Painting titled "champignons" by Darius Laumenis, Original Artwork, Oil

champignons (2004) Painting by Darius Laumenis

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Original Artwork Painting, Oil

Artworks classification

Original Artwork

Original Artwork refers to any work that is considered authentic and not a copy or imitation of the original works of an artist. Original artwork can be any type of painting, sculpture, performance, or other media. There are many types of original media. Mixed media includes oil, acrylic, and watercolor paintings. For workshop paintings that bear evidence of master craftsmanship, this attribution must be further qualified. While they may be less valuable for different reasons, reproductions and copies have had a tremendous impact on our experience. They reach a greater audience than originals and act as a tonic against commodification. Original Artwork could also refer to the first work, which is always preceding all others. It could also refer to a prototype or a model from which other works can be made. Each work bears great similarities to the original.
Dimensions Height 27.6in, Width 19.7in
Categories Paintings under $5,000 Expressionism Mushroom

l'huile sur toile colee sur contre-plaquet About this artwork: Classification, Techniques & Styles Oil Paint consisting of pigments bound with linseed[...]

Darius Laumenis

France

DARIUS LAUMENIS is a young Lithuanian artist in residence in Marseille.
His work links at the same time, painting (large and small formats), engraving, photography, reportage, sculpture, experimentation and "manipulations and installations".
The weight of the “pictorial tradition” of his country (attachment in particular to
"The icon") will sometimes interfere with his work. As soon as he arrived at the Beaux-Arts, his objective was to escape the “grip” of a certain “academicism” and quickly integrate a more conceptual dimension into his plastic research.
His studies at the School of Fine Arts in Marseille accelerated the learning and assimilation of this conceptual dimension so necessary for the narration and the evolution of his work. The duality, between the abstract and the figurative, the rational and the irrational, remains in spite of everything very marked in Darius' work.
There was no radical break in his research, the icon has changed, it has mutated. It was probably a painful passage, but it was mastered (Darius does not deny his origins). He is aware that these confrontations and these collisions provide him with conceptual material, and that this conflicting relationship between the rational figure and the irrational figure is his source of questioning, the heart of his work and his positioning. And it is on the strength of these experiences, but still heckled by this conflict, that he presents his latest work today.
Large uncompromising paintings, irrational, impulsive, charged with emotion, where form has been refined, where meaning and perception have succeeded the icon, the subject and the scenario. He manages to appeal to our senses and leaves us free in the face of interpretation and appropriation, he delivers us an unexpected, organic, chromatic universe.
These are series that he presents to us in his studio, his large paintings surround us and speak to us and, in these times it seems difficult for painting, it is a real happiness.