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      Rufus Ogundele

      Untitled.

      Mõõtmed
      81.0 x 41.0 cm

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      A master of the Osogbo Art Movement, Rufus Ogundele fused Yoruba myth with modernism. Discover his vibrant paintings and prints today.
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      Sellel lehel kuvatav kunstiteos on kaitstud autoriõigusega, mis tähendab, et meil ei ole seaduslikku õigust luua või müüa identset reproduktsiooni. Seda kaitset rakendatakse rahvusvaheliste kokkulepete alusel, nagu näiteks Berne konventsioon ning riiklike seadustega, sealhulgas nendega, mida on sätestatud USA autoriõiguse seadus – 17. peatükk.

      See meetod järgib täielikult autoriõiguse reegleid, kuna see ei põhine kaitstud kunstiteose kopeerimisel või dupliteerimisel. Selle asemel on tegu loova reinterpreetatsiooniga – uue maaldisega, mis on algteosest inspireeritud, kuid ei ole sellest identiline.

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      Giclée / Kunstiprint

      Muuseumikvaliteediga giclée- või kangasprint kiire tootmisega ja paindlikud viimistlusvõimalused. ( Osta käsitsi maalatud teos Lülita digitaalse pildi juurde)

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      Ülemaailmne tarne () 2 nädala jooksul, tavalise 4/5 nädala asemel. (10 november)

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      Kogu summa

      € 58

      Untitled.

      Giclée / Kunstiprint

      Reproduktsiooni suurus

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      Koguhind

      € 58

      Born in 1940 in Oshogbo, Rufus Ogundele attended the workshops organized by Ulli and Georgina Beier in the 1960s. He worked primarily using emulsion paints. Later he developed his skills as a printmaker under the guidance of Georgina Beier. His art was a blend of European artistic techniques with Yoruba mythical content. Normally, he outlines his figures using emulsion paint then he fills the background with white and paints the remaining areas in different colours. He developed interest printmaking when Georgina Beier invited him and Jacob Afolabi to work in her house. There he learned the technique of linocut.In this work, he depicts three patterned stick like hair combs. They are depicted in purple, brown, yellow, orange and green colors. The vibrant use of colors exemplifies the Oshogbo art school as it singles it out in its rich use of vivid and bright colors to depict symbols and stories for Yoruba mythology.

      Korduvad küsimused

      Milline on teose „Untitled.“, autor Rufus Ogundele värvitoon?

      Teose „Untitled.“, autor Rufus Ogundele värvimaailm: Earthy palett, mille domineerib Driftwood (#bd7f50).

      Kust saan osta teose „Untitled.“, autor Rufus Ogundele trükki?

      Teose „Untitled.“, autor Rufus Ogundele trüket saate tellida otse selle Kvaliteetne kunstutrüki print lehelt: kunstiprint puuvillalõikel kangas või arhiveeritaval kangaspaberil.

      Kui harmoniliselt on teoses „Untitled.“, autor Rufus Ogundele värvid ühendatud?

      Teos „Untitled.“, autor Rufus Ogundele kujutab esile Discordant Palette värviharmooniat.

      Sarnased teosed

      Woman Holding A Balance — Johannes Vermeer, Dutch Golden Age Painting
      Johannes Vermeer Woman Holding a Balance
      Heroiline Viiulimäng — Paul Klee, Abstraktne Ekspressionism
      Paul Klee Heroiline viiulimäng
      Hot-blooded Girl — Paul Klee
      Paul Klee Hot-Blooded Girl
      Woman With A Balance — Johannes Vermeer, Baroque
      Johannes Vermeer Woman With A Balance
      Tasakaalu Hoidja — Johannes Vermeer, Dutch Golden Age
      Johannes Vermeer Tasakaalu Hoidja
      Woman Holding A Balance Ngw — Johannes Vermeer, Dutch Golden Age
      Johannes Vermeer Woman holding a balance ngw
      Woman Holding A Balance Detalj 4 Ngw — Johannes Vermeer, Dutch Golden Age
      Johannes Vermeer Woman holding a balance detalj 4 ngw
      Woman Holding A Balance Detalj 5 Ngw — Johannes Vermeer, Northern Renaissance
      Johannes Vermeer Woman holding a balance detalj 5 ngw
      Feather Equilibrium (interatomic Balance Of A Swan's Feather), 1947 — Salvador Dalí, Surrealist Movement
      Salvador Dalí Feather Equilibrium (Interatomic Balance of a Swan's Feather), 1947
      Feather Equilibrium (interatomic Balance Of A Swans Feather) — Salvador Dalí, Surrealism
      Salvador Dalí Feather Equilibrium (Interatomic Balance of a Swans Feather)

