Fenêtre sur cour (Rear window) (2017) Photography by Philippe Dunlearry

Fine art paper, 8x9 in

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  1299 px  

1500 px
Dimensions of the file (px) 1299x1500
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Use on multi-support Yes
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Art image bank
  • This work is an "Open Edition" Photography, Giclée Print / Digital Print
  • Dimensions Several sizes available
  • Several supports available (Fine art paper, Metal Print, Canvas Print)
  • Framing Framing available (Floating Frame + Under Glass, Frame + Under Acrylic Glass)
  • Categories Figurative Architecture
Fenêtre sur cour (Rear window):. This photograph has been captured in the south of France, Uzes in 2017. It is showing all the charm of the local architecture. You will feel also the light found in the south of France. This an open edition available in different format and support. It be printed in large format 120*104 About this artwork: Classification, [...]
Fenêtre sur cour (Rear window):
This photograph has been captured in the south of France, Uzes in 2017.
It is showing all the charm of the local architecture. You will feel also the light found in the south of France.
This an open edition available in different format and support. It be printed in large format 120*104

Related themes

PhotographyFigurativePaperCanvasMonet

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Philippe Dunlearry is a London-based photographer who is fascinated by big capital cities. He takes his initial images in accordance with classical representational norms. He so wanted to disassociate himself [...]

Philippe Dunlearry is a London-based photographer who is fascinated by big capital cities. He takes his initial images in accordance with classical representational norms.

He so wanted to disassociate himself from this visual landscape imbued with history and referential temporality in favor of an urban space devoid of historical significance. His goal is to discover ways to disrupt established conventions in order to depict spaces in motion, "things" that change and transform.

He created light reflections without the aid of picture processing software, specialized cameras, or specialist filters. As a result, whatever they are, and with no other medium than light, he attempts to subvert any referential value, as the components used to cause the urban scene to degrade into abstraction.


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