THE LOST GAME (1990) 미술작품 David Sankey

비매품

판매자 David Sankey

귀하의 웹 사이트, 커뮤니케이션에 이 이미지를 사용하거나 파생 제품을 판매하려면 라이센스를 구입하십시오.

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아티스트는 판매할 때마다 로열티를 받습니다
US$33.37
Usage: 웹 라이선스
웹 사이트 또는 인터넷에서 이미지를 사용합니다.
  918 px  

1173 px
파일의 크기 (px) 918x1173
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다중 지원에 사용
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최대 인쇄 매수 0 (Zero)
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구매 즉시 다운로드

이 이미지는 라이선스로 다운로드할 수 있습니다.: 언제든지 다운로드할 수 있습니다.

제한

Artmajeur의 모든 이미지는 아티스트가 만든 원본 예술 작품이며 모든 권리는 엄격하게 보유됩니다. 라이선스를 취득하면 라이선스 조건에 따라 이미지를 사용하거나 활용할 수 있는 권한이 부여됩니다. 프로젝트에 완벽하게 맞도록 이미지를 재구성하거나 초점을 다시 맞추는 등 사소한 수정은 가능하지만 사전에 아티스트의 서면 승인을 얻지 않는 한 원본 작품의 무결성을 손상시킬 수 있는 수정은 금지됩니다(모양 수정, 왜곡, 절단, 색상 변경, 요소 추가 등 ...).

커스텀 라이선스

귀하의 사용이 당사의 표준 라이선스에 포함되지 않는 경우 당사에 연락하여 맞춤형 라이선스를 요청하십시오.

아트 이미지 뱅크
  • 원작 (One Of A Kind) 미술작품, MDF 보드의 기름
  • 치수 높이 9.5in, 폭 11.4in
  • 작품의 상태 작품은 완벽한 상태입니다
  • 프레이밍 이 작품은 액자가 없습니다
  • 카테고리 회화 {가격} 이하 조형 미술 화장대
The Courvoisier series of brandy ads were set in the Napoleonic era and were well constructed and colourful with lots of opportunities for a painter to portray textures and atmosphere. They always had a hidden story which you could imagine for yourself and often looked as it they were copied from classical artworks. Indeed one of my early copies of[...]
The Courvoisier series of brandy ads were set in the Napoleonic era and were well constructed and colourful with lots of opportunities for a painter to portray textures and atmosphere. They always had a hidden story which you could imagine for yourself and often looked as it they were copied from classical artworks. Indeed one of my early copies of an ad. was ruled out by the judges because it was though to have been a copy of a classical painting, which it wasn't. This one was particularly appealing in the way it depicted the crafty card player psyching out his opponent. "Have I got you by the short and curlies or am I bluffing ?"
자동 번역
팔로우
Dave’s parents told him that, as an infant, he was always drawing, but he didn’t take up painting until he had left school and his brother bought him a ‘paint by numbers’ kit.  Instead of painting the picture[...]

Dave’s parents told him that, as an infant, he was always drawing, but he didn’t take up painting until he had left school and his brother bought him a ‘paint by numbers’ kit.  Instead of painting the picture in the kit, he copied a painting by Meissonier called “Napoleon and his Staff” from the cover of an LP sleeve.  From that point he got hooked, and regards Meissonier as the man who taught him to paint, as it was by copying some of the artist’s meticulously-detailed pictures that he discovered the techniques to achieve the effects he wanted.  He also admires the work of Alma-Tadema, Atkinson Grimshaw, John Singer Sargent, and Norman Rockwell. After about thirty pictures he stopped copying other people’s paintings -- the way that all classical artists have learned their trade -- and concentrated on copying photographs.  He paints for personal enjoyment, which he derives from the painting process rather than from hanging the finished pictures on the wall.  He can seldom work up much enthusiasm for commissions if the subject doesn’t appeal to him, as he would get little pleasure out of the painting, although there is some satisfaction in the recipients’ pleasure with the results. Painting in oils, his technique is to apply the paint very thinly and to use watercolour brushes to get the degree of detail he needs. Having begun by copying Napoleonic paintings, he copied Courvoisier brandy ads, for their detail and textures of velvet, gold, leather, wood, hair, silk, brocade, fruit, and glass. From this, he started a series of paintings of women in natural or provocative poses. On a much larger scale, he painted a prehistoric panorama on the walls and ceiling of his children’s playroom in the family home in Farnborough, depicting dinosaurs, and predated “Jurassic Park” by twelve years. Around the same time, his proximity to the annual air shows, resulted in a series of aircraft paintings. In 1993, he won the coveted first prize at the annual Farnborough Festival of Art for a study of the zebras in Ngoro Ngoro Crater he’d photographed on holiday. On moving to Newark, he created murals on the bathroom walls with scenes from Alma-Tadema’s Roman paintings. Following several visits to New York, he painted a series of highly detailed nighttime and wet weather scenes of Times Square. In the process of researching Meissonier, he met Professor Constance Cain Hungerford, the world authority on the painter, who had this to say about Dave’s work -- "I found your own paintings absolutely fascinating, both for the variety of subjects and the eye you bring to your choices and your rendering.” And in the last few years he took on the greatest challenge for a painter and produced a number of portraits of friends and neighbours who had passed away and given the paintings to their families as his tribute to their memory. Two of Dave’s paintings were listed as Highly Commended in the 2023 King Lear competition.

David Sankey에서 더 자세한 내용을 확인하세요.

모든 작품보기
나무의 기름 | 11.8x10.2 in
US$266.83
나무의 기름 | 9.1x11.8 in
US$198.76
나무의 기름 | 10.2x11 in
US$239.6
MDF 보드의 기름 | 16.1x12.2 in
US$296.78

Artmajeur

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