A.P.Polo - Caeruleum Canvas Print with Floating Frame

A.P.Polo - Caeruleum in Canvas Print

A.P.Polo - Caeruleum in Acrylic Print

LIMITED EDITION of 50

A P POLO

# 503889

A.P.POLO - CAERULEUM

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LIMITED EDITION of 50

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A.P.Polo - "Caeruleum" - Hamburg (Germany) - New Media Art. Blue is one of the three primary colours of pigments in painting, drawing (art) and tradi...[+]

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Giclée Canvas Print

All our stretched Canvas are custom made on a Premium Fine Art Matte Canvas 410g/m2 1.5 Inch Thick wood for a real gallery look
Giclee printing with Pigment ink designed to meet galleries and museum longevity requirements and ensure consistency of shades 200 years old. [+]

A.P.POLO - CAERULEUM A P POLO Canvas Print

A.P.POLO - CAERULEUM A P POLO Canvas Print

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Stretched Canvas Print We ship in USA & Canada

Ready to hang - Stretched on 1.5" inch thick pine wood - Gallery style

21 x 30 inches

54 x 77 cm

Stretched Canvas

^$362

25 x 36 inches

64 x 92 cm

Stretched Canvas

^$457

29 x 42 inches

74 x 108 cm

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34 x 48 inches

87 x 123 cm

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38 x 55 inches

97 x 141 cm

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^$1260

42 x 60 inches

108 x 154 cm

Stretched Canvas

^$1413

50 x 72 inches

128 x 185 cm

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Stretched Split Canvas

25 x 36 triptych - split canvas
28 x 36 inches including space.
3X [ 8x36 ]
^$600

25 x 36 cross triptych split canvas
28 x 36 inches including space.
1X [ 8x36 ] 2X [ 8x30 ]
^$600

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Acrylic Print

Get a Modern piece of art with this vibrant Acrylic Print.
Fine Art made from a Premium polished, best-in-class, 99.9% optically pure acrylic and the latest Flatbed printing craftmanship.

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Acrylic Print with Floating Frame on the back

Printed to the edge & Ready to hang. With a floating frame on the back and hanging wire

1/8" thickness

3/16" thickness

1/8" Thickness:

21 x 30 inches

54 x 77 cm

1/8 - Back Frame Mount

^$583

25 x 36 inches

64 x 92 cm

1/8 - Back Frame Mount

^$776

29 x 42 inches

74 x 108 cm

1/8 - Back Frame Mount

^$1004

34 x 48 inches

87 x 123 cm

1/8 - Back Frame Mount

^$1300

38 x 55 inches

97 x 141 cm

1/8 - Back Frame Mount

^$2008

42 x 60 inches

108 x 154 cm

1/8 - Back Frame Mount

^$2315

3/16" Thickness:

21 x 30 inches

54 x 77 cm

3/16 - Back Frame Mount

^$774

25 x 36 inches

64 x 92 cm

3/16 - Back Frame Mount

^$1019

29 x 42 inches

74 x 108 cm

3/16 - Back Frame Mount

^$1307

34 x 48 inches

87 x 123 cm

3/16 - Back Frame Mount

^$1683

38 x 55 inches

97 x 141 cm

3/16 - Back Frame Mount

^$2478

42 x 60 inches

108 x 154 cm

3/16 - Back Frame Mount

^$2868

Acrylic Print with Stand off

Printed to the edge - Ready to hang - provided with 4 premium polished aluminum stand off ( wall screws and mounting hardware provided )
We suggest a thicker 3/16" acrylic for any size over 42 inches to guarantee a straight acrylic, without curvature

1/8" thickness

3/16" thickness

1/8" Thickness:

21 x 30 inches

54 x 77 cm

1/8 with 4 metal stand off

^$583

25 x 36 inches

64 x 92 cm

1/8 with 4 metal stand off

^$776

29 x 42 inches

74 x 108 cm

1/8 with 4 metal stand off

^$1004

34 x 48 inches

87 x 123 cm

1/8 with 4 metal stand off

^$1300

38 x 55 inches

97 x 141 cm

1/8 with 4 metal stand off

^$2008

42 x 60 inches

108 x 154 cm

1/8 with 4 metal stand off

^$2315

3/16" Thickness:

