Emilio Kruithof (1969) - Sold all my evil Motives





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Emilio Kruithof, Sold all my evil Motives (2006), hand-signed, in good condition, a 95 × 95 cm silkscreen from the Netherlands, Realism, with a limited edition, produced by Galerie.
Description from the seller
Emilio Kruithof (Monster 1969) graduated from the Sint Joost Academy of Fine Arts in Breda in 1995. Emilio’s portraits of women, painted in his own particular style, are highly regarded both in his native country and abroad.
The artist describes his work as 'depth in simplicity.' As Kruithof explained in an interview: 'I paint for the same reason a woman puts on makeup. It is a ritual. They do it every day with great care. I paint every day with the same care. Erotic minimalism. The form, the appearance, the attitude, the tone, pasties, transparencies, and the brushstroke. The last touch—that's what it’s all about. Once I see my model on the canvas, I have done everything I can for her. She has the right posture, the exact framing, the layering, and the structure. Finally comes my last, intimate 'touch,' the stroke with which I give her the right to exist, with which I give her lips the status of a monument.'
Seller's Story
Emilio Kruithof (Monster 1969) graduated from the Sint Joost Academy of Fine Arts in Breda in 1995. Emilio’s portraits of women, painted in his own particular style, are highly regarded both in his native country and abroad.
The artist describes his work as 'depth in simplicity.' As Kruithof explained in an interview: 'I paint for the same reason a woman puts on makeup. It is a ritual. They do it every day with great care. I paint every day with the same care. Erotic minimalism. The form, the appearance, the attitude, the tone, pasties, transparencies, and the brushstroke. The last touch—that's what it’s all about. Once I see my model on the canvas, I have done everything I can for her. She has the right posture, the exact framing, the layering, and the structure. Finally comes my last, intimate 'touch,' the stroke with which I give her the right to exist, with which I give her lips the status of a monument.'

