Depending on the degree of damage to the warranted painting, it will either be repaired or replaced. This warranty service is provided free of charge.
A Slice of Watermelon
Commission your own museum quality hand painted reproduction of “A Slice of Watermelon” on a high quality cotton-linen canvas, originally by artist Louis Marcoussis . This artwork will be painted by an experienced artist.
- Delivered unframed in protective tube within 21 days.
- Every painting is painted by an experienced artist.
- No printing or digital imaging techniques are used.
We’re so confident in the quality of our work that we’ll refund your money in full if you are unhappy. No fuss, no hassles, and no questions asked!
SKU: 134963art Category: Marcoussis, Louis Tags: Louis Marcoussis, Private Collection
EVERYTHING IS HAND PAINTED!
Our artists are the best in the business, and have created oil painting reproductions for clients that include the rich and famous, major real estate developers, hotels, restaurants, museums, internationally renowned interior designers, and, most importantly, individual art lovers worldwide!
The framed Rothko painting turned out beautifully. It actually looks like someone is standing in the painting. I can’t wait to hang it up and show it off. It will be the envy of the neighbours.
Bonnie Wallace
Wednesday, September 4, 2019
It is beautiful you did a great job
Good morning I receive the painting and I truely love it. It is beautiful you did a great job
Thank You
Diane
Tuesday, December 24, 2019
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Monday – Friday, 9am – 5pm PT 1-877-275-9249
This fine art oil painting reproduction on canvas by the talented Ocean’s Bridge artist team is eco-friendly and made with solvent-free paints. Each reproduction may very slightly in brush details due to the nature of being hand painted so no two paintings are the same.
BIOGRAPHY – John Kuhn (Born 1948)
Growing up in Hutchinson, Kansas in the 1950s, John Kuhn enjoyed what he describes as an idyllic childhood full of bike riding, neighborhood baseball and plenty of time to draw. His family encouraged his drawing as well as his fascination with assembling model cars and designing architectural models and small sculptures. Kuhn’s mother, in fact, was an artist in her own right, not only doing occasional watercolors, but also designing illustrations for her four children’s furniture and costumes for holidays and special events. The family home was filled with classical music as well, establishing a foundation not only for Kuhn’s appreciation of music, but also a knowledge of music history that would later supplement his study of art history.
Kuhn received a basic art education in his public school, and took advantage of a unique summer art program in which the public school made the art classrooms available to anyone who was interested in using them. After graduating from Hutchinson High School in 1966, Kuhn enrolled for a year in Wichita State University before transferring to the University of Kansas at Lawrence. There, he majored in art history within the School of the Arts where he could also take studio arts classes. Although Kuhn recalls enjoying his art history classes, the social unrest of the late 1960s was a significant distraction to his studies. Like all young men during that era, the possibility of being drafted and sent to war in South Vietnam, was a constant concern. In 1971, when the Selective Service System implemented the lottery system, Kuhn was no longer in danger of being drafted, and decided to leave the university.
He worked briefly as a surveyor of building sites and for a local contractor, but was delighted to move into a job as a graphic artist for Centron Films in late 1971. As a producer of educational and industrial films, Centron needed graphic designers to produce advertising, brochures and some illustrations for the films. Not only was he introduced to the business of art, but he also learned a key skill for his future painting–how to use an airbrush. As Kuhn notes, “it was a hands-on job and a great education. Without that job, I wouldn’t be doing the paintings I’m doing now.”
During his years at Centron, Kuhn also explored regional juried art shows, galleries and the local art scene in Lawrence, Kansas. In 1976, he also married a fellow artist, Margie, who today teaches as an adjunct professor at the University of Kansas. They share a studio, ideas and, Kuhn admits, most of the toys in his still life paintings come from her prop supply. When Centron was sold to a larger corporation in 1984, Kuhn felt he was ready to work full-time as artist. Although he acknowledges that it meant “muddling along with little money for years” he made gradual progress in finding venues for his work, including the Elaine Horwitch Gallery in Chicago.
