ChurchPainting ID:: 36644
Artist: Delaunay, Robert Painting: Church Introduction: mk113
1909
Oil on canvas
116x83cm
Please Select Standard Painting Size
high quality:16x20 (40x51cm)
= $65
high quality:20x24 (51x61cm)
= $85
high quality:24x36 (61x91cm)
= $129
high quality:30x40 (76x102cm)
= $139
high quality:36x48 (91x122cm)
= $209
high quality:48x72 (122x182cm)
= $389
museum quality:16x20
(40x51cm) = $69
museum quality:20x24
(51x61cm) = $89
museum quality:24x36
(61x91cm) = $139
museum quality:30x40
(76x102cm) = $149
museum quality:36x48
(91x122cm) = $219
museum quality:48x72(122x182cm)=$399
ChurchPainting ID:: 36646
Artist: Delaunay, Robert Painting: Church Introduction: mk113
1909
Oil on canvas
99.4x74cm
Please Select Standard Painting Size
high quality:16x20 (40x51cm)
= $65
high quality:20x24 (51x61cm)
= $85
high quality:24x36 (61x91cm)
= $129
high quality:30x40 (76x102cm)
= $139
high quality:36x48 (91x122cm)
= $209
high quality:48x72 (122x182cm)
= $389
museum quality:16x20
(40x51cm) = $69
museum quality:20x24
(51x61cm) = $89
museum quality:24x36
(61x91cm) = $139
museum quality:30x40
(76x102cm) = $149
museum quality:36x48
(91x122cm) = $219
museum quality:48x72(122x182cm)=$399
ChurchPainting ID:: 36647
Artist: Delaunay, Robert Painting: Church Introduction: mk113
1909
Oil on canvas
114x88.6cm
Please Select Standard Painting Size
high quality:16x20 (40x51cm)
= $65
high quality:20x24 (51x61cm)
= $85
high quality:24x36 (61x91cm)
= $129
high quality:30x40 (76x102cm)
= $139
high quality:36x48 (91x122cm)
= $209
high quality:48x72 (122x182cm)
= $389
museum quality:16x20
(40x51cm) = $69
museum quality:20x24
(51x61cm) = $89
museum quality:24x36
(61x91cm) = $139
museum quality:30x40
(76x102cm) = $149
museum quality:36x48
(91x122cm) = $219
museum quality:48x72(122x182cm)=$399
ChurchPainting ID:: 36648
Artist: Delaunay, Robert Painting: Church Introduction: mk113
1909
Oil on canvas
96.5x70.5cm
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Check All Delaunay, Robert's Paintings Here!
French Cubist Painter, 1885-1941
French painter, printmaker and writer. Taking Cubism as one of his points of departure, he first developed a vocabulary of colour planes only distantly dependent on observed motifs, and by the 1930s he had arrived at a purely self-sufficient language of geometric forms. He remained active as a theoretician until the end of his life,
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