'Satchmo' by Sebastian Kruger, 2005
Homage to music legend Louis Armstrong.
31 x 42 Inches
78.7 x 106.7 Centimeters
Hand-embellished giclée print on hand-pulled 100% cotton canvas.
Limited Edition of 99 (#52/99)
Hand-signed and numbered by the artist.
Sebastian Kruger was born in Hamlin, Germany in 1963. He studied painting and graphic arts and quickly moved on to make his living as a caricaturist, illustrator, and painter.
Kruger’s works are appreciated and collected by many Hollywood notables, and his painterly twists on Bogart, Schwarzenegger, John Wayne and The Rolling Stones are classics of their kind. Never before has an artist displayed such an acute ability to capture the essence of those who occupy the public eye. Perhaps Kruger's most remarkable talent is his ability to bring diverse painting techniques and styles to a given subject. Kruger's works range from pencil drawings, to near abstract paintings and then to the near photo realistic, and he has mastered each difficult variant with remarkable skill. Though the foundation of most caricature may rest in the exaggeration of certain, notable features of the subject, Kruger often ignores the obvious, and focuses on more subtle aspects, still conveying the essence of his subject in a most profound and amusing fashion.
Despite such exaggerations and maniacal morphs, Kruger approaches nearly all of his subjects with a level of respect and sincerity. His goal is to reach inside of them and pull out the very essentials of their character. This requires a certain empathy on the part of the artist, as well as the requisite artistic skills. Sebastian Kruger has had three popular art books published of his works and has a yearly art calendar from Morpheus. Kruger's art can be seen frequently in Playboy magazine and has also been featured in the likes of Stern, L’Espresso, Penthouse, Der Spiegel and USA Today. Sebastian Kruger's most recent endeavor is a project in motion pictures.
“Kruger has a genius for capturing the essence of his subjects through caricature.”—The London Times