About my work and artistic creation
- Man and nature have always been in the focus of my creative nerve and interest, their mutual connection, their intertwinement, interdependence and their nearly mystical inscrutability. That world is my current preoccupation and artistic commitment that keeps me restless.
Nature has always been the unfailing source of my inspiration out of which I have thirstily drawn and selfishly absorbed all the energy necessary for the artistic creation. It has unselfishly provided me with the infinite inspiration for years. Enthusiasm and allurement with its perfection, beauty and harmony, impressive diversity of its abundance in forms and shapes created for centuries, in the sea, on the land and in the air. The fascinating colorism of unrealistic colours – so versatile and yet so vast – have time and again evoked in me repeated enthusiasm, allurement, sensitivity and a wish to stop time and moment, but not only in a way to “copy” a certain moment, but to enrich it with my own imaginative powers which have grown from the experience of the given moment rendered by nature.
I have spent years in observing nature and all that constitutes it and all that it does, I have learned from it and tried to understand its elements, both living and nonliving, plants and animals, trying to understand its gentleness and blessings, but also its fierceness and rage, its continuity, but also its sudden evanescence. I tried to convert the uptakes and the experience given by nature into my artwork.
All my creative energy, elation and pleasure come from the very nature as the source of my creative enthusiasm, constant curiosity and a tendency to feel what I see, to comprehend and implement it, and then to analyze and transform it in order to create a completely new and unique form with the unique harmony of shapes and colours, in the same way nature has done it for ages.
For me, a rock is not just a rock – it is a unique form with a miraculous structure, unrepeatable and unique in its existence, alive in its “nonliving” and dynamic in its static quality.
A tree for me is not just a tree – a thing visible to the eye – it is a living being, only at first sight similar to any other of its kind, but unique in its diversity, with its unrepeatable form and shape, structure, make up, characteristic and flexibility.
Both the rock and the tree have their souls to me, they are alive, they breathe, they can be happy and sad, they move and stand still, they grow and they die. They are living creatures – individuals never alike, but similar, unique with its structure, form, colour, vivacity and durability – as it is with every living being, be it a plant, an animal or a man.
Thinking about nature and living with it (coexisting with it) – as the source and primeval roots of existence and creation of life itself, at the height of my creation I came to realize that I can not observe nature apart from human – because nature is one of man’s elements, just like man is an element of nature, and just like it is with any other living being. At the beginnings of my artistic creation, when I was in the process of learning and gaining the first artistic experiences in a chosen motive, form, colour or technique – my artistic expression was brought down to the effort to hold the moment and to show what I had seen with utmost precision, the way my eye had perceived it, copying the seen motive, following the seen form, using the most credible colours for what I had seen instead of what I had experienced.
Later on, during my artistic and developmental cycle, I had learned to respect what I see, but I started to use and understand the motive only as the initiator and stimulus to art, but at the same time moving away from it, I tried to create new forms, therefore developing my own artistic language and handwriting.
Finally, when I mastered all of the drawing and painting techniques, along with some graphical and sculptural, and when I created my own artistic expression, by respecting the principles of art and all that I had learned during years of creative work, study and experience, I somehow slowly yet determinedly stepped into the world of imagination and creativity, preoccupied with thoughts on the nature-man relations, studying every detail individually, analyzing structures and forms, I started opening up the existing forms to create them anew. By expressing my deepest feelings in the lively, infinite interweaving of natural forms and human being, as a union of the whole, that is the woman through the unique and authentic artistic expression.
Metamorphosis, dualism, anthropomorphism are very important in my painting, regardless of the motive that inspired me at the given moment. Motion, moment, growing, the throbbing life, gradual change of shapes – all these are moments that I constantly try to record, always presenting them with emotion, passion, power of expression, energy of creation and ardour of expressive activity. Inspiration with forms and structures from nature and the shapes of human body, especially the woman’s, is often present in my artistic expression, within thematic units.
By investigating these two seemingly different relations, I tried to connect them and keep them in unity, because in fact they naturally are: the inseparable whole interdependently related. What I try to emphasize is their oneness, similarity and simultaneity in all their segments and their levels of recognition.
