Seller Fatmir Brezanin
"Fine-Arts" prints on paper
It is a process of printing on art paper using very high-quality pigment inks and printed in very high definition. Its level of conservation is exceptional (more than 100 years), its quality, depth, and richness of nuances exceeds the classic photo print on Argentic paper.
Glossy finish
Apart from its exceptional thickness, the fiber paper is composed of an alpha-cellulose base without acid and it is covered with barium sulphate, and a microporous layer absorption enhancing pigments during printing. A pure white color, non-yellowing to light, this paper is especially designed for resistance and aging. It is used by major museums worldwide as it offers excellent resolution, rendering deep and dense colors.
Art Print "Fine Art" - Glossy finish on a fiber base paper 325 g.
Our high end prints and reproductions
ArtMajeur only uses natural papers with neutral pH, resistant, and of high quality, selected from renowned papermakers!
Constant attention is paid by our master printer, whether in terms of color control or respect for the graphic chain. Our high level of quality requirement is a major asset of ArtMajeur framed art prints.
For Artists! You help artists to live from their work. They receive royalties everytime you buy their prints.
About our fine prints-
Original Artwork (One Of A Kind)
Painting,
Oil
on Canvas
- Dimensions Height 39.4in, Width 27.6in
- Artwork's condition The artwork is in perfect condition
- Framing This artwork is not framed
- Categories Impressionism Everyday Life
This particular painting stands apart from the others. While it is also set in the evening, with the familiar blue light softly entering the space, the treatment is entirely different. For this version, I pushed myself into new technical and expressive territory—experimenting with a more exclusive application of post-impressionist principles, particularly the optical blending of color and a disciplined, rhythmic brushstroke approach.
Using a uniform vertical brushstroke throughout the entire surface of the painting, I aimed to create a visual texture akin to falling rain—streams of color gently cascading down the surface. This decision was both structural and symbolic: it lent the image a veil-like quality, as though the room were being viewed through a curtain of color, a filter of memory, or even time itself. Each stroke is deliberate and consistent, yet when seen from a distance, the individual marks dissolve into a cohesive whole—soft blues, muted golds, earthy greys, and dusky purples merging optically to form volume, shadow, and light.
The result is a painting that feels at once abstracted and deeply atmospheric. The familiar contours of the room—the bed, the window, perhaps a chair or lamp—are still perceptible, but they seem to shimmer or hover within the vertical movement of the brushwork. It is as if the space is gently dissolving, or coming into being through the very act of painting. The rain-like texture creates a mood of quiet melancholy, but also of transformation—a kind of visual meditation on impermanence, memory, and the way light and color shape how we remember spaces and people.
Though stylistically distinct from my other interpretations of this room, this piece continues the underlying theme of honoring a space rich with emotional history. In approaching it through the lens of post-impressionism, I was not only exploring new technical ground but also seeking a way to express the depth of feeling embedded in this interior—the way love, loss, and time all leave their traces not just on walls and objects, but within us.
This painting, then, is both an homage and an experiment: a fusion of emotional truth and formal curiosity. It’s a moment seen through rain, through color, through the eyes of someone remembering deeply—and painting that memory into being."
Related themes
For my graduation series of works I decided not to philosophize with the selection of motives and themes. I decided to paint intimate moments inside my house in which I was born and still live, and immediate surrounding, as this is what I know and expirience unrelentingly. Analogous to the often heard advice for writters "writte about what you know". If you don't find beauty in your immediate surrounding where you open your eyes in the morning, you will hardly find it anywhere, not in Venice, nor in Paris. Subject matter is close to you. For now, I paint the impression of what is in front of me, very close to me. And going closer and closer I plan to sometime paint what is inside of my mind. Meaning: full abstraction.
My painting, although currently still somewhat traditional and academic, partly because of...well, academic obligations, and partly because of nostalgic forces acting out my initial fascination with classical painting as a young boy, nevertheless contain sparks of my desire to liberate my expression, hints of my uncontrolled idiosyncratic movements. My notebooks are being rapidly filled with observations, logical conclusions, clear and concrete ideas that will stay in my mind as I gradually strip away the unnecessities from my painting and create by free play within and upon the fundamental ideas in the upcoming times.
Unpopular opinion: I think that originality is overvalued nowadays. Although it is a factor, a huge factor, undoubtedly, it's not THE factor. Immanuel Kant observed that nonsense can be original. "Craters allow quantum consciousness to harness misleading dealers of HDMI cables" is a perfectly valid sentence grammatically. Probably no one ever put those words in that order before. Truly original sentence. Nonsense, nevertheless. Dogmatic originality, as an end in itself, seems forced, inhibiting organic instances of original ideas, and neglecting other qualitative factors. Depending on criteria, when low, painting a stick man in the background of the copy of Mona Lisa could be considered original if no one did it before. On the other extreme of the spectrum, painting can not be original if it's oil on canvas. Blood on a goats wool? Now that may be somewhat original. Though an attempt at banalization, I consider it seriously on second thought. Granted, this opinion could very well be a product of a defence mechanism undervaluing my originality deficit. lol I have original ideas... they are just not realized yet haha
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Nationality:
SERBIA
- Date of birth : unknown date
- Artistic domains:
- Groups: Contemporary Serbian Artists
