File:Paul Winstanley Lounge A.jpg

Painting by Paul Winstanley, Lounge A (oil on linen, 120cm x 112cm, 1997). The image illustrates a key early body of work in Paul Winstanley's career from the 1990s: his series of realistically rendered oil paintings of uninhabited, commonplace, semi-public interiors, such as institutional lobbies, waiting rooms, corridors and walkways, or in this case, communal lounges. These paintings combine painterly softness and invisible technique, a meticulous dispassionate recording of observation and photographic detail (including flaws), and the subjective alteration of composition, light and color from source materials. This work includes the Caspar David Friedrich the Friedrich painting Wanderer above the Sea of Fog (1818) in the image and has been described as offering "the potential of a liminal expanse of 'stretched time'" through which to contemplate "the spirituality of the aesthetic." Works in this series were publicly exhibited in prominent exhibitions, discussed in art journals and press publications, and acquired by major museums.

Artist Paul Winstanley. Copyright held by the artist.

Paul Winstanley

Entire artwork

Yes

The image serves an informational and educational purpose as the primary means of illustrating a key early body of work in Paul Winstanley's career dating from the 1990s, when he produced a series of large, realistically rendered oil paintings of archetypal, interchangeable, transitional interiors—spaces in which time passes slowly, such as institutional lounges and lobbies, waiting rooms, empty studios, corridors and walkways. These works have been characterized as austere, contemplative, filled with ennui, and eerie; writers have related their deserted melancholy to the Northern European painting tradition of artists such as Vermeer, Caspar David Friedrich and Vilhelm Hammershøi, or to Edward Hopper. They investigate observation and memory, the process of making and viewing paintings, and the collective post-modern experience of utopian modernist architecture and social space. Because the article is about an artist and his work, the omission of the image would significantly limit a reader's understanding and ability to understand this major body of work, which brought Winstanley initial recognition through museum acquisitions, prominent exhibitions and coverage by major critics and publications. Winstanley's work of this type and this series is discussed in the article and by critics cited in the article.

There is no free equivalent of this or any other of this series by Paul Winstanley, so the image cannot be replaced by a free image.

The image will not affect the value of the original work or limit the copyright holder's rights or ability to distribute the original due to its low resolution and the general working of the art market, which values the actual work of art. Because of the low resolution, illegal copies could not be made.