Stilleben II (around 1923)

Technique: Giclée quality print
Recommended by our customers
Size
Finishing (pick one!)

More about this artwork

"Stilleben II" by Karl Wiener is a compelling exhibit of the artist's exploration of color and form, dating back to around 1923. The painting features a simple yet expressive still life composition that highlights Wiener’s distinctly vivid color palette and abstract shaping. At the forefront of the canvas, an elegantly elongated blue bottle and an earth-toned pot with a slender, sprouting plant occupy the subtle geometric space defined by bold blocks of yellow, pink, and red.These elements of the composition are framed within sharp, clean lines that both guide the viewer’s gaze and underscore the intentional simplicity of the subject matter. Wiener’s style suggests an embrace of the modernist movements of his time, focusing on the potential beauty in everyday objects.The combination of saturated, almost luminous colors alongside the simplicity of the objects creates a striking duality of complexity and minimalism. "Stilleben II" encourages viewers to pause and appreciate the ordinary, transformed through artistry into something intriguing and unexpectedly profound.

Delivery

We create reproductions on demand, with a production time of 5 to 7 business days.

Our courier service ensures delivery within an additional two business days.

If you need a faster turnaround, please contact us. We can often expedite the process to meet your needs.

You can also pick up your paintings at our galleries in Kaunas or Vilnius.

Returns

Yes, reproductions can be returned.

If you have any concerns more than 30 days after purchase, please contact us. We will either provide a refund or offer a replacement!

Please note that we accept a maximum of two returns per customer. Since reproductions are made to order, we encourage you to choose responsibly.

Shipping expenses are non-refundable.

Karl Wiener was an Austrian draftsman , graphic artist and photo montage artist. Because of his political and time-critical montages of the 1930s and 1940s, he was posthumously referred to as the Austrian John Heartfield on the occasion of the major retrospective on his estate in the Wien Museum.