21 x 30 inches

54 x 77 cm

3/16 with 4 metal stand off

^$774

25 x 36 inches

64 x 92 cm

3/16 with 4 metal stand off

^$1019

29 x 42 inches

74 x 108 cm

3/16 with 4 metal stand off

^$1307

34 x 48 inches

87 x 123 cm

3/16 with 4 metal stand off

^$1683

38 x 55 inches

97 x 141 cm

3/16 with 4 metal stand off

^$2478

42 x 60 inches

108 x 154 cm

3/16 with 4 metal stand off

^$2868

Multi Panel Acrylic Print

Brushed Metal Print / Smooth White Metal Print

Brushed Metal Print

Smooth White Metal Print

The areas of the photograph that are white or very light are not printed The white areas appear metallic.
Robust, very light and provides an amazing aluminum lighting effect [+]

30 days satisfaction guaranteed
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Brushed Metal Print with Floating Frame on the back

Printed to the edge & Ready to hang a floating frame and hanging wire

21 x 30 inches

54 x 77 cm

back frame mount

^$552

25 x 36 inches

64 x 92 cm

back frame mount

^$735

29 x 42 inches

74 x 108 cm

back frame mount

^$951

34 x 48 inches

87 x 123 cm

back frame mount

^$1233

38 x 55 inches

97 x 141 cm

back frame mount

^$1924

42 x 60 inches

108 x 154 cm

back frame mount

^$2217

Brushed Metal Print with Stand off

Printed to the edge - Ready to hang - provided with 4 premium polished aluminum stand off ( wall screws and mounting hardware provided )

21 x 30 inches

54 x 77 cm

with 4 metal stand off

^$552

25 x 36 inches

64 x 92 cm

with 4 metal stand off

^$735

29 x 42 inches

74 x 108 cm

with 4 metal stand off

^$951

34 x 48 inches

87 x 123 cm

with 4 metal stand off

^$1233

38 x 55 inches

97 x 141 cm

with 4 metal stand off

^$1924

42 x 60 inches

108 x 154 cm

with 6 metal stand off

^$2217

Brushed Metal Print with high gloss Epoxy Resin Coat

With a Back Floating Frame and we manually apply an Epoxy Varnish for an amazing lighting effect

21 x 30 inches

54 x 77 cm

back frame mount and epoxy coating

^$1232

25 x 36 inches

64 x 92 cm

back frame mount and epoxy coating

^$1610

28 x 40 inches

72 x 103 cm

back frame mount and epoxy coating

^$1918

Direct print on metal to provide a white smooth satin finish with controlled light reflection.
Robust, very light and provides a Matte effect [+]

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White Metal Print with Floating Frame on the back

Printed to the edge & Ready to hang a floating frame and hanging wire

21 x 30 inches

54 x 77 cm

back frame mount

^$552

25 x 36 inches

64 x 92 cm

back frame mount

^$735

29 x 42 inches

74 x 108 cm

back frame mount

^$951

34 x 48 inches

87 x 123 cm

back frame mount

^$1233

38 x 55 inches

97 x 141 cm

back frame mount

^$1924

42 x 60 inches

108 x 154 cm

back frame mount

^$2217

White Metal Print with Stand off

Printed to the edge - Ready to hang - provided with 4 premium polished aluminum stand off ( wall screws and mounting hardware provided )

21 x 30 inches

54 x 77 cm

with 4 metal stand off

^$552

25 x 36 inches

64 x 92 cm

with 4 metal stand off

^$735

29 x 42 inches

74 x 108 cm

with 4 metal stand off

^$951

34 x 48 inches

87 x 123 cm

with 4 metal stand off

^$1233

38 x 55 inches

97 x 141 cm

with 4 metal stand off

^$1924

42 x 60 inches

108 x 154 cm

with 6 metal stand off

^$2217

Multi Panel Metal Print

HD ChromaLuxe Sublimation High-Gloss Metal Print

A.P.Polo - Caeruleum HD Metal print with Floating Frame on Back

A.P.Polo - Caeruleum HD Sublimation Metal print

A.P.Polo - Caeruleum HD Sublimation Metal print with Decorating Float Frame (BOX)

Color brilliance, superior durability and archival qualities
This artwork is produced on a dye sublimation Chromaluxe high-definition metal panel

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Sublimation Hi-Gloss White Metal Print with Back frame

Printed to the edge & Ready to hang a floating frame and hanging wire

21 x 30 inches

54 x 77 cm

back frame mount

^$735

25 x 36 inches

64 x 92 cm

back frame mount

^$999

29 x 42 inches

74 x 108 cm

back frame mount

^$1310

34 x 48 inches

87 x 123 cm

back frame mount

^$1714

38 x 55 inches

97 x 141 cm

back frame mount

^$2542

Sublimation Hi-Gloss White Metal Print with Decorating Floating Moulding (Black)

