Crab Man
Signed and dated watercolour with pencil.
‘George Large is the most astute watcher of our shared experience, of the exotica of the ordinary… He weaves his insights into rich figurative tapestries, a realm with which we may be superficially familiar, but which is re-made in his imagination, a place apart.’ David Whiting, 2015.
‘His complex compositions, bursting with vitality and primary idiosyncratic colours, which ingeniously knit together the figurative and the topographical, always delight my critical eye.’ Anthony J. Lester, 1998.
‘George Large is the most astute watcher of our shared experience, of the exotica of the ordinary… He weaves his insights into rich figurative tapestries, a realm with which we may be superficially familiar, but which is re-made in his imagination, a place apart.’ David Whiting, 2015.
‘His complex compositions, bursting with vitality and primary idiosyncratic colours, which ingeniously knit together the figurative and the topographical, always delight my critical eye.’ Anthony J. Lester, 1998.
$2,731.05
Crab Man—
$2,731.05
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Product Information
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Shipping & Returns
Description
Signed and dated watercolour with pencil.
‘George Large is the most astute watcher of our shared experience, of the exotica of the ordinary… He weaves his insights into rich figurative tapestries, a realm with which we may be superficially familiar, but which is re-made in his imagination, a place apart.’ David Whiting, 2015.
‘His complex compositions, bursting with vitality and primary idiosyncratic colours, which ingeniously knit together the figurative and the topographical, always delight my critical eye.’ Anthony J. Lester, 1998.
‘George Large is the most astute watcher of our shared experience, of the exotica of the ordinary… He weaves his insights into rich figurative tapestries, a realm with which we may be superficially familiar, but which is re-made in his imagination, a place apart.’ David Whiting, 2015.
‘His complex compositions, bursting with vitality and primary idiosyncratic colours, which ingeniously knit together the figurative and the topographical, always delight my critical eye.’ Anthony J. Lester, 1998.
