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Kapelle

Sizes:
15.7 x 15.7
31.5 x 31.5
Framing/mounting options:
Mounted on aluminium Dibond
depth 0.12" matte, frameless, 15.7 x 15.7" (External dimensions) profile width: 0.79", Canadian Maple, White, 21.3 x 21.3" (External dimensions) On premium paper (matte) not mounted or framed. Shipped rolled.
depth 0.12" matte, frameless, 15.7 x 15.7" (External dimensions)
Framing/mounting options:
Mounted on aluminium Dibond
depth 0.12" matte, frameless, 31.5 x 31.5" (External dimensions) On premium paper (matte) not mounted or framed. Shipped rolled.
depth 0.12" matte, frameless, 31.5 x 31.5" (External dimensions)
2005 / 2010 / PFE16
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Plus tax and $ 19.90 in shipping.

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BACKGROUND INFORMATION
The list of magazines for which Peter von Felbert (*1966) has already worked is impressive. After studying visual communication in Bielefeld, this photographer established himself on the market. Together with Anne Eickenberg, he operated a photo archive, which allowed a glimpse of their work online: atmospheric images of the night life of Munich and Zurich, as well as refreshing portraits or a series focused on people at the Diana Memorial. Most notable is how color always appears to have the last word in all the diverse themes photographed. It predominantly gives the images a mood that almost says: this is the deciding twist. Mostly painterly and with a sealed complexion of antiquated flair, Peter von Felbert’s photographs presented at LUMAS are images of amusement. We see photographs of pleasure boats and simultaneously the accord of red, white and blue, a woman in a meadow, green, white and blue or the colorful dabs of a carousel in some landscape brochure. These photographs remind us of the early stages of color photography, minuscules colored with orange, green and violet and potato starch particles utilized as light filters, whose effect accommodated the prevailing taste of pointillism in the 1900s. But Peter von Felbert’s works play with the stylistic device of the Fin de Siècle: through the cutting of objects, which impressionism borrowed from photography, or the purist perception of peaceful, gliding boats, which reminds us of the pinnacle of pitctorialism.
You can feel the photographer’s happiness in his experiments. You can see the conflict between the history of photography and the audacity of eclecticism. With sensitivity, Felbert quotes a great epoch of the medium of photography.

Dr. Boris von Brauchitsch
VITA
1966born in Bonn
1988-94Visual Communications Studies Bielefeld College
Design Degree with photography focus
1994-96Camera assistant with Bavarian Broadcasting
seit 1996freelance photographer in photojournalism and advertising
seit 2001Represented by Agentur Stock 4b for commercial photography
Exhibitions
1990GDR Photographs, Ravensberger Spinning Works, Bielefeld
1992"Architektur subjektiv (Subjective Architecture)", Kunstverein Heilbronn
"Jamaican Roads", Offene Ateliers Bielefeld
1993"Haltbar (Durable)", Museum für Kunst und Kulturgeschichte (Museum for Art and Cultural History) Dortmund
Photo Days Herten
1997"Contemporary German Photography": Galerie Neugerriemschneider, Berlin; Galerie Reckermann, Cologne
1998"Contemporary German Photography", Galerie Witt, Munich
1999"Contemporary German Photography" Galerie Gebr. Lehmann Leipzig
2004Galerie Felgueres; Munich "Reisebilder (Travel Photos)"

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