通过购买选项租赁Emanuel Crudu的作品“ See You In Tokyo ”
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常见问题
What are the advantages of leasing works of art?
- Financial Flexibility: You can enjoy exceptional, high-value works of art without a large initial investment.
- Tax Benefits: Receive potential tax benefits as rents can be deducted as a business expense.
How are the prices of monthly payments for leasing works of art set?
- The costs depend on the value of the work, the duration of the leasing contract, and any services included such as installation.
Can we buy the work after the leasing period?
- Yes, on ArtMajeur leasing contracts offer a purchase option at the end of the contract, allowing customers to acquire the work at a determined price (residual value).
How are the safety and insurance of works managed?
- Insurance during the duration of the rental contract is the responsibility of the customer. It is therefore important to check the details of your insurance contract to be sure that your leased works are covered in the event of damage.
What are the conditions for terminating the leasing contract before its end?
- Unless there are specific conditions, leasing contracts for works of art commit the client to payment of the entire price of the work; payments are therefore due until the end of the lease.
关于作者
Nomadic artist in movement between Paris, Lucca in Tuscany and Berlin after living in all cardinal points of Europe. Oil is my preferred painting medium for its ability to oppose substantive resistance and to challenge the initial choices by leading me into alternative unintentional combinations while also providing tactile textures. My paintings are abstract in the residual sense of escapism: I pursue abstraction as something that eludes my experience or any given experience, something that takes me out of the self and not something that conflates the self into an egotistic paroxysm of any superior knowledge or perception. Painting is an opportunity to encounter beauty as accidentality: unplanned, unpredicted and uncostrained. Yet always in confronting the ambiguity and substantiality of the matter. My abstractions are expressive shapes taken by the banality of being, and not at all a deep psychoanalytical style of search for something deeply hidden. I don’t paint to uncover the hidden but rather to cover up the lack of meaning in a world with no metaphysical prospects or substantive reasons for optimism. And that in the circumstances that the temptation for optimism cannot be fully abandoned. My abstractions are something kidnapped or taken out of the world without changing it in its infinite shapes. Without painting, the world would stay the same. Yet, painting it brings an unsubstantial variation to being in general while substantive to beings in particular. My paintings are active and interactive optimism and pessimism altogether in what I call a desperate romanticism.