Extraordinary perfection and diversity of texture and micro texture, from the tiniest details that make up a perfectly built complex unit, both nature and human in their perfection of form provide diversity of aesthetically and constructively fascinating forms, arousing an inspiring aim to perceive, recognize and to use the perceived forms – through investigating, experimenting and deconstructing them in order to create something new – the unreal based on the real. A new form, which will at the same time emanate spirituality, timelessness, universality, uniqueness, specificity, different aesthetic tone, but with the same amount of beauty, harmony and spirituality – with the true values emphasized.
These thoughts kept leading me deeper and further in the study of relations between nature and human as a natural being, created within its whole, like the relation between the mother and child. I confronted and penetrated, emphasized and concealed these two relations in various displays during the research and experimental phase of searching and evolving. Changes of shapes and imagery, colours and techniques – I have made changes and adapted them constantly until I would succeed in coordinating and adapting, not only to adjust the representation of the structure of form, the matter, aesthetics, dynamics, but also to express the subjective spiritual state, to breathe life into forms and to build the liveliness, dynamics and mystic, sensitivity, spirituality into the artistic expression.
Studying and experimenting, analysis and synthesis are some of the foundations of the beginnings of developing my own painting and the specificity of the representations which hold the abundance of messages, news, warnings or aims.
This does not mean the observer must look into my artwork to see hidden meanings in every form, gesture, and colour. Formal and aesthetic relation of the growing forms is only a play of shapes and colours before the essence and the message that the very representation of a theme carries.
The man, that is the woman in the artistic unit under the name of “Metamorphosis”, is nothing more than a symbolic and metaphoric representation of the symbiosis between man and nature, grown out of studying the two relations and their mutual connection and unity, and also dualism.
Certainly I wanted to emphasize and send a message with this opus “Metamorphosis” – a reminder to “man”, and although it is hidden in the background of the ever-living and the ever-growing representation, it not irrelevant: it must not be forgotten that we have become from nature, that it is our mother and provider, educator and doctor, but also our shelter and oasis and resort – we must not take it for granted nor neglect it, take its existence for itself, ignoring where we came from, disregarding what would be - if it were not there! When I say that I study shapes and study forms, inspired by what I draw from the motives, I do not refer to the visible, globally built form in the nature – for example, a tree: what I am interested in is the essence. When I see the form– to me it is not only what my eye perceives – the shape of a tree and its appearance, no matter how fascinating the sight is. What is important is what I experience by touch, regarding the structure of, for example, the bark or the leaf, or the surface underneath the bark, the root, the joint of branches, and the structure of matter. This is what is interesting and fascinating to me. So complex and yet so simple, so symmetrical, created by some principle of “order”, size, meaning and harmony, being a sight for sore eyes. No chaos. Just calculated and predetermined meaningful and “mathematical” order. A tree for me is a living creature, organism, similar to human.
When I give spiritual and emotional note to a tree (as a symbol of flora) in my artistic expression – this is not coincidental. It is a representation to which I give a sense of emotional tension, allowing for the individual impression, with slightly simplified outline, emphasized drawing, but with softened colours – at the same time achieving sharpness, resolution and softness, gentleness, likeability and significance. Everything is imbued with throbbing energy and motion, although standing still at first sight, provoking interest and curiosity in the observer, leaving open the possibility for perception of the significance and intention, the meaning hidden in the presented motive.
The opus called “Metamorphosis” was being created over a long period, slowly and meaningfully, as a result of all the mentioned attitudes and thoughts, through the connection with nature and the vision of oneness, belonging and communion. Forms in the opus were created as associations to the organic forms with highly emphasized shapes, with soothing and sensitive pastel colours, abstracting the form in the so-called lyrical abstraction of anthropomorphisms, of selected themes, thus creating the invisible mystical and mythological creatures, immortal in their timeless and infinite space and time where the given moment of metamorphosis was never given by me, although it is emphasized in its own meaningful existence.
Theme of this opus “Metamorphosis”, people-trees or women-trees or man-nature relations can be related to similar thoughts from the past, many a time interpreted through art or mythology. The myth about the wood-nymph – a dryad which was born and died with the trees – it was believed that one who cut the tree will bring death to its dryad.
So, I am not alone in my conceptions and thoughts about man and nature and their connection.
Even before I came to existence, this issue preoccupied artists and writers and sculptors all over the world, and the affinity towards anthropomorphisms, that is connecting man with nature, animals, plants or other nonliving objects, by ascribing them human characteristics, has existed in art throughout history, until today in contemporary art.
