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HARRY LIEBER

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  • 1. Formato
  • 2. Finitura
  • 3. Cornice

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Scelta della finitura

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Edizione limitata di 145,00$ 92,50$ a 4.420,00$ ULTIME COPIE : FINO A -35%

Formato ridotto : CLASSIC

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MAGGIORI INFORMAZIONI SULLA CONSEGNA

L'artista

From Germany, Harry Lieber developed a true passion for architectural photography alongside his career as a mechanical engineer. Since 2008, the date he discovered this medium, he has produced images of modern buildings, seeking not to reveal their concrete, visible reality but instead to highlight the structures, forms, and lines that compose them. This formal approach expresses the pure beauty of he subjects and reveals a graphic play that finds its source in minimalism. The representation of linear designs noticeably evokes a return to the essence of things. Harry Lieber has received widespread critical acclaim and has shown his work on numerous occasions, notably in Paris in 2015 and in Denmark in 2012 at the International Photographic Exhibition.  ... Vedi di più Vedere di meno

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Sull'opera

Initially, this image by Harry Lieber presents verticals and horizontals, perpendicular lines that cross without ever clashing. The architectural structures of the photographer seem to be endlessly reproduced, as though they were an assemblage of a single view that informs the rhythm of the entire composition. Bordering on abstraction, the uniformity of the façades and the almost perfect symmetry confer an inhuman aspect to this modern construction. Yet, on closer inspection, we glimpse a silhouette standing out from the frame. This serves as a reference. Since Harry Lieber is passionate about architecture and contemporary monumentality, he admires the great builders, such as Norman Foster, Frank Gehry, or Mies van der Rohe, as well as the German photographic couple Bernd and Hilla Becher. They are well known for their series of industrial building façades in black and white, shot in a very frontal and sober style, consistently under neutral skies.

Dettagli dell'opera

Data delo scatto

01 gennaio 2016

Soggetto dell'opera

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