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Lumi MizutaniEnd of summer III by Lumi Mizutani - Japanese landscape painting, nature, flower2024
2024
$15,247.26
£11,382.81
€12,850
CA$21,183.05
A$22,785.39
CHF 12,177.18
MX$268,574.89
NOK 153,525.67
SEK 140,351.60
DKK 97,931.43
About the Item
End of summer III is a unique painting by contemporary artist Lumi Mizutani. The painting is made with pigments and silver leaf on Japanese paper mounted on panels, dimensions are 65 × 100 cm (25.6 × 39.4 in).
The artwork is signed, sold unframed and comes with a certificate of authenticity.
Lumi Mizutani pays homage to Japan and its wonderful landscapes especially those at Higashiyama-ku in Kyoto and Ueno in Tokyo. The artist places a lot of emphasis on nature and trees in her works of art.
The artist sublimates these locations through her paintings, changing the times and seasons in each of her multiple representations. Nature and trees are highly valued by the artist, as evidenced by the cherry and plum blossoms, pines, and weeping willows depicted in her works.
Lumi Mizutani works on the alchemy between different elements she uses: paper, ink and water. Through the magic play of the materials, Lumi invites the viewer to enter the world of her artworks full of emotion. The artist juggles with the codes by using traditional techniques, on the one hand, and permanently reinventing with her own techniques, on the other.
- Creator:Lumi Mizutani (1948)
- Creation Year:2024
- Dimensions:Height: 25.6 in (65 cm)Width: 39.38 in (100 cm)
- Medium:
- Movement Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:Paris, FR
- Reference Number:1stDibs: LU803117067812
Lumi Mizutani
Painter and lithographer, Lumi Mizutani draws her inspiration from traditional Chinese and Japanese painting techniques. Her ink drawings and her paintings extend this tradition, and, through constant experimentation, carry her towards new horizons. For a few years now Lumi Mizutani’s work has revolved around the duality between abstract and figurative, black and colour, the spontaneity of the gesture (the ink painting) and the patient composition work (the painting with pigment). Thanks to these antagonisms she finds the necessary and complementary resources to express herself. “I felt the desire to introduce colors, especially Japanese color pigments, familiar to my childhood. Japanese painting thus entered my artistic expression and my life. While respecting the ancestral techniques and codes, I strive to create a personal and contemporary footprint that challenges the viewer by the emotion it arouses.“
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