Two different natures, and yet identical, and two beauties joined together to breathe, grow, live their own lives in motion and twirl, their outgrowth, gradually reshaping in the eternal moment of the struggle of existence and duration. This is the presentation of my metamorphosis.
A similar expression is present in my thematic opus named “Women-snails”. This time the natural element is taken from the sea-fauna in the symbiosis and unity with mostly female characters.
The fact that there are less male characters here (as representatives of man as a symbol) is not completely coincidental, but the man is left out, not because he is uninteresting, unattractive – on the contrary, but because my goal was to present a woman in all her beauty, sensation, allure and grace, but also in her strength, independence, shrewdness, willing to prove herself, unsubmissive, defiant despite the hardships, willing to fight despite the weakness, woman who in all these demands forgets about her femininity and nature of her being, trapped like a butterfly in the enviable “custody” of the given body and curves, unaware of her eternal need to belong and be protected, the need assigned by nature for a reason.
This is a rebel woman, the Amazon who, unsatisfied with the assigned role, simply moves forward, without even knowing the direction. She is not interested in the consequences; she is more interested in the imaginary goal.
In her obsession and escape from herself, she forgets about her epochal assignment and the purpose assigned by nature, consciously running away and illusorily repressing her real nature, trying to set herself free of what makes her a woman. The escape from her femininity is the escape from her reality, from her limitations, from her inhibition, from her need to be protected and safe, the escape from the fragility of her body and soul. She denies her real nature and she tries to fight it, but at the same time she needs protection and safety she consciously denies, and subconsciously tries to find. She carries the burden she had created herself, and which was not meant for her as a problem, a burden she does not need. She twitches, she creams, she rises up and falls down, she crawls, but keeps moving forward, disregarding the consequences and she fearlessly grapples with anything that holds her back and disturbs her, she fights the invisible, the transcendental enemy, when actually she does not realize she is fighting herself and her nature.
Figurative and abstract relations in my representations and interpretations of motives and issues that preoccupy me are not exclusive. These relations supplement each other and become intertwined in the unity of idea, arrangement and technique, whereby I try to create a unique and authentic aesthetical artistic effect. In my effort of achieving the wanted representation, figuration and abstraction are identical.
The greatest stress is laid upon – drawing. Even with a glance over my works it can be seen that drawing is highly emphasized and vivid – it is the source and foundation of all my work in painting. With it I can emphasize what is relevant, separate what is less relevant, with it I build, direct, heat the forms, composition, perspective or depth, separate or emphasize the borderline of the form’s surface. Drawing is the basic bearer of the material in each of my artworks and with it I materialize my artistic sensitivity. In a given moment, depending on the character of the motive or the artistic idea I am working on, I choose the instrument of the drawing technique or material most suitable to the current preoccupation, thought and feeling, motive or the idea. Materialization and the artistic instrumentation become prominent this way, driven by the inner sensitivity and positive creative energy, thus creating a connection between motives and artistic text, attaching colour to the drawing and drawing to colour, finally producing a balanced compositional unit, enriched with psychical and sensitive spiritual side. My moves in the drawing are usually abrupt, violent, clear, but often they are interwoven with the soft, gentle, hazy, barely perceivable, thus building three-dimensional forms. The colours are mostly pastel, soft, of similar values and tones, pleasant and calm, they dive and overflow into each other, balancing and adding to the drawing and altogether they compose space, volume, perspective, three-dimensional forms within the space, with the emphasized play of light and dark notes of the chosen tonality. My painting is the expression of a naturalistic spirit imbuing my art. Lyrical abstraction is in fact my way of speaking through which, in various contexts, I transfer the natural reality to the artistic one.
When I choose a motive and work on a theme, applying spirituality, sensitivity, liveliness to the motives, I actually humanize natural forms, at the same time naturalizing the man by returning the natural, the true, and the primeval to him, joining them into unity which is actually a fact in itself.
In the opus: Art-man and music, I create life from the “nonliving” – objects made by man. The nonliving and the living are joined together and they constitute life. Incorporeal and corporeal at the moment of symbiosis become one – embodied and spiritualized unity, where there is no border between dead and alive. Musical instrument: violin, cello, double bass or some other – become one with man, united with his feelings and it is alive as long art, music and man live together with the man, in the man and by the man. Music and the embodied instrument are not just visually and perceptibly accessible, but also through sound, enriched with spirituality and colours, therefore spiritually and emotionally experienced. Just like a nonliving object is made by man, man creates melody, and the instrument tells what the man wants to hear, feeling with him and creating with him, the sound and life rebelling against silence and nothingness.
