Sam Francis

Untitled, 1984

106.7 X 73 inch

Riyas Komu Last Landscape 1, oil painting of a young boy’s close-up face with solemn expression and muted earthy tones.

// Last Landscape 1 by Riyas Komu, painted in 2008, is a poignant oil on canvas that captures a close-up of a young boy’s face, rendered with a soft yet intense approach. The boy’s expression appears solemn and contemplative, with subtle details highlighting emotions that suggest vulnerability and resilience. Komu’s use of muted, earthy tones enhances the realism of the portrait while imbuing it with a sense of melancholy and depth. This work reflects Komu’s interest in social issues, often focusing on marginalized individuals, and invites viewers to empathize with the subject’s quiet strength and introspective gaze. The intimate perspective allows for a personal connection, emphasizing the human stories behind larger societal narratives.

Artwork Copyright © Riyas Komu

Last Landscape 1, 2008

form

Medium

Edition

// Last Landscape 1 by Riyas Komu, painted in 2008, is a poignant oil on canvas that captures a close-up of a young boy’s face, rendered with a soft yet intense approach. The boy’s expression appears solemn and contemplative, with subtle details highlighting emotions that suggest vulnerability and resilience. Komu’s use of muted, earthy tones enhances the realism of the portrait while imbuing it with a sense of melancholy and depth. This work reflects Komu’s interest in social issues, often focusing on marginalized individuals, and invites viewers to empathize with the subject’s quiet strength and introspective gaze. The intimate perspective allows for a personal connection, emphasizing the human stories behind larger societal narratives.

Artwork Copyright © Riyas Komu

Riyas Komu

Last Landscape 1, 2008

Painting

Oil On Canvas

USD 53,750

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What is new figuration?

Neo-Figurative Art is a collective term that refers to the revival of figurative art in America and Europe during the 1960s, following a period dominated by abstraction. Michel Ragon, a French art critic, argued that this resurgence of figuration occurred during a critical time of social and political upheaval in both regions.

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