A.P.Polo - Halbleiter

A P POLO

# 350391

A.P.POLO - HALBLEITER

Name: A.P.Polo - Halbleiter by A P Polo Wall Art
Brand: Pictorem
SKU: 350391
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A.P.Polo - "Halbleiter" - Hamburg (Germany) - New Media Art. Abstract, contemporary work that allows different spatial perceptions of the viewer in t...[+]

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Giclée Canvas Print

All our stretched Canvas are custom made on a Premium Fine Art Matte Canvas 410g/m2 1.5 Inch Thick wood for a real gallery look
Giclee printing with Pigment ink designed to meet galleries and museum longevity requirements and ensure consistency of shades 200 years old. [+]

A.P.POLO - HALBLEITER A P POLO Canvas Print

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Stretched Canvas Print We ship in USA & Canada

Ready to hang - Stretched on 1.5" inch thick pine wood - Gallery style

Stretched Split Canvas

A.P.Polo - Halbleiter Split Canvas print

36 x 36 triptych - split canvas
39 x 36 inches including space.
3X [ 12x36 ]
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36 x 36 cross triptych split canvas
39 x 36 inches including space.
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30 x 30 inches

77 x 77 cm

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92 x 92 cm

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108 x 108 cm

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77 x 77 cm

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108 x 108 cm

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Acrylic Print with Stand off

Printed to the edge - Ready to hang - provided with 4 premium polished aluminum stand off ( wall screws and mounting hardware provided )
We suggest a thicker 3/16" acrylic for any size over 42 inches to guarantee a straight acrylic, without curvature

1/8" thickness

3/16" thickness

1/8" Thickness:

20 x 20 inches

51 x 51 cm

1/8 with 4 metal stand off

^$200

24 x 24 inches

62 x 62 cm

1/8 with 4 metal stand off

^$261

30 x 30 inches

77 x 77 cm

1/8 with 4 metal stand off

^$373

36 x 36 inches

92 x 92 cm

1/8 with 4 metal stand off

^$510

42 x 42 inches

108 x 108 cm

1/8 with 4 metal stand off

^$842

48 x 48 inches

123 x 123 cm

1/8 with 6 metal stand off

^$1029

3/16" Thickness:

20 x 20 inches

51 x 51 cm

3/16 with 4 metal stand off

^$272

24 x 24 inches

62 x 62 cm

3/16 with 4 metal stand off

^$349

30 x 30 inches

77 x 77 cm

3/16 with 4 metal stand off

^$491

36 x 36 inches

92 x 92 cm

3/16 with 4 metal stand off

^$664

42 x 42 inches

108 x 108 cm

3/16 with 4 metal stand off

^$1039

48 x 48 inches

123 x 123 cm

3/16 with 4 metal stand off

^$1276

Multi Panel Acrylic Print

Brushed Metal Print / Smooth White Metal Print

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Brushed Metal Print

Smooth White Metal Print

The areas of the photograph that are white or very light are not printed The white areas appear metallic.
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Brushed Metal Print with Floating Frame on the back

Printed to the edge & Ready to hang a floating frame and hanging wire

Brushed Metal Print with Stand off

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Direct print on metal to provide a white smooth satin finish with controlled light reflection.
Robust, very light and provides a Matte effect [+]

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White Metal Print with Floating Frame on the back

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White Metal Print with Stand off

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Multi Panel Metal Print

HD ChromaLuxe Sublimation High-Gloss Metal Print

A.P.Polo - Halbleiter HD Metal print with Floating Frame on Back

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A.P.Polo - Halbleiter HD Sublimation Metal print

A.P.Polo - Halbleiter HD Sublimation Metal print with Decorating Float Frame (BOX)

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This artwork is produced on a dye sublimation Chromaluxe high-definition metal panel

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Printed with UV cured inks providing an incredible high quality printed image which is scratch resistant with colors that will not fade overtime.
White and lighter areas are not printed on the wood, revealing the beauty of the wood’s texture and natural beauty!
Printed on 3/8" (9mm) thick and strong and durable Russian Birch wood which is ready to hang and enjoy! [+]

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A.P.Polo - Halbleiter Picture Frame Printing

Frame model shown: 832-745

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28 x 28" Framed Print

Printed Area: 24 x 24"
Total Inside area: 28.00 x 28.00"
White Border: 2" on each side
Frame Width: 1.25" on each side
Total Physical dimension: 29.25 x 29.25"

Frame model: 832-745
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Wall Clock

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This artwork is Made with high-quality acrylic Ready to hang.