Abstraction of form in the full sense of the word is not rare in my artistic expression, but I do not use it often. Usually the stimulus comes from a small natural element, maybe a part of a rock, waves rolled by the wind in the sea or part of a structure of some plant (bark of the oak, sea-shell, leaf, cliff, sea spray, part of a flower or sound of music…)
One could say that the abstraction of form is a mixture of refined sense and sensitivity, imagination. Abstracted, materialized form is nothing but unlimited imagination, sensory experience and sensitivity for the experienced or felt, aroused inner personality and emotion, stimulated by the material, spiritual or natural surrounding.
Materialization of the moment of the detail or emotion which should express, consciously and subconsciously, which should define the indefinable and which should eternalize the momentary, the invisible and the untouchable.
Abstracted form in my expression is mostly analytically opened and separated form of details and presented as an expression, although not always, but it represents the individual motion of the inner being and all that can not be defined or expressed through figuration, which is much more common in my whole creative work, in my specific manner.
Just like any artist, I live art. It is my spiritual and existential food, embodiment of my thoughts and feelings, sensations. It is the meaning of my existence and the joy of life.
When speaking of my artwork, the observers may be more credible, along with the expert points by the art critics, who will give their reliable and subjective professional opinions, or art lovers who can recognize true and real values in an artwork.
I am just an artist who creates, and the way I present myself best is with the “paint-brush, drawing and colour”, whereas the most about me and my work is said through my art works and accomplishments. So, the best way to learn more about me is to take a look into the gallery of my paintings.
CRITIQUE OF MY ART-WORK WRITTEN BY EMINENT ART-CRITIC
The example of the Istrian painter NELIDA KALANJ and the relation of her intimacy with her refined painting talent that was already expressed in school, in her home-town Labin, in Istria.
Her main theme is the character of a woman ruling nature and merging with the tree, whereas her hands intertwine with the branches in an infinite number of variations, mostly created in the technique of lively pastels.
Character of a woman has been present in visual arts for 7.000 years. Ever since the first prehistoric realizations of the human character – the character of the woman became exclusive. Through all the phases of the art’s genesis, woman’s character has given supreme realizations. Classic Greece and Rome elevate the woman’s character into the sphere of divinity – and in the European Renaissance and Baroque, it has been given a nimbus as the supreme range of beauty. It is obvious that a reflection of this cult of beauty and importance of the woman in art through history can be felt in the opus of our painter Nelida Kalanj. She embedded the character of a woman into her work with her authentic artistic expression and gives these characters the power of life, which grows out of nature, together with the tree.
Besides the major theme, there are some lively landscapes and urban motives in oil in this opus as well.
Although this young painter from Istria is already at the height of her artistic expression, she exceptionally enriched our contemporary art with this opus.
The opus of this painter so far gives us full trust in her future artwork, which will considerably contribute to our contemporary artistic reality.
Prof.dr. Antun Bauer
Already in the beginning everything can be seen: half-abstract and half-figurative approach, perceivable interest for the rich vegetation and female body in a lively infinite interweaving. Those are the constants repeatedly appearing in all of the paintings, but never the same, always in the new mindful combinations which grab the attention of the observer.
Variations of the same theme, but always in a different key with regard to the changes of the morphological forms or chromatic values. One painting follows the other, like a link in a chain, thus creating a big and important line, but at the same time each separates from the previous, so that it can be observed separately, as a separate unit.
Nelida’s paintings have a richly articulated and permeated surface. It is a sort of horror vacui, which hold no inch of free space. Everything is in turmoil, in motion; everything is full of throbbing life. But, these motions reveal no twitch or pain. Rather, it could be said it is all about overgrowth, about gradual change of shape.
Nelida’s painting offers one magical world, world of fairytales such as Sleeping Beauty, where there are thorns and roses, but not as cocooned or stoned as in the tale, but lively and fresh like our everyday life with its pretty and ugly sides. Dualism is the obvious and important characteristic of Nelida’s painting.
Tullio VORANO, curator
The first encounter with Nelida’s line of metamorphoses was love at first sight. So much strength, femininity, emotion and passion, wishes and acts, relieves and excitements to pain is all hidden in the conjunction of bodies coalesced with trees.
