Untitled (Rudolf Stingel, 2012) Olejomalba, namalovaná ručně pouze pro vás

Identification of the Artwork and Artist

This work is titled Untitled and was created by the artist Rudolf Stingel. The piece dates to 2012. Stingel, who was born in 1956 in Merano, Italy, is a contemporary artist whose practice involves a variety of mediums and styles, ranging from hyperrealism to abstraction.

Stingel's artistic development is characterized by an investigation into the relationships between abstraction and figuration. His practice often explores themes of memory and time through the study of motifs and texture. In this specific work, the artist utilizes his established interest in the interplay between surface and perception. His approach frequently involves the use of silver, white, and black colors to define the visual field.

Visual Composition and Subject Matter

This black and white photograph features a man with a beard positioned in the center of the frame. His face is the primary focus of the composition. He is wearing a white shirt and is looking directly into the camera lens. His facial expression is serious and carries a sense of contemplation. The lighting and monochrome palette emphasize the contours of his features and the texture of his beard.

The background contains specific environmental details. On the right side of the image, a clock is visible, suggesting an indoor setting or a public space equipped with timekeeping devices. The composition places the subject in a direct relationship with the viewer through his steady gaze. The arrangement of elements remains centered on the human figure, using the surrounding space to establish a quiet, still atmosphere.

Technical Details and Physical Dimensions

This work measures 255 x 304 cm. The artist utilizes a palette consisting of silver, white, and black colors. These tones define the surface and the visual field of the piece. The application of these pigments occurs on a large-scale canvas, creating a significant physical presence within a space.

The execution involves a specific process where thick layers of paint are applied to the canvas. A layer of gauze is then affixed to the surface and sprayed with silver paint. Once the gauze is removed, it leaves behind a textured surface characterized by ridges and valleys. This method transforms the canvas into a sculptural element through the manipulation of materiality and light. The resulting surface features subtle variations in sheen across the monochromatic field.

The piece was created about 2012. While the artist's broader practice includes realistic photographic portraits and in situ works that expand beyond the frame to become the environment, this specific work remains a large-format canvas. The physical dimensions and the tactile nature of the silvered surface define its interaction with the surrounding space.