Inside a decorating frame (Box) - Black Floating Frame

21 x 30 inches

54 x 77 cm

With Moulding

^$887

25 x 36 inches

64 x 92 cm

With Moulding

^$1191

29 x 42 inches

74 x 108 cm

With Moulding

^$1542

34 x 48 inches

87 x 123 cm

With Moulding

^$1990

38 x 55 inches

97 x 141 cm

With Moulding

^$2862

Multi Panel HD Metal Print

Wood Print

Printed with UV cured inks providing an incredible high quality printed image which is scratch resistant with colors that will not fade overtime.
White and lighter areas are not printed on the wood, revealing the beauty of the wood’s texture and natural beauty!
Printed on 3/8" (9mm) thick and strong and durable Russian Birch wood which is ready to hang and enjoy! [+]

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Wood Print with Back Frame Mount

Printed to the edge & Ready to hang a floating frame

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21 x 30 inches

54 x 77 cm

back frame mount

^$511

25 x 36 inches

64 x 92 cm

back frame mount

^$679

29 x 42 inches

74 x 108 cm

back frame mount

^$877

34 x 48 inches

87 x 123 cm

back frame mount

^$1134

38 x 55 inches

97 x 141 cm

back frame mount

^$1799

42 x 60 inches

108 x 154 cm

back frame mount

^$2067

Multi Panel Wood Print

Roll Print

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Mural Print

Easy to Install. Washable & Repositionable Self-Adhesive Vinyl [+]

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To get your mural price, enter your wall measurement:

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Our 10 Color Technology
Our wall murals are produced on printers with Outstanding photographic print quality & durability Extreme image resolution : photographic image quality with the largest color gamut in its class

Easy to Install
Our Wall Mural Print is removable without any damage to your walls. Easy to change or remove. We are using a premium 6 mil auto-adhesive vinyl with a subtile linen-cotton canvas texture.
Change the look and feel of a room without the hassle of traditional wallpaper. Our wall murals print are the perfect solution to easily enhance any residential or commercial space alike!

Repositionable self-adhesive vinyl delivered in strip of 35 to 45 inches of width and slightly overlap for easy installation.
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Custom Framed print

Get this artwork "A.P.Polo - Caeruleum " in a framed print.
Fully customizable - at the exact size you want. Select paper type, glass, matte and decorating frame
Start building your custom framed print by selecting one the following moulding:

A.P.Polo - Caeruleum Picture Frame Printing

Frame model shown: 832-745

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Standard size framed print

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20 x 28"

^$356

20 x 28" Framed Print

Printed Area: 16 x 24"
Total Inside area: 20.00 x 28.00"
White Border: 2" on each side
Frame Width: 1.25" on each side
Total Physical dimension: 29.25 x 21.25"

Frame model: 832-745
Printing method: 1200dpi UV cured ink on fine art matte board
Ready to hang with wire at the back

24 x 34"

^$476

24 x 34" Framed Print

Printed Area: 20 x 30"
Total Inside area: 24.00 x 34.00"
White Border: 2" on each side
Frame Width: 1.25" on each side
Total Physical dimension: 35.25 x 25.25"

Frame model: 832-745
Printing method: 1200dpi UV cured ink on fine art matte board
Ready to hang with wire at the back

28 x 40"

^$596

28 x 40" Framed Print

Printed Area: 24 x 36"
Total Inside area: 28.00 x 40.00"
White Border: 2" on each side
Frame Width: 1.63" on each side
Total Physical dimension: 41.63 x 29.63"

Frame model: 800-967
Printing method: 1200dpi UV cured ink on fine art matte board
Ready to hang with wire at the back

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Sublimation High-Gloss Jigsaw Puzzle Print

A.P.Polo - Caeruleum A P Polo Puzzle printing

Precisely produced by HD Sublimation Process & Protected by a high-gloss varnish.
Unlike traditional printing — This artwork is produced with by sublimation print. We utilize heat and pressure to transfer images directly into the surface of the Puzzle, bonding your image to the substrate at the molecular level.

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120 pcs 11x8 inches Puzzle High Gloss

28 x 20 cm

^$73

315 pcs 17x12 inches Puzzle High Gloss

44 x 31 cm

^$88

500 pcs 21.25 x 15.75 inches Puzzle High Gloss

54 x 40 cm

^$105

1000 pcs 27x17.5 inches Puzzle High Gloss

69 x 45 cm

^$123

1500 pcs 36x24 inches Puzzle High Gloss

91 x 61 cm

^$163

Wall Clock

Product details

This artwork is Made with high-quality acrylic Ready to hang.