A painting that captivates and opens the soul. Two different natures and two beauties joined together breathe together, blood runs through the living and the nonliving, because everything lives here.
Man is the motive, and the stories read with an eye behind the moves on the canvas are possibilities for different experiences and recognitions.
One story can lead us to mythology, to a wood-nymph – dryad which was born and died with the trees. It was believed that one who cuts the tree will bring death to its dryad. Nelida’s canvases with the wood-nymph lead to immortality, they emit strength leading to victory over earthly obstacles and weaknesses, or coolly emphasize the lyrical and emotional – the unique qualities of a woman.
Activity does not stop – body movements intertwined with branches and tiny twigs in the depth of the background, do not only present a being unified in a whole, but are also like a tree in the mythologies of many peoples, a symbol of the life’s struggle, existence and duration.
The tree seems growingly alive, and the bodies seem humanly warm, whereas both beings never stop growing on the edges of the artificiality, instead they last somewhere in an imaginary space.
If she was a sculptor, Nelida would surely choose wood for the material, and in this way she succeeded to bring nearer to the eye with techniques of oil and pastels on canvas what the sculptor brings nearer to touch.
To join two beauties and to create a third one – a work of art, and to merge experience, thought and sensation into an expression, means to be an artist and a creator. To choose a recognizable style, means to recognize oneself, and to be relentless, noticed and welcome, means to succeed.
Let us then wish for Nelida a forest of new immortal lives and as many similar joyous events on the canvases.
Prof. Eliana Batagelj
Inspirations with the shapes of human body have always been central in the artistic expression. Changes of periods have not changed thematic continuity and therefore the conclusion that the human character is a constant in thoughts and feelings of all times and countries. The aims of authors have moved from the individual shaping of the figure, through their relation with nature and artificial surrounding, to the vision which have ascribed animals, plants and other objects human characteristics. This affinity to anthropomorphism is present in contemporary visual art, and one of the advocates of such interpretations is the Istrian painter Nelida Kalanj.
Her current opus of pastels and oils constitutes a firm unit in which the protagonists are female bodies and trees, taken as organic wholes. From composition to composition, the borderline of transforming the human anatomy to the swollen shapes of trees and their branches moves. The moment of the metamorphosis is not given, and some of the solutions are close to the idea of a nude, whereas in different situations one can only vaguely recognize more complex interweaving of limbs and their growth into forked tentacles of the branches. Compositionally, the figure is always central, whereas its relation to the background is formulated in the variants. At times it is neutral, sometimes it is intertwined with branches of various thicknesses, and sometimes a penetration into the space marked by rocks and sea is present. At times, one can hint at the combination of two bodies, also grown into the tissue of the trees, and perceived as certain symbiosis.
Performance of the body is highly symbolical and somewhat metaphorical, while other branches and the rocks are all figurative. The painter defines forms with a strong wide move and modulation is achieved with the change of colours or insisting on the tonalities. Her colour is shaded, and most often she uses brown and yellow, blue and green, and pink and black. The highlighted curves and sensitive colours remind of organic forms, but also reveal a strong erotic charge.
With the acceptance of pastel compositions of the anthropomorphic motives as the result of the talent and skill of Nelida Kalanj, there is also the need for revealing its meditative and emotive sources.
By forming her woman-trees or tree-women, the painter does not present individualities of her protagonists. They are imaginative creatures enriched with positive and negative human qualities, but faceless. Instead of a legitimate specialty in the sphere of the real, the painter offers destined subjectivities summarized in the presentations of the general. She does not aim to reveal intimacy, but insists on recognizing the problem. Although all of the shown characters suggest certain psychological experiences, she tries to elevate them to universality, allowing for the free interpretation of revelation and recognition. Thus turning an individual problem into the general phenomenon, she allows her own experience to make those experiences potent, acceptable and understandable.
Nelida Kalanj’s oils and pastels reveal the sensitivity of the author, who succeeded in building her idea into composition and its performance. By speaking of woman as a being/a plant, she enriches her with a daring beauty of form, but also wraps her with lurking grids of branches and twigs. Psychological experience is mysterious in these surroundings, but also in the combinations and spasms of body and its limbs. The painter with the gallery of her characters presents the equivocation of life’s situations and their reflection in the spiritual form. Filled with lively and suggestive emotional messages, these pastels touch upon the most sensitive lines of intimacy, tell of a true world seen from a special corner and perceived in the imaginary spheres.
