Paradise Lost - Raqib Shaw - 2001-11 - 42486

Raqib Shaw's gloriously opulent paintings suggest a fantastical world full of intricate detail, rich colour, and jewel-like surfaces, all masking the intense violent and sexual nature of its imagery

In a series of wild self portraits, Raqib Shaw has turned Old Masters paintings into unhinged tableaux of colour, energy and spirituality

Gods and monsters: Raqib Shaw's phantasmagoric portraits – in pictures

Raqib Shaw Self Portrait in the Studio at Peckham (After Steenwyck the Younger) II

Raqib Shaw is a Kashmiri artist who lives and works in London. He is known for his hedonistic, subversive, wildly opulent and phantasmagorical paintings. Heavily influenced by old masters like Bosch and Holbein, his works are a shimmer...

MAD MASTER

Raqib Shaw is a Kashmiri artist who lives and works in London. He is known for his hedonistic, subversive, wildly opulent and phantasmagorical paintings. Heavily influenced by old masters like Bosch and Holbein, his works are a shimmer.

Raqib Shaw - Painting 16

Raqib Shaw was born in Calcultta, India. He now lives in London where he graduated from Central St Martins School of Arts and based his house/studio in the South London neighborhood. His work is mostl

Raqib Shaw

Raqib Shaw was born in Calcultta, India. He now lives in London where he graduated from Central St Martins School of Arts and based his house/studio in the South London neighborhood. His work is mostl

Gods and monsters: Raqib Shaw's phantasmagoric portraits – in pictures

Gods and monsters: Raqib Shaw's phantasmagoric portraits – in pictures

Gods and monsters: Raqib Shaw's phantasmagoric portraits – in pictures

Raqib Shaw

Contemporary Art Evening and Day Sale London

Artist Raqib Shaw at White Cube at Glyndebourne

Artist Raqib Shaw at White Cube at Glyndebourne - Yareah Magazine

Raqib Shaw, who is photographed here working on Paradise Lost. --Tumblr

pacegallery: W Magazine‘smost recent article... - artnet

“Raqib Shaw’s Dreamlike Private Universe” photographed by James Mollison; W Magazine November


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