“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。
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关于我们的优良打印-
原创艺术品 (One Of A Kind)
绘画,
油
在布上
- 外形尺寸 高度 11.8in, 宽度 13.8in
- 艺术品状况 艺术品完好无损
- 是否含画框 此作品未装裱
- 分类 画作 低于US$1,000 超现实主义 奇妙
Jazmín Giordano Buenos Aires 1984
Painting passes through all my entire production from a conceptual and material liability that would not have been possible in times when painting was a hegemonic discourse (discourse of genre and disciplinary limits). My work is not limited to a particular plastic language, and I explore “conflicts" through the combination of media and elements that provoke strangeness. Provocation through kitsch is a tool I use, along with humor, to maximize themes and practices that are considered minor in “art history” In retrospect, my body of work is composed of a numerous sub grups where the interests seem to vary widely. However, I can divide them into two clearly identifiable moments. A first phase in which my production was strongly influenced by my work as a private teacher of decorative painting. There I wandered continuously for several years on gender issues related to the domestic sphere: Between 2007 and 2018, I taught painting to a group of retired women and housewives. In this group, it seemed to be an implicit law that all allowed creative freedom should be used for utilitarian purposes, for decorating the house. Learning to make this imposition a power was a common endeavour.
Many of the techniques I learned to solve my students' aesthetic concerns, I later used in my own work. At the same time, the story of these women helped me align some thoughts around the stereotypical pop standardisation of the image and the symbolic space of certain techniques pejoratively referred to as minor art or “lady art”. This experience arose the question: From that way of doing considered minor,can we approach the analysis of contemporary, social and political problems or question the aspirational model of the middle classes? Since then, this question has accompanied me in all phases of my production, regardless of the current research.
Around 2018, there was a significant shift in which it was clear that my research had expanded and diversified for two reasons: First, I felt that I had already exhausted the subject, and second, I considered it a political act not to limit myself speculatively to what is expected from an artist with a certain background. For this reasons, I felt the need to think about and communicate other urgent problems. The influence of the already mention life experience, however, ran through my entire production and led to a defined pictorial identity.
Today I find myself situated in the contradiction of the institutionalization of the “disruptive”. Thus, as a deliberate political act and perhaps against my own interests, I have returned to a mode of production that runs alongside the central themes and focuses on language, communication, the human psyche as opposed to metaphysics and magic.
