Self Portrait with Crossed Arms - Oskar Kokoschka
Giclée de archivo
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Descripción
A striking 1922 self-portrait by Austrian Expressionist Oskar Kokoschka, featuring bold brushwork and a high-contrast colour palette.
Oskar Kokoschka painted this self-portrait in 1922, a period during which his work moved away from the psychological intensity of his earlier Viennese years towards a more structured, painterly approach. The composition features the artist in a formal blue suit, his arms crossed in a posture that suggests both defiance and introspection. His gaze is directed towards the viewer, yet his expression remains detached, reflecting the artist's own complex relationship with his public persona.
The application of paint is thick and deliberate, with visible brushwork that defines the contours of the face and the folds of the clothing. Kokoschka employs a palette of high-contrast colours, where the deep blue of the jacket sits against a background of segmented, block-like forms in yellow, green, and brown. This background treatment flattens the pictorial space, pushing the figure forward and forcing the viewer to engage directly with the subject's psychological state.
As a leading figure of Austrian Expressionism, Kokoschka often used the portrait format to explore the internal life of his sitters. In this instance, the self-analysis is evident in the distortion of the facial features and the nervous energy captured in the hands. The work avoids traditional academic finish, favouring instead a raw, immediate quality that communicates the artist's subjective experience. The painting remains a clear example of the Expressionist desire to externalise internal states through colour and form, rather than through literal representation. It captures a specific moment in the artist's career, documenting his transition into the middle years of his life while maintaining the stylistic hallmarks that defined his earlier output.
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
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- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Self Portrait with Crossed Arms - Oskar Kokoschka
Artist Biography
Oskar Kokoschka
He was born in 1886 in Pochlarn, Austria. He was shot through the head in Ukraine and bayoneted in the chest in Russia. He survived both.
After the war, he commissioned a Munich dollmaker named Hermine Moos to create a life-size replica of Alma, sending detailed instructions about the feel of her skin and the weight of her body. Moos covered the figure in feathers instead. Kokoschka eventually staged a public execution: he decapitated the doll and smashed a bottle of wine over its head on his lawn. The police arrived the next morning, thinking he had murdered a woman.
The Nazis declared him a degenerate artist. He fled Czechoslovakia for London after the Munich Agreement and became a British citizen in 1947. His Expressionist portraits are among the most psychologically penetrating of the twentieth century: raw, agitated surfaces that seem to expose the sitter's interior state. He lived to ninety-four.
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