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StatistikaUntitled.
- 81.0 x 41.0 cm
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Umetničko delo prikazano na ovoj stranici zaštićeno je autorskim pravima, što znači da zakonski nismo u mogućnosti da kreiramo niti prodajemo identičnu reprodukciju. Ova zaštita se sprovodi u skladu sa međunarodnim sporazumima kao što su Bernska konvencija i nacionalnim zakonima, uključujući i one koji su definisani u Američki zakon o autorskom pravu – Naslov 17.
Ovaj metod je u potpunosti usklađen sa regulativama o autorskim pravima jer ne podrazumeva kopiranje ili dupliranje zaštićenih umetničkih dela. Umesto toga, reč je o kreativnoj reinterpretaciji – novom slikarskom delu koje je inspirisano originalom, ali nije identično njemu.
Giclee štampa / Umetnički otisak
Giclée štampa ili print na platnu muzejskog kvaliteta uz brzu izradu i raznovrsne opcije završne obrade. (
Kupite ručno oslikano delo Pređi na digitalnu sliku)
Izaberite jednu od naših unapred definisanih veličina koje odgovaraju originalnim proporcijama umetničkog dela.
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Untitled.
Giclee štampa / Umetnički otisak
Dimenzije reprodukcije
-
Ukupna cena
дин 6809
Pitanja i odgovori
Koji je koloristički identitet dela „Untitled.”, autor Rufus Ogundele?
Koloristički identitet dela „Untitled.”, autor Rufus Ogundele: paleta u nijansama Earthy, sa dominacijom boje Driftwood (#bd7f50).
Gde mogu da kupim print dela „Untitled.”, autor Rufus Ogundele?
Da biste naručili print dela „Untitled.”, autor Rufus Ogundele, jednostavno ga poručite na njegovoj stranici Umetnički print: umetnička štampa na pamučnom platnu ili arhivskom kanvas papiru.
Koliko su harmonične boje dela „Untitled.”, autor Rufus Ogundele?
„Untitled.”, autor Rufus Ogundele prikazuje Discordant Palette kolorističku harmoniju.
Srodna umetnička dela
Biografija umetnika
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
1946 - 1996 , Nigeria
Osnovne informacije
- 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