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João Queiroz - Untitled
Técnica: Oil on Canvas
Biografía del Artista: João Queiroz' landscape paintings have the objective of avoiding a categorical approach that limits the perception of what is really there and to bring back the sense of estrangement that we have lost in relation to nature and, to some extent, also in relation to art itself as the result of passive contemplation. João Queiroz (Lisbon, 1957) lives and works in Lisbon. Exhibiting individually since 1986, a selection of his solo exhibitions includes: Passeio, Museu Municipal de Faro, Faro, Portugal (2020), Água e Luz, Colégio das Artes, Coimbra, Portugal (2018) João Queiroz. Paintings, Travessa da Ermida, Lisbon (2018), Galeria Vera Cortês, Lisbon, Portugal (2017) Encaustics, Appleton Square (Lisbon, 2015); Stanca Luce, Fundação Carmona e Costa (Lisbon, 2015); ahnungslos, Coimbra Plastic Arts Circle (2014); A noiva Dourada, Vera Cortês Art Agency (Lisbon, 2013); Afinal era uma borboleta (Pavilhão Branco, Museu da Cidade, Lisbon, 2012), A curva do rio (Uma certa lack of coerência, Porto, 2011), Silvæ (Culturgest, Lisbon, 2010), Galeria Quadrado Azul (Porto, 2009) , Works on paper (Vila Flor Cultural Center, Guimarães, 2009) 2003), Liber Studiorum (Jorge Vieira Room, Lisbon, 2001), Articulação e Pele (Porta 33, Funchal, 2000) and O ecrã no peito (Atelier-Museu Municipal António Duarte, Caldas da Rainha, 1999). Some of the collective exhibitions in which he participated include: Studiolo XXI - Desenho e affinityes, curated by Fátima Lambert, Fundação Eugénio de Almeida, Évora, Portugal (2019), 1/3 MeelPress, curated by João Silvério, Bermondsey Project Space, London , UK (2019), Pedro Costa: Company, Serralves Museum of Contemporary Art, Porto, Portugal (2018); Campo de visão, Torreão Nascente, Galerias Municipais, Lisbon, Portugal (2018) Dormir au soleil, Galerie Jocelyn Wolff, Paris, France (2018); 10,000 years ago between Vénus e Marte, curated by João Laia, Galeria Municipal do Porto, Portugal (2017); A Collection: A Museum | 2007-2017, MACE (Elvas, 2017), Blackbox: Imaginary Museum, curated by João Louro, Museu do Caramulo (Caramulo, 2017), Art as an Experience of the Real, CIAJG (Guimarães, 2017), The Middle Line, LIMAC (Madrid, 2017), Chiado 8, António Cachola Collection (Lisbon, 2017), Anozero: Coimbra Contemporary Art Biennial (2015); A Horizonte of Proximities: A topology from the António Cachola School, Arquipélago – Centro de Artes Contemporâneas (São Miguel, Azores, 2015); Tão alto quanto os olhos acançam, Fórum Eugénio de Almeida (Évora, 2014); Nothing Comes From Nothing, Parkour (Lisbon, 2013); Sincronias (MEIAC, Badajoz, 2012), Flatland Redux (Palácio Vila Flor, Guimarães, 2012), How to protect yourself from the tiger: (Bienal de Cerveira, 2011), A landscape in the collection of the José de Azeredo Perdigão Modern Art Center ( Lisbon, 2011), Articulações (Allgarve, Faro, 2008), Avenida 211 (Lisbon, 2008), Portugal Agora (MUDAM, Luxemburg, 2007), Zoom 1986-2002: Colecção de Arte Contemporânea da Fundação Luso-Americana para o Desenvolvimento – Uma Selecção (Fundação de Arte Contemporânea – Museu de Arte Contemporânea , Porto, 2002) and Um oceano inteiro para swim (Culturgest, Lisbon, 2001). João Queiroz was the winner of the AICA Award in 2011 and EDP Drawing Award in 2000.This artwork includes a certificate of authenticity. A certificate of authenticity is a document from an authoritative source that verifies the authenticating value of the artwork. The certificate may be signed by the author of the artwork, by the representative gallery, or by the engraver who collaborated with the artist on the artwork.
The information that a certificate of authenticity usually includes is: name of the artist, details of the work (title, date, support, dimensions) and an image of it.
Recomendaciones para una conservación adecuada de las obras de arte:
- Mantener las obras de arte alejadas de la luz directa del sol y de cualquier otra fuente de calor (calefacción, aire acondicionado, etc.) Evitar colgar las obras cerca de zonas con humo y contaminación (como chimeneas o cocinas). Te aconsejamos proteger los cuadros con un marco de cristal.
- Evitar las alteraciones bruscas de temperatura. Se recomienda conservar las obras pictóricas en zonas con temperatura ambiente de entre 18-20º y un 50% de humedad relativa.
- Si se quiere iluminar la obra de forma permanente, aconsejamos utilizar focos de luz fría. Utilizar un plumero suave para la limpieza periódica de la obra. Nunca usar limpiador doméstico.
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