The mighty pachyderms in 'Les Éléphants', like the obelisks they carry on their backs, are an expression of pharaonic, absolute state power. On elongated legs, they tower up to the sky, which is coloured red by the sunset; they have almost lost contact with the ground. The powers come from different sides, but they resemble each other down to the last detail: frozen in stone and slightly dusty, omnipotence is already crumbling. Real life takes place on the ground: An angel meets man on foot on his way to the horizon. Original in private ownership. High-quality reproduction made by hand using the fine art giclée process on an artist's canvas made of 100% cotton and traditionally stretched on a real wood stretcher frame like an original painting. The motif surface is characterised by a tangible and visible fine canvas structure, which has been sealed by hand with varnish. In an elegant solid wood frame. Format 62 x 71 cm (H/W).
The master of surrealism gives two of his favourite animals a stage here: mirrored swans resemble a herd of elephants. By sheer luck, this painting was rescued from Dalí's flat in Paris in 1944. Original: oil on canvas. Cavalieri Holding Co Inc, Geneva. This high-quality reproduction was worked by hand using the Fine Art Giclée process on artist's canvas made of 100% cotton and traditionally stretched on a real wood stretcher frame like an original painting. The surface of the motif is characterised by a fine canvas structure that can be felt and seen, which has been sealed by hand with varnish. Limited edition of 499 copies, numbered with certificate. In an elegant solid wood frame. Format 54 x 81 cm (H/W).
The picture is a combination of various elements from Dalí's critical-paranoid period. Dalí himself is the boy in the upper left corner. Dalí places the classical Greek Venus as a symbol of love without original sin in a bullfighting stadium in which love battles with modern science. But love prevails.original: Dalí Museum, St. Petersburg, Florida. Our high-quality art reproduction is worked by hand in a patented process on artist's canvas and traditionally mounted on a wooden stretcher frame. The motif surface with a tactile and visible linen structure and additional hand-applied brush structure emphasises the painting-like effect. Finally, the picture is sealed with artist's varnish for protection. Limited edition of 499 copies, with numbered certificate on the reverse. In handcrafted real wood gallery framing. Format 72 x 56 cm (H/W).
Dalí favoured ancient mythological contexts in his paintings. In Greek mythology, the goddess of love, Aphrodite, was born with a white rose bush from the foam of the sea. The rose only acquired its red colour through Aphrodite's adultery with the beautiful Adonis. On the way to her dying lover, Aphrodite stepped into rose thorns and coloured the white roses red with her blood. The white rose thus stands for the purity of love, while red roses symbolise desire and passion. But the symbol of the rose not only stands for love, but also for secrecy. 'Sub rosa', meaning 'under the rose', was used in the Middle Ages when people wanted to say something in secret. The rose thus became the symbol of secret societies and of mystery - so it is no coincidence that the rose hovers over Dalí's world... Original: Collection Mr. and Mrs. Arnold Grant Collection, New York High-quality reproduction in the fine art giclée process, worked by hand on artist's canvas made of 100% cotton and traditionally stretched on a real wood stretcher frame like an original painting. The surface of the motif is characterised by a fine canvas structure that can be felt and seen, which has been sealed by hand with varnish. An elegant solid wood frame rounds off the sophisticated overall picture. Format 72 x 61 cm (H/W). Exclusively at ars mundi.
Each of the elephants carries a special temptation: beauty, power and fame approach in spherical heights. Original: Oil on canvas, Royal Museums of Fine Arts, Brussels. High-quality reproduction made by hand using the fine art giclée process on artist's canvas made of 100% cotton and traditionally stretched on a real wooden stretcher frame like an original painting. The surface of the motif is characterised by a fine canvas structure that can be felt and seen, which has been sealed by hand with varnish. Limited edition of 499 copies. Numbered on a certificate on the reverse. In an elegant solid wood frame. Format 60 x 78 cm (H/W). Exclusively at ars mundi.
Theo van Doesburg founded 'De Stijl' together with Piet Mondrian in 1917 and formulated a highly reduced concept of art based on rational, mathematical principles, which he called 'Concretism'. Gicleé on canvas, stretched on stretcher frame. Limited edition of 499 copies, with numbered certificate on the reverse. In high-quality shadow gap moulding. Size 82 x 75 cm (H/W).
Original serigraph on Arches laid paper. Limited edition of 40 copies, numbered and signed by hand, inscribed F. V. for the Fondation Vasarely. Motif size 65 x 62 cm (H/W). Sheet size 81 x 76 cm (H/W). Framed in a handcrafted, silver-coloured solid wood frame with bevelled mat, glazed. Format 87 x 81 cm (H/W).
