Oljemålning Three versions of reality: cubism av Melanie Johrén Lagerqvist

Melanie Johrén Lagerqvist

Three versions of reality: cubism, 2025

Olja
50 x 40 x 1,5 cm

This is the second painting in a series where I painted a picture of myself and my sibling as children at a beach at Gotland, an island in southern Sweden, inspired by different eras trough the history of art. This one is inspired by cubism. I have taken the most influence by Pablo Picasso and Piet Mondrian.

The key point with the series was to explore the idea of how people view the world in different ways, which I tried to express with the help of different artistic eras.

The goal with this one was to break down what my eyes could see into simpler shapes built by lines I placed carefully through the painting to show the most important parts of the whole object. By placing the lines in the way I did and in the eay I did not, I could mark the most important parts of the picture. I aimed to lead the focus on the two children in the forground, knowing the object would not be obvious without the other two paintings to compliment it.

Melanie Johrén Lagerqvist

Oljemålning Three versions of reality: cubism av Melanie Johrén Lagerqvist

Melanie Johrén Lagerqvist

Three versions of reality: cubism, 2025

Olja
50 x 40 x 1,5 cm

This is the second painting in a series where I painted a picture of myself and my sibling as children at a beach at Gotland, an island in southern Sweden, inspired by different eras trough the history of art. This one is inspired by cubism. I have taken the most influence by Pablo Picasso and Piet Mondrian.

The key point with the series was to explore the idea of how people view the world in different ways, which I tried to express with the help of different artistic eras.

The goal with this one was to break down what my eyes could see into simpler shapes built by lines I placed carefully through the painting to show the most important parts of the whole object. By placing the lines in the way I did and in the eay I did not, I could mark the most important parts of the picture. I aimed to lead the focus on the two children in the forground, knowing the object would not be obvious without the other two paintings to compliment it.

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