中精选的具有中性pH，耐性和高质量的天然纸！
无论是在色彩控制还是在图形链方面，我们的主打印机一直都在关注。我们对质量的高要求是ArtMajeur裱框艺术品的主要资产。
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关于我们的优良打印-
原创艺术品 (One Of A Kind)
绘画,
丙烯
/
粉彩
在中密度纤维板上
- 外形尺寸 高度 45.7in, 宽度 35in
- 是否含画框 此作品未装裱
- 分类 画作 低于US$5,000 形象艺术
Done on panel wood (MDF) covered with paper brochures and fixed to a wooden grid
Painted with quality acrilycs and covered with resistant satin varnish.(Talens)
No need framing, as the edges are painted, ready to hang.
Signed in front and back.
This painting includes a Signed Certificate of Authenticity.
© 2020 Alvarenga Marques....
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Brief biographical statement:
Alvarenga Marques or Al.Ma. is a Portuguese artist who was born in Mozambique , where she spent her childhood.
Actually she lives and works at Porto, in the north of Portugal, divided between teaching and plastic creation.
AlMa took her Licentiate Degree in Painting in 1992 at FBAUP (University of Fine Arts of Porto).
She has participated in several collective Exhibitions and activities since 1988 in Portugal, Germany, Brazil, France, Spain, Canada, etc., She held several solo exhibitions in Portugal and received some awards and distinctions both in Portugal and abroad.
AlMa comes from a generation of artists that has chosen, facing a saturated visual world, the appropriation and recycling of several images from varied sources, for the last twenty, thirty years.
Yet, her inclusion in this group is controversial, since instead of the usual method of unconditional stealing of references, historic quotations and the respective recycling giving rise to a scattering of the meaning, her case has been revealing a restricted idiosyncratic orientation. That Alma wants us to be enraptured by this childhood world seems to be, in the very act, her aim. Though it clearly shows, at first sight, a good imitation of the compulsory childish trend to write and paint on inappropriate surfaces, the author’s vandalism, only apparently innocent, goes obviously even farther.In this fluid, transparent and theatrical space, an interaction of mutual influence, either graphic or plastic, reveals itself – between the background pulsation (staging reality) and the overlapped drawings (paradigmatic of the childish imaginary). From this agitation an expressive strength of a nostalgic, metaphysic and a kind of lost time atmosphere appears.
About her process the artist says:” I like to play with images and establish tensions, to focus attention from some icons by opposition to others. At the present, I frequently use images like pop stars or very recognized objects in comparison with others less recognized, like typical, regional or tribal ones.Sometimes this context creates a bizarre and an unexpected environment that I intend to catch the observer and lead him to wonder.I broach the subject with a playful mood, and use scrawls to demarcate the territory that represents my imagination”.