Original serigraph on Arches laid paper. Limited edition of 40 copies, numbered and signed by hand, inscribed F. V. for the Fondation Vasarely. Unframed. Motif size 65 x 62 cm (H/W). Sheet size 81 x 76 cm (H/W).
Vasarely was inspired to create this gold-dominated glossy foil picture from the 1970s by the newly constructed space telescopes and observatories: For the first time, it was possible to photograph distant galaxies and constellations. This original glossy foil colour print on cardboard was edited and produced in Neuchâtel/Switzerland in the 1970s. Atmospherically framed in softly shimmering golden solid wood moulding with a brushed surface. Frame size 68 x 68 cm.
The Berlin Secession exhibited his work, he was a member of the Neue Künstlervereinigung München and co-founder of the 'Blaue Reiter' - Wassily Kandinsky was involved in many of the art revolutions of the early 20th century. Around 1913, he finally broke away from representationalism in painting, eventually leaving the world of objects behind him entirely and concentrating on graphic elements, construction and (colour) composition. 'Ten glances at the canvas, one glance at the palette, half a glance at nature' is how he described his working method, which he underpinned theoretically in his famous Bauhaus treatise 'Point and Line to Surface' in 1926. Four elaborate reproductions on laid paper-like, heavy 250g Gmund Tactile, in silver-coloured solid wood framing, glazed. Format 38.5 x 28 cm (H/W) each. ars mundi exclusive edition. 'Composition': Original: 1923, watercolour and ink on paper, 36.5 x 25.3 cm (H/W), Kunstmuseum Kupferstichkabinett, Basel. 'Composition': Original: 1925, watercolour. 'Delicate Tension': Original: 1923, watercolour and ink on paper, 35.5 x 25 cm (H/W), Museo Nacional Thyssen-Bornemisza, Madrid. 'Fröhlicher Aufstieg': Original: 1923, colour lithograph on wove paper, 23.8 x 19.3 cm (H/W), Bauhaus-Archiv, Berlin All four works in a set.
Before Kandinsky ventured into abstraction, he favoured landscapes, which he often painted directly on cardboard in the open air. Original: 1908, oil on cardboard, 71 x 96.5 cm, private collection. High-quality fine art giclée edition on artist's canvas, stretched on stretcher. Limited edition of 980 copies. Framed in a high-quality black and silver solid wood frame. Format approx. 46.3 x 61.8 cm (H/W). ars mundi exclusive edition.
A typical abstract composition characterised by reduced forms and contrasting colours. Original: 1910, oil on canvas, private collection. High-quality fine art giclée edition on artist's canvas, stretched on stretcher. Limited edition of 980 copies. Framed in high-quality black-silver solid wood frame. Format approx. 46.3 x 60.3 cm (H/W). ars mundi exclusive edition.
Original: 1924, oil on canvas, 50.6 x 49.5 cm (H/W), Guggenheim Museum, New York. Transferred directly onto artist's canvas using the fine art giclée process and stretched onto a stretcher frame. Limited edition of 980 copies. Framed in white lacquered wooden frame with shadow gap. Size 63 x 62 cm (H/W). ars mundi exclusive edition.
Wassily Kandinsky was a synaesthete, i.e. he perceived colours, shapes and sounds across the senses. It was probably not only his extensive art theoretical considerations that led him to his dynamic compositions of geometric elements and contrasting colours. However, the marvellous effect of these works, which were created particularly during his Bauhaus period (1922-1933), can hardly be ignored by the 'normal' viewer. Original: 1927, 49.8 x 37.1 cm, privately owned. Edition transferred directly onto artist's canvas using the fine art giclée process and stretched onto a stretcher frame. Limited edition of 980 copies, numbered, with certificate. Framed in a handcrafted, silver-coloured solid wood frame with shadow gap. Format 71 x 54 cm (H/W). ars mundi exclusive edition.
It is the time shortly before the birth of abstract art. Wassily Kandinsky came from Russian folk art, Impressionism and Fauvism. In the summer months up to 1914, he and his partner, the painter Gabriele Münter, swapped the metropolis of Munich for their home in Murnau in Upper Bavaria. There they honed their expressionist style. Kandinsky soon moved away from landscape painting towards pure compositions of colour and form. Original: Oil on cardboard, Städtische Galerie im Lenbachhaus, Munich. High-quality reproduction in fine art giclée process on cotton canvas, sealed with artist's varnish, stretched on real wood frame. Limited edition of 499 copies. In handmade gallery framing. Format 61 x 50 cm (H/W). ars mundi exclusive edition.
