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A damp foggy day in Prague. I was out walking that afternoon and the mist was so thick, and I got home just as the fog was lifting. It was such a beautiful sight, the island, surreal really, the fog dampens all the city sounds, people seemed to walk in slow motion that day. Zofin Island on the Vlatva River is right across from my studio and I see it everyday - but only once like this. 
Oil on canvas.
A damp foggy day in Prague. I was out walking that afternoon and the mist was so thick, and I got home just as the fog was lifting. It was such a beautiful sight, the island, surreal really, the fog dampens all the city sounds, people seemed to walk in slow motion that day. Zofin Island on the Vlatva River is right across from my studio and I see it everyday - but only once like this. 
Oil on canvas.
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Zofin Island Painting

Renata Retrova

Czech Republic

Painting, Oil on Canvas

Size: 63 W x 43.3 H x 0.8 D in

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Originally listed for $4,610
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501 Views
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About The Artwork

A damp foggy day in Prague. I was out walking that afternoon and the mist was so thick, and I got home just as the fog was lifting. It was such a beautiful sight, the island, surreal really, the fog dampens all the city sounds, people seemed to walk in slow motion that day. Zofin Island on the Vlatva River is right across from my studio and I see it everyday - but only once like this. Oil on canvas.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:63 W x 43.3 H x 0.8 D in

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I'm a contemporary Czech artist, specializing in semi-abstract sea and landscapes, and I sometimes delve into portraiture. My art blends traditional techniques with unconventional methods, aiming for expressive, abstract outcomes. Drawing from memory, I create work that is essentially non confrontational, rather it evokes intimacy and isolation, and is open to personal interpretation. My starting point is usually the landscape around me and the final work will have a flavour of those colours and shapes, but with an abstract quality to them. I'm influenced by masters like Twombly, Motherwell, Avery, Vermeer, Turner, and Rembrandt, I merge their styles into my own. Surface preparation of my canvas is crucial; I layer primer for texture, letting my marks take root while allowing fluid paint movement. Thin glazes form layers on a limited palette. Base colors influence or emerge through subsequent layers, shaped by sanding or drawing. The process guides the painting's direction, with original elements reintegrated. I craft distinct paintings with rich textures, layers, poured paint, and brush strokes. This escape from mass visuals resonates in private collections around the world.

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