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Stephen NamaraWhen Life is Still / watermelon and cherries - Magic Realism2017
2017
$11,000
£8,230.42
€9,552.06
CA$15,316.14
A$17,227.27
CHF 8,935.41
MX$208,979.29
NOK 113,295.67
SEK 106,617.57
DKK 71,261.07
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About the Item
Still Life with Watermelon and Cherries - Magic Realism still life oil painting in neutral grey with white and red. Larger than life cherries and sliced watermelon set the traditional scene that is at once sophisticated, life-like, and mysterious. Stephen Namara's paintings, drawings and mixed media works are masterfully rendered, emotional and raw. Best known for his drawings and paintings of people, objects and landscapes, Stephen Namara's images are often “snap shots” of moments in his life. They speak to us without the need for words, while offering space for viewers to experience their own reactions. The important late career artist has exhibited and is collected worldwide.
The acrylic painting is signed front and verso, and is in excellent condition.
- Creator:Stephen Namara (1953, Kenyan)
- Creation Year:2017
- Dimensions:Height: 48 in (121.92 cm)Width: 48 in (121.92 cm)Depth: 2 in (5.08 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Artist signed, dated Verso. Condition excellent.
- Gallery Location:Burlingame, CA
- Reference Number:Seller: FDNAMS0021stDibs: LU37532043513
Stephen Namara
Stephen Namara is an American Contemporary figurative artist born in 1953. He is known for creating skillful drawings and paintings of people, still-life objects and contemporary landscapes and has been exhibiting in the U.S. since 1980 while evolving his unique style. His masterful drawing abilities, together with his involved research into his subjects, have enabled Namara to produce a highly acclaimed body of work that is held in major corporate, state and university collections, and he is the recipient of numerous, important drawing prizes. Namara’s images are often autobiographical snapshots of moments in his life, and they speak directly to viewers without the need for words. The work provides space within which we can experience our own mental and emotional reactions to the images, forms and movements, without the need for academic explanation. The non-narrative imagery that he employs enables our attention to dwell on the formal and material aspects of the art, and this encourages a reflective approach to our perceptions.
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