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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
    63 x 43 cm
    24 3/4 x 16 7/8 in
    © 1995 Leiko Ikemura / Courtesy Fundación AMMA
    Photo: Alejandro Paez

    Further images

    • (View a larger image of thumbnail 1 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 2 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 3 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 4 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 5 ) Ray Richardson, This sporting life, 1992
    • (View a larger image of thumbnail 6 ) Ray Richardson, This sporting life, 1992
    View on a wall
    Read more
    In this vertical painting, the figure of a girl dressed in a blue blouse and a white skirt can be made out, even though she is completely blurred, as if the paint had been smeared from top to bottom while it was still wet. The background exhibits a certain artistic complexity, as some whitish and pinkish tones emerge from the dominant yellow; this time, no human figure can be discerned behind it.
    The female figure is the artist’s primary subject. In her work, she uses trees and faces as metaphors for human fragility. Her dreamlike landscapes, in which traces of Eastern-style drawing can be recognized, invite the viewer to immerse themselves in a sensual and emotional experience.
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