Friederike Oeser

  • Work
  • Zürich at a Glance

Zürich at a Glance

5,000.00
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Zürich at a Glance.jpg

Zürich at a Glance

5,000.00

Free shipping in the United States. Please contact us for sales outside the U.S.

Friederike Oeser

TRAVEL DIARY SERIES

Zürich at a Glance

PAINTING

Oil pastel on paper
Original work signed by the Artist
Created on 170 g acid free and age resistant Hahnemühle™ paper
40 cm x 40 cm, or 15.75 x 15.75 inches, unframed
66 x 66 cm, 26 x 26 inches, framed

FRAME

Designed by Friederike Oeser with Jacqueline and Ken Ernst
1-1/8” wide white Roma Moulding lacquer
2-Crescent™ off white 8-ply mats
Mounted using Mylar corners on Artcare Foam Core Board™
Tru Vue Museum® glass, for maximum clarity with 99% UV protection

More Info

Add To Cart

Free shipping in the United States. Please contact us for sales outside the U.S.

Friederike Oeser

TRAVEL DIARY SERIES

Zürich at a Glance

PAINTING

Oil pastel on paper
Original work signed by the Artist
Created on 170 g acid free and age resistant Hahnemühle™ paper
40 cm x 40 cm, or 15.75 x 15.75 inches, unframed
66 x 66 cm, 26 x 26 inches, framed

FRAME

Designed by Friederike Oeser with Jacqueline and Ken Ernst
1-1/8” wide white Roma Moulding lacquer
2-Crescent™ off white 8-ply mats
Mounted using Mylar corners on Artcare Foam Core Board™
Tru Vue Museum® glass, for maximum clarity with 99% UV protection

Artist Summary

I have always found the city of Zürich incredibly serene with a stillness, almost a purity, that seems hard to match almost anywhere else in the world. I have heard some people say that this same stillness can make it seem cold and unfriendly, but I don’t agree. The warmth is everywhere around you, giving off a subtle intensity that makes you even more aware of everything that is there to be seen.

Within the Migros Contemporary Art Museum on a day with very few visitors, I found myself inside painting the blue colors, tones, and shades of the sky; the yellows and golds from the November sun; and reds of some the objects on display in the museum. It was almost as if on this day the city brought the colors in through the glazed windows, bounced them off the gray linoleum floor and white walls and then and onto my drawing hand, one by one. I was there not just as a painter, but a translator—a kind of interpreter, transforming dozens of messages being whispered through the windows and everything around me, into shapes and forms by which I was able to see, even more intensely, the warmth and beauty of the city.