Trees transforming into female bodies and alluring shapes growing into trees and naked tree tops are a metaphor for existence and duration, the unstoppable growth and the unimaginable blood circulation pulsating underneath the epidermis and the bark, and the unpredictable product born out of thoughts and feelings.
Europocentrism and our civilization have started on their millennial journey through history when the Hellenes, inspired by Homer, started forming their impersonal wooden totems in the image of themselves. Gods and their goddesses anthropomorphically became from the impersonal symbols to something more human-like, and the next step was the appearance of heroes and heroines, so liked by the frivolous flaunting literature in the Renaissance, which substantiated the process of creating god-like people.
Around thirty oils on carbon and pastels, here in Be˛anec, enabled us to dive into painting which had, inspired by the energy of Aphrodite’s power, reached for the creative procedure inverse from the birth of Gods, headed towards the birth of a female figure, enrobing it with numerous branched out decorations, turning it into a presymbol, into a wooden totem, rounding it into a complete cycle, from the birth of gods to perfection and return in a form which will bear a new god-woman.
This intellectual procedure within “Metamorphosis”, Nelida Kalanj’s opus of significant artworks, creates ideological template which generates the inversion of the anthropomorphic eroticism. The Istrian painter with dense impasto and form tackles the basics of eroticism in the Western art, embracing the symbols of sexuality into the inevitable formation of her artistic expression, skilfully avoiding the syntax of descriptively recognizable forms. This veiled form became a touchable universal idea, a totem, and with this procedure it is transposed into an idea that we can reveal, to which we aspire, and once we recognize it despite the veil which forms it into the branched out trees in the neutral filed of imaginary landscapes, we can reach it and accept it in the emanation of their strange and miraculous shapes.
We are covered with a veil, and the veil is not even painted?
This fragile and almost invisible veil is the metamorphosis which named the opus of Nelida Kalanj’s brave paintings. The metamorphosis of forms is accepted as an inverse process from that of Kafka, as the natural process where a beautiful butterfly is created from an unpretty larvae. Intertwined and knotty trees and branches wrinkled with past times have stayed in the late leafless autumn to receive the wizard Merlin and to answer his alluring invitation…
This is how the woman’s magic revives itself in the death of a natural cycle, in the blooming and ripening, when the leaves fall off and a form remains, bringing back memories and stimulating imagination with its nakedness. This starting impulse waits for the spring, the blooming and the beginning of life that is the root of all eroticism in its mystical act of fertilization, ever since the prehistoric stimulus of Venus of Willendorf until the unambiguous realizations by Gustav Klimt and Sir Lawrence Alma Tadema.
Splendour and wealth, the noble pastime that created the Western culture and civilization, found its apogee in the court-culture of the countryside. The exhibition of the “Metamorphosis” found in this atmosphere its place in Be˛anec, in the Zagorje landscape, in this home of Croatian castles par excellence, in the realization of the countryside illusion premise, inevitably connected with the erotic allusion mentioned by a shy bard, and realized by the Baroque gentleman in his countryside. How much enthusiasm and beauty, hidden metamorphosis of forms is present on the other side of the invisible skin, of the pane that we yearn for, and all that is necessary is to look away from the paintings through the pane! The incarnate became the pane, the tree bark, the real form, recognizable and touchable, visible and especially perceptible, by setting up the unity of perfection – the unity of the external and internal harmony, which are substantiated with Nelida’s paintbrush and made up of form that carries an unambiguous and honest message of the reality of the material, whereby Nelida creates an artwork with a metamorphosis of the creative procedure and with the same logical sequence.
Mr. IVAN RUˇIĘ, curator
Size: Width: 70 Height: 50 cms
Price: On request
Size: Width: 130 Height: 70 cms
Price: On request
Size: Width: 55 Height: 45 cms
Price: On request
IN THE DREAM
Size: Width: 100 Height: 100 cms
Price: On request
Size: Width: 130 Height: 70 cms
Price: On request
Size: Width: 50 Height: 38 cms
Price: On request
MORNING ON ISLAND
Size: Width: 50 Height: 70 cms
Price: On request
NYMPH IN MOVEMENT 2
Price: On request