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ABOUT A P POLO fs
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ABOUT THIS ARTWORK: A.P.POLO - HALBLEITER
A.P.Polo - "Halbleiter" - Hamburg (Germany) - New Media Art. Abstract, contemporary work that allows different spatial perceptions of the viewer in the style of serial painting in monochromatic form with a large number of rectangles. A semiconductor ("Halbleiter" in German) material has an electrical conductivity value falling between that of a conductor, such as metallic copper, and an insulator, such as glass. Its resistivity falls as its temperature rises; metals are the opposite. Its conducting properties may be altered in useful ways by introducing impurities ("doping") into the crystal structure. When two differently-doped regions exist in the same crystal, a semiconductor junction is created. The behavior of charge carriers, which include electrons, ions and electron holes, at these junctions is the basis of diodes, transistors and all modern electronics. Some examples of semiconductors are silicon, germanium, gallium arsenide, and elements near the so-called "metalloid staircase" on the periodic table. After silicon, gallium arsenide is the second most common semiconductor and is used in laser diodes, solar cells, microwave-frequency integrated circuits and others. Silicon is a critical element for fabricating most electronic circuits. Semiconductor devices can display a range of useful properties, such as passing current more easily in one direction than the other, showing variable resistance, and sensitivity to light or heat. Because the electrical properties of a semiconductor material can be modified by doping, or by the application of electrical fields or light, devices made from semiconductors can be used for amplification, switching, and energy conversion. The conductivity of silicon is increased by adding a small amount (of the order of 1 in 108) of pentavalent (antimony, phosphorus, or arsenic) or trivalent (boron, gallium, indium) atoms. This process is known as doping and resulting semiconductors are known as doped or extrinsic semiconductors. Apart from doping, the conductivity of a semiconductor can equally be improved by increasing its temperature. This is contrary to the behaviour of a metal in which conductivity decreases with increase in temperature. The modern understanding of the properties of a semiconductor relies on quantum physics to explain the movement of charge carriers in a crystal lattice. Doping greatly increases the number of charge carriers within the crystal. When a doped semiconductor contains mostly free holes it is called "p-type", and when it contains mostly free electrons it is known as "n-type". The semiconductor materials used in electronic devices are doped under precise conditions to control the concentration and regions of p- and n-type dopants. A single semiconductor crystal can have many p- and n-type regions; the p–n junctions between these regions are responsible for the useful electronic behavior. Some of the properties of semiconductor materials were observed throughout the mid 19th and first decades of the 20th century. The first practical application of semiconductors in electronics was the 1904 development of the cat's-whisker detector, a primitive semiconductor diode used in early radio receivers. Developments in quantum physics in turn led to the development of the transistor in 1947, the integrated circuit in 1958, and the MOSFET (metal–oxide–semiconductor field-effect transistor) in 1959. Monochromatic painting has been an important component of avant-garde visual art throughout the 20th century and into the 21st century. Painters have created the exploration of one color, examining values changing across a surface, texture, and nuance, expressing a wide variety of emotions, intentions, and meanings in many different forms. From geometric precision to expressionism, the monochrome has proved to be a durable idiom in Contemporary art. Monochrome painting was initiated at the first Incoherent arts' exhibition in 1882 in Paris, with a black painting by poet Paul Bilhaud entitled Combat de Nègres dans un tunnel (Negroes fight in a tunnel). (Although Bilhaud was not the first to create an all-black artwork: for example, Robert Fludd published an image of Darkness in his 1617 book on the origin and structure of the cosmos; and Bertall published his black Vue de La Hogue (effet de nuit) in 1843.) In the subsequent exhibitions of the Incoherent arts (also in the 1880s) the writer Alphonse Allais proposed other monochrome paintings, such as "Première communion de jeunes filles chlorotiques par un temps de