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At RedKalion, you can find virtually any artwork from any artist, available in a wide range of sizes to perfectly match your space.
If you didn’t find what you’re looking for, contact us at support@redkalion.com . We will source any artwork and produce it in any size and format you need, including art prints, posters, canvas, framed pieces, framed canvas, and more.
For dedicated art enthusiasts, we also offer handcrafted replicas of any artwork, carefully painted by highly skilled artists using traditional techniques.
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What are the dimensions of this framed art print?
This framed art print measures 70x100 cm (28x40 inches), with a frame made from responsibly sourced oak and ash wood that is 20mm thick and wide, providing a bold, modern look.
What type of paper is used for this fine art print?
We use 250 gsm (110 lb) archival museum-quality paper with a matte, uncoated finish and 0.29 mm thickness, ensuring durability and a premium feel for this reproduction of Untitled - 1955 N3.
Is this framed print ready to hang?
Yes, it includes a hanging kit and is ready-to-hang directly on your wall, making installation quick and easy for your Maria Helena Vieira da Silva artwork.
How is the print protected in the frame?
The print is protected by shatterproof plexiglass, which safeguards it from damage while maintaining clear visibility, ensuring this museum-quality reproduction lasts for years.
Is the paper sustainable for this archival art print?
Yes, we use FSC-certified or equivalent sustainable materials, including the paper, aligning with eco-friendly practices for this fine art print.
Who was Maria Helena Vieira da Silva and what is the significance of Untitled - 1955 N3?
Maria Helena Vieira da Silva was a key figure in the École de Paris, known for abstract works exploring depth. Untitled - 1955 N3 showcases her grid-based style from the mid-1950s, reflecting post-war artistic innovation.
What artistic techniques define Vieira da Silva's work in this piece?
This piece features layered grids and spatial ambiguity, using intricate lines to create a web-like structure that challenges perception, typical of her abstract period in the 1950s.
