Peinture intitulée "apparition.jpg" par Rajan Krishnan, Œuvre d'art originale, Huile

apparition.jpg (2013) Peinture par Rajan Krishnan

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Vendu par Rajan Krishnan

Œuvre d'art originale Peinture, Huile

Classification des oeuvres

Œuvre d'art originale

Les œuvres d'art originales désignent toute œuvre considérée comme authentique et non une copie ou une imitation des œuvres originales d'un artiste. Les œuvres d'art originales peuvent être n'importe quel type de peinture, de sculpture, de performance ou d'autres médias. Il existe de nombreux types de supports originaux. Les techniques mixtes comprennent les peintures à l'huile, acryliques et aquarelles. Pour les peintures d'atelier qui témoignent d'un savoir-faire artisanal, cette attribution doit être davantage nuancée. Bien qu'elles puissent être moins précieuses pour différentes raisons, les reproductions et les copies ont eu un impact considérable sur notre expérience. Ils atteignent un public plus large que les originaux et agissent comme un tonique contre la marchandisation. L'œuvre originale pourrait également faire référence à la première œuvre, qui précède toujours toutes les autres. Il peut également faire référence à un prototype ou à un modèle à partir duquel d'autres œuvres peuvent être réalisées. Chaque œuvre présente de grandes similitudes avec l'original.
Dimensions Hauteur 84in, Largeur 60in

After completing his MFA in painting at the Faculty of Fine Arts, M S University, Baroda, Rajan Krishnan made a conscious decision to return to his natal state of Kerala to further hone his painterly practice. Krishnan's work bears a direct connection to his locality and his canvasses often reveal an intense interest in the dialogical possibilities of painting. In keeping with this, for nearly a decade, he has actively explored the relationships between history and memory, the natural and the human-made environment, and the collective and the individual. His post-apocalyptic canvases of 2006-2009 tended to cloak decayed landscapes and fragmented land forms in an earthy palette to create visual cautionary tales about the dangers of unbridled development but, since 2010, he has abandoned the sombre in favour of the spectacular. Although his recent work continues to explore dualistic possibilities, he has now set his sight upon pitting the general against the specific in mammoth-scale studies of singular objects. Defying the typical methodologies of large scale paintings in which the broad strokes of the brush typically efface the finer details, Krishnan holds tight to the discrete elements, as a means by which to call into question both the logic of vision and our understanding of large scale representational practices.

À propos de cette œuvre: Classification, Techniques & Styles

Huile

Peinture composée de pigments liés avec de l’huile de lin ou d'œillettes. La technique traditionnelle consiste à superposer des couches de peinture de plus en plus riche en huile pour une accroche solide et durable.

Technique Peinture

La peinture est une forme d'art consistant à peindre sur une surface en y appliquant esthétiquement des fluides colorés. Les artistes peintres représentent une expression très personnelle sur des supports tels que le papier, la roche, la toile, le bois, l'écorce, le verre, le béton et bien d'autres subjectiles. Ouvrage de représentation ou d'invention, la peinture peut être naturaliste et figurative, ou abstraite. Elle peut avoir un contenu narratif, descriptif, symbolique, spirituel, ou philosophique.

Thèmes connexes

Painting

Rajan Krishnan

Inde

Rajan M. Krishnan was born 1967, in Thrissur district, Kerala. In 1989, he did a Bachelor’s in (Economics) from Calicut University, Kerala. After which he decided to follow his true calling and signed up for a B. F. A. (Painting) at the College of Fine Arts, Thiruvananthapuram. He completed his Bachelor’s in 1994, and thereon pursued a Master’s degree at the Faculty of Fine Arts, M. S. University, Baroda, which he completed in 1996. His first solo, Little Black Drawings, Mounted in 2004 at Kashi Art Gallery, Kochi was very well received.

One of the few Keralite artists who decided to go back home and work from there, Krishnan’s art has always been very sensitive to his environment, reflecting the socio-cultural ethos he inhabit and works from. Krishnan uses landscapes or elements from his immediate natural environment as his “principle protagonist” to express his innermost, aesthetic proclivities whether in celebration, homage or protest. While his earlier works were more realistic, featuring land/agriscapes typical of the topography in Kerala, of late however, his imagery has changed significantly. Krishnan works in a mode of realism that is significantly not based on images culled from the media or photographs made by the artist, his hyper-realism instead draws from memory, impressions, nostalgia and a sense of one’s shared inherited histories. Representing a “post-agriscape”, his later works are often, bleak, fragmentary visions of a dry, sterile landscape that seems to be an echo of a time which once buzzed with activity. “Instead of paddy, concrete and consumerist debris grow in these fields.” While his early experiences and memories of growing up in a remote village in Kerala have had a strong presence in his early works this slightly sentimental nostalgia, now seems to be giving way for a more hard hitting, cynicism that strives to document the sudden and overwhelming transitions occurring in his environment (that acts as a microcosm for the state of affairs in the country at large). These works make a clinical, examination, up close and unforgiving, at those “un-done landscapes” that he once held so dear.

The artists lives and works in Kerala.