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Clock mechanism with a Precise quartz movement. Battery included
Available in Square or Round format
Available in 12" 16" 24" sizes

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File resolution: 8430 x 12000 pixels

ABOUT A P POLO fs
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ABOUT THIS ARTWORK: A.P.POLO - CAERULEUM
A.P.Polo - "Caeruleum" - Hamburg (Germany) - New Media Art. Blue is one of the three primary colours of pigments in painting, drawing (art) and traditional colour theory, as well as in the RGB colour model. It lies between purple and green on the spectrum of visible light. The eye perceives blue when observing light with a dominant wavelength between approximately 450 and 495 nanometres. Most blues contain a slight mixture of other colours; azure contains some green, while ultramarine contains some violet. Blue has been an important colour in art and decoration since ancient times. The semi-precious stone lapis lazuli was used in ancient Egypt for jewellery and ornament and later, in the Renaissance, to make the pigment ultramarine, the most expensive of all pigments. In the eighth century Chinese artists used cobalt blue to colour fine blue and white porcelain. In the Middle Ages, European artists used it in the windows of cathedrals. Europeans wore clothing coloured with the vegetable dye woad until it was replaced by the finer indigo from America. In the 19th century, synthetic blue dyes and pigments gradually replaced organic dyes and mineral pigments. Surveys in the US and Europe show that blue is the colour most commonly associated with harmony, faithfulness, confidence, distance, infinity, the imagination, cold, and occasionally with sadness. In US and European public opinion polls it is the most popular colour, chosen by almost half of both men and women as their favourite color. The modern English word blue comes from Middle English bleu or blewe, from the Old French bleu, a word of Germanic origin, related to the Old High German word blao (meaning shimmering, lustrous). Since the Middle Ages, artists and scholars have developed different theories about the origin of blue in historical treatises on colour physics. In his Book of Painting, Leonardo da Vinci described the nature and effect of blue as immaterial, not a colour of the air but a metaphysical mixture of sunlight with the "blackness of the world's eclipse". Goethe, for whom there were only two pure colours, yellow and blue, similarly placed blue on the border of darkness and thus diametrically opposed to yellow, which stood on the border of light. The pantheistic view of his colour theory thus combined the natural scientific with the aesthetic, mystical and psychological aspects. Newton's discoveries, which Goethe rejected, identify blue in the spectrum red/orange/yellow/green/blue/violet as one of the spectral colours which, when all of these are mixed, produce white (through additive colour mixing). In the 19th century the Scottish physicist James Clerk Maxwell found a new way of explaining colours, by the wavelength of their light. He showed that white light could be created by combining red, blue and green light, and that virtually all colours could be made by different combinations of these three colours. His idea, called additive colour or the RGB colour model, is used today to create colours on televisions and computer screens. Blue was a latecomer among colours used in art and decoration, as well as language and literature. Reds, blacks, browns, and ochres are found in cave paintings from the Upper Paleolithic period, but not blue. Blue was also not used for dyeing fabric until long after red, ochre, pink and purple. This is probably due to the perennial difficulty of making good blue dyes and pigments. The earliest known blue dyes were made from plants – woad in Europe, indigo in Asia and Africa, while blue pigments were made from minerals, usually either lapis lazuli or azurite. Lapis lazuli, a semi-precious stone, has been mined in Afghanistan for more than three thousand years, and was exported to all parts of the ancient world. Blue glazed faience ornaments have been found to have been produced during 4th millennium civilization Indus Valley Civilization (present day India and Pakistan). In Iran and Mesopotamia, it was used to make jewellery and vessels. In Egypt, it was used for the eyebrows on the funeral mask of King Tutankhamun. Importing lapis lazuli by caravan across the desert from Afghanistan to Egypt was very expensive. Beginning in about 2500 BC, the ancient Egyptians began to produce their own blue pigment known as Egyptian blue by grinding silica, lime, copper, and alkalai, and heating it to 800 or 900 °C. This is considered the first synthetic pigment. Egyptian blue was used to paint wood, papyrus and canvas, and was used to colour a glaze to make faience beads, inlays, and pots. It was particularly used in funeral statuary and figurines and in tomb paintings. Blue was considered a beneficial colour which would protect the dead against evil in the afterlife. Blue dye was also used to colour the cloth in which mummies were wrapped. In Egypt blue was associated with the sky and with divinity. The Egyptian god Amun could make his skin blue so that he could fly, invisible, across the sky. Blue