      Kunstniku elulugu

      The Stage and the Studio

      Osogbo, 1946. The air carries the weight of Yoruba oral tradition and the energy of performance. Before the brush, there is the stage. Rufus Ogundele moves within the Duro Ladipo Theatre Company, a space where myth and movement collide. He performs alongside his uncle’s troupe, absorbing the rhythms of Yoruba opera and the dramatic tension of stories like Oba Koso. This early immersion in theatre provides the structural foundation for his visual language. The theatricality of the stage later finds its way into the compartmentalized compositions of his canvases.

      The shift toward visual art begins in the 1960s. He enters the workshops organized by Ulli and Georgina Beier, creative incubators that foster the Osogbo Art School. In 1963, he joins these sessions, finding a space where formal academic shackles are stripped away. Under the guidance of mentors like Dennis Williams and Georgina Beier, his hands move from the theatrical gesture to the application of emulsion paint. He learns the precision of linocut and the technical demands of printmaking, developing a method that relies on strong black outlines and rhythmic patterns.

      A Fusion of Form and Myth

      His technique is a deliberate synthesis. He outlines figures with heavy emulsion paint, then fills the background with white before layering other colors into the remaining spaces. This process creates a sense of depth through flat, bold color fields. The subject matter draws directly from Yoruba cosmology and spiritual symbolism. He depicts the presence of Ogun, the orisha of iron, and explores themes of everyday life and fantasy through a modern lens. His work does not merely illustrate myth; it reinterprements it using European modernist techniques.

      The visual language is defined by specific elements:

      • Bold Outlines: Strong black borders that contain the energy of each figure.
      • Color Fields: The use of deep reds, rich blacks, and earth tones to ground the spiritual themes.
      • Patterned Compositions: Rhythmic, compartmentalized structures that mirror the complexity of oral storytelling.

      Global Reach and Lasting Presence

      The reach of his work extends far beyond the borders of Nigeria. During the 1960s, his prints travel with a Smithsonian Institution exhibition across the United States. His art appears in London at the Institute of Contemporary Arts and finds audiences in Germany, France, and Japan. In 1983, he occupies a residency at Iwalewa-Haus in Bayreuth, Germany, marking a period of international artistic exchange. He also contributes to the communal growth of the movement by co-founding Ogun Timehin Studios, training the next generation of creators.

      His legacy is held in significant collections, including the Yemisi Shyllon Museum of Art in Lagos and various universities across the United States. Even as his career concludes with his death in 1996, the influence of his approach to modern abstraction remains visible in the continued evolution of the Osogbo art scene. He bridged the gap between ancestral symbolism and contemporary expressionism, leaving behind a body of work that remains rooted in indigenous thought while speaking to a global aesthetic.

      Rufus Ogundele

      Rufus Ogundele

      1946 - 1996 , Nigeria

      Lühikest infot

      • Artistic Movement Or Style: Osogbo Art School
      • Artists Who Influenced This Artist:
        • Ulli Beier
        • Georgina Beier
        • Dennis Williams
      • Full Name: Rufus Ogundele
      • Nationality: Nigerian
      • Notable Artworks:
        • Birds
        • Ships at Harbour
        • Untitled
      • Place Of Birth: Osogbo, Nigeria
      • Date Of Birth: 1946
      • Date Of Death: 1996