The next decade was crucial for Kuhn as he began to refine his subject matter and his technique simultaneously. Increasingly, he relied on the airbrush to create photorealist imagery, and like some of the Pop artists that he admired, he had no hesitation about utilizing a commercial art technique for a fine art application. When digital photography appeared, he incorporated that into his process as well, using the digital images to help compose his painting, and then transferring an enlarged gridded image onto canvas. The use of gridded transfers has its roots in the fresco painting of the Italian renaissance, but the use of photography as a compositional tool dates from mid-nineteenth century France, just after the invention of the modern camera.
In terms of subject matter, Kuhn was typically painting nighttime images of theatre marquees, a theme that he shared with a number of other photorealists. That all changed one day as he watched Margie making tea. The striking shadows on the teapot and cups and caught his attention and he took a photograph immediately. When it evolved into a painting, Kuhn realized that still life painting might offer opportunities for new interpretations of textures and paint surfaces. Today, he has established parameters limiting his still life images to fruit, candy, toys and most recently, flowers. The subject is traditional, but Kuhn’s marriage of formal precision with the soft edges created by the airbrush encourages viewers to look at these everyday objects from a fresh perspective.
Kuhn’s recent flower paintings also demonstrate the power of depicting everyday objects at a large scale. As he expands the size of his canvases, with some of them as large as 4’ x 4’, he also has more scope for exploring the surface of paintings. Standing in front of such an image, the viewer is immersed in the world on the canvas, experiencing the color, form and light of the painting both directly and immediately. Like his nineteenth century Realist predecessors, Kuhn offers an opportunity to objectively observe the visual forms of daily life, while inviting personal consideration of what those observations might mean beyond their overt functions.
2 watermelon slices
The idea for the painting came about when I noticed how the light was moving on the slices of the watermelon. They became bright, transparent and juicy.
The painting was painted in 2 sessions, so after the first session the still life had to be hidden in the refrigerator.
This painting can be completed with the painting “Pink watermelon”, which you see in the interior example.
Original oil painting was painted with high quality oil paints on stretched canvas and varnished.
Painting size 30×30 cm
Signed & dated on the front and back.
About this artist
Sofija Maliukova
Lithuania
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Concept
I am very inspired by the color itself or an unusual combination of colors, colors that can be peeped at different states of nature.
And I am also fascinated by the picturesque. For this, I love painting and embody different color variations on canvas while adhering to a realistic manner. I am a passionate admirer of plein air, I often create my paintings on location.
I prefer oil painting, where the color is revealed in full force.
I also love line and patterns, so I also work in graphic technique. And I choose a technique for graphics that will better emphasize the idea. It can be watercolor, ink, gouache or acrylic, pencils or crayons. I like working in mixed media.
FAQ
Does this art work need a frame?
In many cases, art works with a canvas stretched over a wooden frame can be displayed as is. Thin art works other than canvases are easier to frame. For any questions or concerns please chat us.
Are there other sizes for a similar type of artwork?
A Depending on the artist, request consultations are available. For any questions or concerns please chat us.
What kind of hardware should I use for hanging the artwork?
- If you are concerned about repayment costs, such as when renting a house, wall pins and hooks that do not leave noticeable hole marks are available at major DIY Store and art supply stores.
- If you want to hang a canvas with a hook, a hook type with a long hooking surface, such as a V-shaped type is recommended.
- If there is a string on the back of the canvas or the back of the frame, you can hang it with a pin type that has a short hooking surface.
- For any questions or concerns please chat us.
What happens after purchase?
- You will receive an email after we confirm the shipping date with the artist.
- TRiCERA will arrange delivery and provide tracking information.
- Our experts will assist you with installation, framing, and other aspects of the installation before arrival.
- We offer a return policy within 14 days of receipt. (Except for the optional frame orders)
About Shipping Fee and Return
Shipping fees will be automatically calculated based on your shipping destination country and the origin country from which the artwork is shipped. You will find the exact shipping cost in step 2 of the checkout page. We, TRiCERA, Inc., will cover any import duties, taxes, or brokerage fees. Returns are free of charge within 14 days of receipt if there is a problem with the artwork.
What types of payment are available?
You can use major credit cards (excluding JCB), PayPal, amazon pay, ApplePay, GooglePay. We also accept bank transfers if you are in Japan.
