Bild nach sowjetischem Film

Technique: Giclée quality print
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More about this artwork

Karl Wiener's evocative charcoal drawing, "Bild nach sowjetischem Film" (Picture after a Soviet Film), taps into a primal and intense emotional spectrum. This striking piece portrays a man's face up-close, his features exaggerated and imbued with a raw, almost savage energy. The subject’s eyes are wide and wild, his mouth agape in what could be a scream of fear, anger, or astonishment. The deep, dark tones of the charcoal add a textural depth to the work, emphasizing the dramatic expression and making the image almost palpable in its intensity.Wiener's choice of a close-up on the face, framed by a shadowy, undefined background, directs the viewer’s attention entirely on the emotional state of the character. The lack of context about the exact nature of the film or the scene being depicted invites viewers to fill the void with their own interpretations, prompting a personal engagement with the artwork.This powerful drawing not only showcases Wiener's mastery of charcoal to convey intense human emotions but also reflects the universal capacity of art to communicate across cultural and linguistic barriers.

Delivery

Reproductions are made to order and take 5 to 7 working days.

We send them out by courier and delivery takes another two working days.

If you need a reproduction sooner, please contact us - we can usually find a solution and produce it a little faster.

If you don't want to pay for postage, you can pick up your paintings at our galleries in Kaunas or Vilnius.

Returns

Yes, reproductions can be returned.

If you have any doubts more than 30 days after the date of purchase, please contact us - we will take the reproduction back for a refund or offer you a replacement!

We accept a maximum of two returns per customer - please note that we make reproductions to order, so please choose responsibly.

We do not refund shipping expenses.

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.