Ölkreuz in Rot auf Rot, Blau und Grün

20 cm x 15 cm x 5,5 cm | Öl auf Holz (20 x 15 x 3 cm)

Gewicht: ca. 757 g

€1,050.00incl. VAT
Free shipping
Delivery time 3-5 working days within AT. More countries you can find here

Objekt bzw. Skulptur und Gemälde gleichzeitig.
Kann direkt, wie es ist hin- bzw. aufgestellt werden.

Ölkreuz, mit dem typischen Emu-Auge.

Die bereits über Monate und Jahre von mir vorbereiteten, gesammelten und (an)getrockneten Farbbrocken aus hochwertiger Künstlerölfarbe, sind in ihren oberen Außenschichten völlig trocken und färben bei normalem Umgang und notwendiger achtsamer Berührung nicht ab. (z.B. notwendige Berührung beim Aufhängen oder beim Verpacken) Aufgrund ihrer Masse in der Tiefe sind sie jedoch noch nicht vollständig durchgetrocknet - dieser Prozess dauert teilweise vermutlich noch Jahrzehnte. Eine gewisse Bewegung im Material ist daher zu erwarten. Diese Eigenheit empfinde ich stets als bereichernd: Das Werk bleibt, wenn man es so will, dann noch über Jahre auch tatsächlich "lebendig".
Der Malgrund aus massivem, stabverleimtem Buchenholz ist sorgfältig verleimt, versiegelt, grundiert und bemalt. Ergänzend dazu, wurden getrocknete Ölfarbenbrocken mittels lösungsmittelfreiem Epoxidharzkleber appliziert. Trotzdem bitte außerhalb der Reichweite von entdeckungsfreudigen Kindern, fern neugieriger Haustiere oder sonstigen unsachgemäßen „Ein- oder Angriffen“ von außen aufbewahren.

#Ölkreuz #Kreuz #KunstKreuz #Kreuzkunst #Gipfelkreuz #KommunionKreuz #Haussegen


Please note, a painting is not a flat print. All color unevenness on my paintings are desired and intended. The paintings offered are always dry enough for shipping, yet oil paint often takes years to dry completely. The paintings are usually unframed, but painted on the sides, so that they can be hung without framing and also give a holistic and contemporary overall impression.
Please always take time for the "handling" of artworks (such as unpacking, hanging and rehanging, transporting). If, especially in the case of unframed paintings, there is still paint abrasion from gripping the sides a little too firmly, the painting is basically fine and with a little soap paint comes off your hands again! Also in the course of hanging, if you an unframed painting should strip on the wall, paint abrasion could leave traces - it would, by the way, even with completely dried paintings! So here too: please take your time!

During the drying process there are different tensions in the various layers of a painting: painting base, gluing of the painting base, primer, oil paint, varnish - and not least the environmental conditions - humidity, room temperature, etc. all these are influences that keep a painting and its components in constant motion - during drying everything works a little. Therefore, over the years it may also happen that, for example, canvases to be re-stretching. An art collector always has to accept these and other technical factors and should be aware of them. Personally, quality is very important to me anyway, so I always pay attention to the best possible quality in terms of longevity when selecting my materials.

We admit it honestly: We want to exclude returns and that's why we also "go all out" with our product presentations and descriptions. A return is not only a burden on the environment because of additional transports - it also means return costs for you, and it also causes us costs and a lot of effort for return and reintroduction into the business cycle.
In any case, my team and I will do our best to present you the individual works in the best possible way in terms of color and content. Please consider the following factors before deciding to purchase art online:
Every screen, whether smartphone, monitor or laptop, presents information differently on each device. Lighting conditions, device age, system settings, protective covers - they all affect the impression you get from a work. As a result, the artwork you've selected may affect you differently in physical reality than it does from the screen. Inevitably, it will, because color on a physical substrate (such as linen or painting board) will always look different than color created on a screen, with only light as the substrate. The beauty of it is that the paintings usually look much better in their physical form than they do online. Details and surface structure are largely lost online. In the real work, you see much more - because it lives and breathes - it doesn't need artificial light.

So if you are not already completely convinced by a work in its online version, just come back at a later time! There will always be new works and at some point "yours" will certainly show up! And also the environment will thank you.

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