could also protect against evil; many people around the Mediterranean still wear a blue amulet, representing the eye of God, to protect them from misfortune. Blue glass was manufactured in Mesopotamia and Egypt as early as 2500 BC, using the same copper ingredients as Egyptian blue pigment. They also added cobalt, which produced a deeper blue, the same blue produced in the Middle Ages in the stained glass windows of the cathedrals of Saint-Denis and Chartres. The Ishtar Gate of ancient Babylon (604–562 BC) was decorated with deep blue glazed bricks used as a background for pictures of lions, dragons and aurochs. The ancient Greeks classified colours by whether they were light or dark, rather than by their hue. The Greek word for dark blue, kyaneos, could also mean dark green, violet, black or brown. The ancient Greek word for a light blue, glaukos, also could mean light green, grey, or yellow. The Greeks imported indigo dye from India, calling it indikon. They used Egyptian blue in the wall paintings of Knossos, in Crete, around 2100 BC. It was not one of the four primary colours for Greek painting described by Pliny the Elder (red, yellow, black, and white), but nonetheless it was used as a background colour behind the friezes on Greek temples and to colour the beards of Greek statues. The Romans also imported indigo dye, but blue was the colour of working class clothing; the nobles and rich wore white, black, red or violet. Blue was considered the colour of mourning, and the colour of barbarians. Julius Caesar reported that the Celts and Germans dyed their faces blue to frighten their enemies, and tinted their hair blue when they grew old. Nonetheless, the Romans made extensive use of blue for decoration. According to Vitruvius, they made dark blue pigment from indigo, and imported Egyptian blue pigment. The walls of Roman villas in Pompeii had frescoes of brilliant blue skies, and blue pigments were found in the shops of colour merchants. The Romans had many different words for varieties of blue, including caeruleus, caesius, glaucus, cyaneus, lividus, venetus, aerius, and ferreus, but two words, both of foreign origin, became the most enduring; blavus, from the Germanic word blau, which eventually became bleu or blue; and azureus, from the Arabic word lazaward, which became azure. In the art and life of Europe during the early Middle Ages, blue played a minor role. The nobility wore red or purple, while only the poor wore blue clothing, coloured with poor-quality dyes made from the woad plant. Blue played no part in the rich costumes of the clergy or the architecture or decoration of churches. This changed dramatically between 1130 and 1140 in Paris, when the Abbe Suger rebuilt the Saint Denis Basilica. He installed stained glass windows coloured with cobalt, which, combined with the light from the red glass, filled the church with a bluish violet light. The church became the marvel of the Christian world, and the colour became known as the "bleu de Saint-Denis". In the Renaissance, a revolution occurred in painting; artists began to paint the world as it was actually seen, with perspective, depth, shadows, and light from a single source. Artists had to adapt their use of blue to the new rules. In medieval paintings, blue was used to attract the attention of the viewer to the Virgin Mary, and identify her. In Renaissance paintings, artists tried to create harmonies between blue and red, lightening the blue with lead white paint and adding shadows and highlights. Raphael was a master of this technique, carefully balancing the reds and the blues so no one colour dominated the picture. Ultramarine was the most prestigious blue of the Renaissance, and patrons sometimes specified that it be used in paintings they commissioned. The contract for the Madone des Harpies by Andrea del Sarto (1514) required that the robe of the Virgin Mary be coloured with ultramarine costing "at least five good florins an ounce." Good ultramarine was more expensive than gold; in 1508 the German painter Albrecht Dürer reported in a letter that he had paid twelve ducats – the equivalent of 41 g (1.4 oz) of gold – for just 30 g (1.1 oz) of ultramarine. Often painters or clients saved money by using less expensive blues, such as azurite smalt, or pigments made with indigo, but this sometimes caused problems. Pigments made from azurite were less expensive, but tended to turn dark and green with time. An example is the robe of the Virgin Mary in The Madonna and Child Enthroned with Saints by Raphael in the Metropolitan Museum in New York. The Virgin Mary's azurite blue robe has degraded into a greenish-black. The introduction of oil painting changed the way colours looked and how they were used. Ultramarine pigment, for instance, was much darker when used in oil painting than when used in tempera painting, in frescoes. To balance their colours, Renaissance artists like Raphael added white to lighten the ultramarine. The sombre dark blue robe of the Virgin Mary became a brilliant sky blue. Titian created his rich blues by using many thin glazes of paint of different blues and violets which allowed the light to pass through, which made a complex and luminous colour, like stained glass. He also used layers of finely ground or coarsely ground ultramarine, which gave subtle variations to the