De 22 mest etterspurte kunstverkene av Sherrie Levine hos våre besøkende, rangert etter popularitet og presentert ett etter ett, med spesifikasjoner og pris for hver håndmalte reproduksjon.
Utgave 2026 · 22 kunstverk
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Lerretsduk · Ektehetsbevis · Leveres over hele verden
Sherrie Levine · født 1945
Experience Sherrie Levine's 1984 appropriation drawing blending Malevich abstraction with Schiele's raw expressionism; own this profound study of form and vulnerability.
Sherrie Levine’s "Untitled (After Malevich & Schiele)", 1984. A striking black & white drawing referencing early modernism. Explore this unique art piece at Nature Morte Gallery.
Sherrie Levine’s minimalist graphite drawing – ‘Untitled’ – echoes Malevich & Schiele. Explore this stark geometric abstraction from 1984, a key piece in post-war art.
Sherrie Levine’s "Untitled (After Malevich & Schiele)" is a captivating black and white drawing referencing early modernism, particularly influenced by the pioneering works of Kazimir Malevich and Egon Schiele. Created in 1984, this piece embodies Levine's signature appropriation technique—a bold challenge to artistic originality—and showcases her profound engagement with visual culture.
Experience the introspective lines of this Untitled sketch, echoing Malevich and Schiele's modern spirit; own a piece of art history by Sherrie Levine.
Sherrie Levine’s ‘Untitled’ (1984) – a minimalist grayscale study after Malevich & Schiele. Explore abstraction, appropriation, and quiet contemplation in this iconic piece.
Sherrie Levine’s ‘Untitled’ (1984) – an evocative black & white drawing after Malevich & Schiele. Expressive lines, emotional depth, and a poignant exploration of form & memory.
Explore Sherrie Levine’s geometric abstract art – a vibrant grid of red, green & purple squares. Modern, graphic, and captivating! Discover this unique artwork now.
Sherrie Levine’s ‘Untitled (After Malevich & Schiele)’ is a striking black & white drawing referencing early modernism. Explore this unique art piece at Nature Morte Gallery.
