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    Open a larger version of the following image in a popup: Leiko Ikemura, Standing in Dark Yellow (Stehende in Dunkelgelb), 1995-1996
    Open a larger version of the following image in a popup: Leiko Ikemura, Standing in Dark Yellow (Stehende in Dunkelgelb), 1995-1996
    Open a larger version of the following image in a popup: Leiko Ikemura, Standing in Dark Yellow (Stehende in Dunkelgelb), 1995-1996
    Open a larger version of the following image in a popup: Leiko Ikemura, Standing in Dark Yellow (Stehende in Dunkelgelb), 1995-1996
    Open a larger version of the following image in a popup: Leiko Ikemura, Standing in Dark Yellow (Stehende in Dunkelgelb), 1995-1996
    Open a larger version of the following image in a popup: Leiko Ikemura, Standing in Dark Yellow (Stehende in Dunkelgelb), 1995-1996

    Leiko Ikemura Japón, b. 1951

    Standing in Dark Yellow (Stehende in Dunkelgelb), 1995-1996
    Oil on canvas / Óleo sobre tela
    63 x 43 cm
    24 3/4 x 16 7/8 in
    © 1995 Leiko Ikemura / Cortesía Fundación AMMA

    Further images

    • (View a larger image of thumbnail 1 ) Glenn Ligon, Issac Hayes (version 1) #1, 2000
    • (View a larger image of thumbnail 2 ) Glenn Ligon, Issac Hayes (version 1) #1, 2000
    • (View a larger image of thumbnail 3 ) Glenn Ligon, Issac Hayes (version 1) #1, 2000
    • (View a larger image of thumbnail 4 ) Glenn Ligon, Issac Hayes (version 1) #1, 2000
    • (View a larger image of thumbnail 5 ) Glenn Ligon, Issac Hayes (version 1) #1, 2000
    • (View a larger image of thumbnail 6 ) Glenn Ligon, Issac Hayes (version 1) #1, 2000
    View on a wall
    Read more

    En este cuadro vertical se distingue la figura de una niña vestida con una blusa azul y una falda blanca, a pesar de estar totalmente borrosa, como si la pintura hubiese sido arrastrada de arriba abajo estando aún sin secar. El fondo presenta una cierta complejidad plástica, pues del amarillo dominante surgen algunos tonos blanquecinos y rosáceos, esta vez sin figura humana que se adivine detrás.


    La figura femenina es el tema principal de la artista. En su obra utiliza árboles y rostros como metáforas de la fragilidad humana. Sus paisajes oníricos, en los que se reconocen trazos del dibujo oriental, invitan al espectador a sumergirse en una experiencia sensual y emocional.

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