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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.
For custom requests, contact us at support@redkalion.com .
What is the historical significance of Susan Rothenberg's FEBRUARY 1981?
FEBRUARY 1981 is a key work from Susan Rothenberg's Neo-Expressionist period, showcasing her iconic horse imagery and gestural brushwork that bridged abstraction and figuration in the 1980s art world.
What are the exact dimensions and frame details of this art print?
This framed art print measures 70x100 cm (28x40 inches) with a 20mm thick black wooden frame made from responsibly sourced oak and ash, wider than classic frames for a modern look.
What type of paper is used for this museum-quality reproduction?
It uses 250 gsm (110 lb) matte, uncoated, natural white archival museum-quality paper, 0.29 mm thick, ensuring durability and a premium fine art print finish.
Is this framed art print ready to hang upon delivery?
Yes, it includes a hanging kit and is ready-to-hang directly on your wall, offering convenience for immediate display of your Susan Rothenberg print.
How does the shatterproof plexiglass protect the print?
The shatterproof plexiglass provides clear, durable protection against damage and UV light, preserving the archival quality of this fine art reproduction safely.
What sustainable materials are used in this product?
This print features FSC-certified materials or equivalent for the paper and a responsibly sourced wooden frame, aligning with eco-friendly art practices.
How does Rothenberg's technique in FEBRUARY 1981 reflect her artistic style?
Rothenberg used thick, expressive brushstrokes and muted tones in FEBRUARY 1981 to create emotional depth, characteristic of her Neo-Expressionist approach to figurative abstraction.
