Arab Woman and Child - Oskar Kokoschka
Archival giclée
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Description
A powerful Expressionist study by Oskar Kokoschka, capturing a scene from his travels in North Africa with bold, gestural brushwork.
Oskar Kokoschka painted this work during his extensive travels across North Africa and the Middle East in the late 1920s. The composition captures a scene of daily life, rendered with the artist's characteristic application of thick, gestural paint. Kokoschka employs a palette dominated by earthy ochres, deep blues, and sharp reds to define the figures against a suggested desert backdrop.
The central figures, a woman holding an infant and a seated youth, occupy the foreground with a sense of immediate presence. The woman is depicted with a head covering, her features constructed through rapid, confident brushwork that prioritises emotional weight over photographic precision. The child, nestled in her lap, is painted with similar economy, using dark tones to anchor the composition. In the background, a camel and other figures are suggested through looser, more abstract marks, providing context without distracting from the primary subjects.
This piece reflects the artist's interest in the human condition and his response to the environments he encountered during his travels. Kokoschka avoids the exoticism often found in contemporary orientalist art, choosing instead to focus on the physical reality and psychological state of his subjects. The surface texture is heavy, with visible impasto that creates a sense of movement and urgency. The interplay of light and shadow across the skin tones and garments demonstrates his technical control over colour temperature. This work is representative of his mature style, where the focus shifts from the psychological tension of his earlier portraits to a broader, more observational approach to the world around him. The print captures the raw energy of the original oil application, preserving the tactile quality of the brushstrokes and the specific colour relationships that define this period of his career.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
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- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Arab Woman and Child - Oskar Kokoschka
Artist Biography
Oskar Kokoschka
He was born in 1886 in Pochlarn, Austria. He was shot through the head in Ukraine and bayoneted in the chest in Russia. He survived both.
After the war, he commissioned a Munich dollmaker named Hermine Moos to create a life-size replica of Alma, sending detailed instructions about the feel of her skin and the weight of her body. Moos covered the figure in feathers instead. Kokoschka eventually staged a public execution: he decapitated the doll and smashed a bottle of wine over its head on his lawn. The police arrived the next morning, thinking he had murdered a woman.
The Nazis declared him a degenerate artist. He fled Czechoslovakia for London after the Munich Agreement and became a British citizen in 1947. His Expressionist portraits are among the most psychologically penetrating of the twentieth century: raw, agitated surfaces that seem to expose the sitter's interior state. He lived to ninety-four.
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