blue. Monochromatic painting has been an important component of avant-garde visual art throughout the 20th century and into the 21st century. Painters have created the exploration of one color, examining values changing across a surface, texture, and nuance, expressing a wide variety of emotions, intentions, and meanings in many different forms. From geometric precision to expressionism, the monochrome has proved to be a durable idiom in Contemporary art. Monochrome painting was initiated at the first Incoherent arts' exhibition in 1882 in Paris, with a black painting by poet Paul Bilhaud entitled Combat de Nègres dans un tunnel (Negroes fight in a tunnel). (Although Bilhaud was not the first to create an all-black artwork: for example, Robert Fludd published an image of Darkness in his 1617 book on the origin and structure of the cosmos; and Bertall published his black Vue de La Hogue (effet de nuit) in 1843.) In the subsequent exhibitions of the Incoherent arts (also in the 1880s) the writer Alphonse Allais proposed other monochrome paintings, such as "Première communion de jeunes filles chlorotiques par un temps de neige" ("First communion of anaemic young girls in the snow", white), or "Récolte de la tomate par des cardinaux apoplectiques au bord de la Mer Rouge" ("Tomato harvesting by apoplectic cardinals on the shore of the Red Sea", red). Allais published his Album primo-avrilesque in 1897, a monograph with seven monochrome artworks. However, this kind of activity bears more similarity to 20th century Dada, or Neo-Dada, and particularly the works of the Fluxus group of the 1960s, than to 20th century monochrome painting since Malevich. In a broad and general sense, one finds European roots of minimalism in the geometric abstractions of painters associated with the Bauhaus, in the works of Kazimir Malevich, Piet Mondrian and other artists associated with the De Stijl movement, and the Russian Constructivist movement, and in the work of the Romanian sculptor Constantin Brâncu?i. Minimal art is also inspired in part by the paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi, and others. Minimalism was also a reaction against the painterly subjectivity of Abstract Expressionism that had been dominant in the New York School during the 1940s and 1950s. The wide range of possibilities (including impossibility) of interpretation of monochrome paintings is arguably why the monochrome is so engaging to so many artists, critics, and writers. Although the monochrome has never become dominant and few artists have committed themselves exclusively to it, it has never gone away. It reappears as though a spectre haunting high modernism, or as a symbol of it, appearing during times of aesthetic and sociopolitical upheavals. Monochrome painting as it is usually understood today began in Moscow, with Suprematist Composition: White on White of 1918 by Suprematist artist Kazimir Malevich. This was a variation on or sequel to his 1915 work Black Square on a White Field, a very important work in its own right to 20th century geometric abstraction. In 1921, Constructivist artist Alexander Rodchenko exhibited three paintings together, each a monochrome of one of the three primary colours. He intended this work to represent The Death of Painting. While Rodchenko intended his monochrome to be a dismantling of the typical assumptions of painting, Malevich saw his work as a concentration on them, a kind of meditation on art's essence (“pure feeling”). These two approaches articulated very early on in its history this kind of work's almost paradoxical dynamic: that one can read a monochrome either as a flat surface (material entity or “painting as object”) which represents nothing but itself, and therefore representing an ending in the evolution of illusionism in painting; or as a depiction of multidimensional (infinite) space, a fulfillment of illusionistic painting, representing a new evolution—a new beginning—in Western painting's history. Additionally, many have pointed out that it may be difficult to deduce the artist's intentions from the painting itself, without referring to the artist's comment. Chronos is the personification of time in Greek mythology. He is partly identified with the Titan Kronos. He symbolises the passage of time and also the duration of life. Chronos comes from the myths of the Orphics, an ancient religious movement in Greece, southern Italy and the Black Sea coast (from around the 6th/5th century BC). According to these myths, he himself emerged from the dark chaos and, as the creator god, produced the silver world egg from the aether. This in turn gave rise to Phanes, the god of light, who was particularly revered by the Orphics and identified with Helios, but also with Eros and Dionysus. Chronos plays an important role in the speculative poetry of the Orphics, but a cult of Chronos never existed in antiquity. There was also no fixed iconography and no representations of Chronos in archaic and classical Greek art. The oldest known representation is on a relief from Hellenistic times. There Chronos appears as a beardless figure with large wings. Chronos was the personification of an abstract concept and not a component of Greek popular religion. The same applies to Phanes, who also had no popular cult.

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