“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。
我们的高端印刷品和复制品
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。
关于艺术家! 您可以帮助艺术家活出自己的生活。 每当您购买印刷品时，他们都会获得使用费。
关于我们的优良打印购买许可证以将此图像用于您的网站、通信或销售衍生产品。
Usage： 网络许可证
| 1439 px | ||
|
1500 px |
| 文件尺寸 (px) | 1439x1500 |
| 全球使用 | 是 |
| 用于多点支持 | 是 |
| 用于任何类型的媒体 | 是 |
| 转售权 | 没有 |
| 最大打印数量 | 0 (Zero) |
| 拟出售的产品 | 没有 |
购买后立即下载
此图片可以用许可证下载: 您可以随时下载它们。
限制
所有在ArtMajeur的图像是由艺术家创作的原创作品，所有权利是严格保留的。获得许可证后有权根据相应条款使用或利用图像。可以进行微小的修改，如重构或重新聚焦图像，使其完全符合新项目要求，但是，禁止进行任何可能损害原始作品的修改。其完整性（形状修改，扭曲，切割，改变颜色，添加元素等），除非事先从艺术家获得书面授权。
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如果您的用途不在我们的标准许可证范围内，请联系我们获取定制许可证。
艺术图片银行-
原创艺术品 (One Of A Kind)
绘画,
丙烯
在帆布上
- 外形尺寸 高度 78.7in, 宽度 78.7in
- 艺术品状况 艺术品完好无损
- 是否含画框 这件作品是诬陷 (框架+在丙烯酸玻璃下)
- 分类 形象艺术 历史
相关主题
Ana Candioti is a prominent Argentine-American visual artist, born in Buenos Aires on July 9, 1944. She is a portraitist, muralist, and researcher with a solid academic background, multiple awards, and international exhibitions, including public and private collections in museums and public institutions. Since 1975 to the present, she has been recognized as "the great master of social realism," focusing on depicting indigenous peoples and ethnic groups from the Americas and other regions of the world. Her work is considered "museum-worthy" for its faithful representation of human and cultural diversity, capturing people's essence through an approach that combines Art and Testimony. Argentine art critic Rafael Squirru highlights that Candioti inherits the mastery of Mexican muralists and Antonio Berni, recalling the Latin American origins of the pictorial movement her work is part of.
At the heart of Ana Candioti's artistic practice lies "Art and Testimony," a philosophy she describes as the creation of "a testimony of a reality that is hidden." The artist challenges the notion that ethnic groups are "dying out," instead asserting that there is an intentional effort to eliminate or assimilate them through various policies. Her art, therefore, serves as a powerful counter-narrative, aiming to "expose this hidden reality and recognize the existence of peasant, indigenous, or ethnic communities."
Candioti's methodology is deeply ethnographic. Her paintings are not products of imagination or mere reflections of observed reality; they are the direct result of extensive on-site research. She immerses herself in the daily life, traditions, and tasks of the communities she depicts, sharing their experiences firsthand. This "direct connection with the communities, investigating and bearing witness through photographs and oral stories, constitutes the core of her artistic practice."
This commitment is so profound that the artist emphasizes that her work "never ends after a single visit," leading her to return to these communities repeatedly. Her series are always left "open," signifying an ongoing engagement. This practice of leaving her series "always open" is not only a practical aspect of her creative process but also a powerful metaphor for the ongoing struggles faced by the communities she portrays. By keeping them open, Candioti acknowledges that the issues confronting these communities—cultural erasure, land rights, historical distortion—are not static problems but ongoing processes, highlighting the perpetual nature of the "testimony" she seeks to provide.