neige" ("First communion of anaemic young girls in the snow", white), or "Récolte de la tomate par des cardinaux apoplectiques au bord de la Mer Rouge" ("Tomato harvesting by apoplectic cardinals on the shore of the Red Sea", red). Allais published his Album primo-avrilesque in 1897, a monograph with seven monochrome artworks. However, this kind of activity bears more similarity to 20th century Dada, or Neo-Dada, and particularly the works of the Fluxus group of the 1960s, than to 20th century monochrome painting since Malevich. Jean Metzinger, following the Succès de scandale created from the Cubist showing at the 1911 Salon des Indépendants, in an interview with Cyril Berger published in Paris-Journal 29 May 1911, stated: "We cubists have only done our duty by creating a new rhythm for the benefit of humanity. Others will come after us who will do the same. What will they find? That is the tremendous secret of the future. Who knows if someday, a great painter, looking with scorn on the often brutal game of supposed colorists and taking the seven colors back to the primordial white unity that encompasses them all, will not exhibit completely white canvases, with nothing, absolutely nothing on them. (Jean Metzinger, 29 May 1911)" Metzinger's (then) audacious prediction that artists would take abstraction to its logical conclusion by vacating representational subject matter entirely and returning to what Metzinger calls the "primordial white unity", a "completely white canvas" would be realized two years later. The writer of a satirical manifesto entitled Manifeste de l'école amorphiste, published in Les Hommes du Jour (3 May 1913), may have had Metzinger's vision in mind when the author justified amorphism's blank canvases by claiming 'light is enough for us'.With perspective, writes art historian Jeffery S. Weiss, "Vers Amorphisme may be gibberish, but it was also enough of a foundational language to anticipate the extreme reductivist implications of non-objectivity". In a broad and general sense, one finds European roots of minimalism in the geometric abstractions of painters associated with the Bauhaus, in the works of Kazimir Malevich, Piet Mondrian and other artists associated with the De Stijl movement, and the Russian Constructivist movement, and in the work of the Romanian sculptor Constantin Brâncu?i. Minimal art is also inspired in part by the paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi, and others. Minimalism was also a reaction against the painterly subjectivity of Abstract Expressionism that had been dominant in the New York School during the 1940s and 1950s. The wide range of possibilities (including impossibility) of interpretation of monochrome paintings is arguably why the monochrome is so engaging to so many artists, critics, and writers. Although the monochrome has never become dominant and few artists have committed themselves exclusively to it, it has never gone away. It reappears as though a spectre haunting high modernism, or as a symbol of it, appearing during times of aesthetic and sociopolitical upheavals. Monochrome painting as it is usually understood today began in Moscow, with Suprematist Composition: White on White of 1918 by Suprematist artist Kazimir Malevich. This was a variation on or sequel to his 1915 work Black Square on a White Field, a very important work in its own right to 20th century geometric abstraction. In 1921, Constructivist artist Alexander Rodchenko exhibited three paintings together, each a monochrome of one of the three primary colours. He intended this work to represent The Death of Painting. While Rodchenko intended his monochrome to be a dismantling of the typical assumptions of painting, Malevich saw his work as a concentration on them, a kind of meditation on art's essence (“pure feeling”). These two approaches articulated very early on in its history this kind of work's almost paradoxical dynamic: that one can read a monochrome either as a flat surface (material entity or “painting as object”) which represents nothing but itself, and therefore representing an ending in the evolution of illusionism in painting (i.e. Rodchenko); or as a depiction of multidimensional (infinite) space, a fulfillment of illusionistic painting, representing a new evolution—a new beginning—in Western painting's history (Malevich). Additionally, many have pointed out that it may be difficult to deduce the artist's intentions from the painting itself, without referring to the artist's comment.

This artwork can be shipped worldwide when ordered on Canvas & Poster Roll
Any other format including, Stretched Canvas, Acrylic etc, ships only in Continental USA & Canada (Free shipping)