Wassily Kandinsky's teaching duties at the Bauhaus required a structured presentation of his theoretical working principles. This was reflected in the 9th volume of the 'Bauhaus Books', which he published in 1926 under the title 'Point and Line to Surface'. In it, he explains the fundamentals of his painting on more than 200 pages and sets out his logic of colours and forms, in which, for example, blue is assigned to the circle, yellow to the acute-angled triangle and red to the square. The work on offer here, dating from 1923, is an almost exemplary illustration of his ideas on the harmony of colour and form. Original: Oil on canvas, Museum of Art, Philadelphia. Reproduction in fine art giclée process directly on artist's canvas and mounted on stretcher frame. Limited edition of 980 copies. Framed in silver solid wood moulding with shadow gap. Size 61 x 59 cm (H/W). ars mundi exclusive edition.
As a teacher at the Bauhaus in Weimar, Dessau and Berlin, Kandinsky deepened his own abstract language of colour and form. Original: 1913, watercolour, gouache and black chalk on paper, Städtische Galerie im Lenbachhaus, Munich. High-quality reproduction in fine art giclée process on cotton canvas, sealed with artist's varnish, stretched on real wood stretcher. Matt black solid wood framing with shadow gap. Limited to 499 copies, numbered, with certificate. Format 50 x 65 cm (H/W).
Original: 1923, oil on canvas, 140 x 201 cm, New York, The Solomon R. Guggenheim Museum. Brilliantly coloured fine art giclée on cotton canvas on stretcher. Framed in a valuable solid wood frame with silver shadow gap moulding. Limited edition of 499 copies, numbered certificate on the reverse. Format approx. 51 x 73 cm (H/W).
The Berlin Secession exhibited his work, he was a member of the Neue Künstlervereinigung München and co-founder of the 'Blaue Reiter' - Wassily Kandinsky was involved in many of the art revolutions of the early 20th century. Around 1913, he finally broke away from representationalism in painting, eventually leaving the world of objects behind him entirely and concentrating on graphic elements, construction and (colour) composition. 'Ten glances at the canvas, one glance at the palette, half a glance at nature' is how he described his working method, which he underpinned theoretically in his famous Bauhaus treatise 'Point and Line to Surface' in 1926. Original: 1923, watercolour and ink on paper, 36.5 x 25.3 cm (H/W), Kunstmuseum Kupferstichkabinett, Basel. Elaborate reproduction on laid paper-like, heavy 250g Gmund Tactile, in silver-coloured solid wood frame, glazed. Size 38.5 x 28 cm (H/W). ars mundi exclusive edition.
The Berlin Secession exhibited his work, he was a member of the Neue Künstlervereinigung München and co-founder of the 'Blaue Reiter' - Wassily Kandinsky was involved in many of the art revolutions of the early 20th century. Around 1913, he finally broke away from representationalism in painting, eventually leaving the world of objects behind him entirely and concentrating on graphic elements, construction and (colour) composition. 'Ten glances at the canvas, one glance at the palette, half a glance at nature' is how he described his working method, which he underpinned theoretically in his famous Bauhaus treatise 'Point and Line to Surface' in 1926. Original: 1925, watercolour. Elaborate reproduction on laid paper-like, heavy 250g Gmund Tactile, in silver-coloured solid wood framing, glazed. Size 38.5 x 28 cm (H/W). ars mundi exclusive edition.
Original: 1923, watercolour and ink on paper, 35.5 x 25 cm, Museo Nacional Thyssen-Bornemisza, Madrid. Brilliantly coloured fine art giclée on cotton canvas on stretcher frame. Framed in a valuable solid wood frame with silver shadow gap moulding. Limited edition of 499 copies, numbered certificate on the reverse. Format approx. 72 x 52 cm (H/W).
The Berlin Secession exhibited his work, he was a member of the Neue Künstlervereinigung München and co-founder of the 'Blaue Reiter' - Wassily Kandinsky was involved in many of the art revolutions of the early 20th century. Around 1913, he finally broke away from representationalism in painting, eventually leaving the world of objects behind him entirely and concentrating on graphic elements, construction and (colour) composition. 'Ten glances at the canvas, one glance at the palette, half a glance at nature' is how he described his working method, which he underpinned theoretically in his famous Bauhaus treatise 'Point and Line to Surface' in 1926. Original: 1923, watercolour and ink on paper, 35.5 x 25 cm (H/W), Museo Nacional Thyssen-Bornemisza, Madrid. Elaborate reproduction on laid paper-like, heavy 250g Gmund Tactile, in silver-coloured solid wood frame, glazed. Size 38.5 x 28 cm (H/W). ars mundi exclusive edition.
