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Vanité aux pommes, Stefan Nikolaev, 2026 Watercolour on paper, copper, Murano glass, copper frame and glass. 70 × 50 × 8 cm. Image courtesy of Buysse Gallery. © Stefan Nikolaev. All rights reserved. Vanité aux pommes, Stefan Nikolaev, 2026 Watercolour on paper, copper, Murano glass, copper frame and glass. 70 × 50 × 8 cm.
Image courtesy of Buysse Gallery. © Stefan Nikolaev. All rights reserved.
Vanité aux pommes, Stefan Nikolaev, 2026 Watercolour on paper, copper, Murano glass, copper frame and glass. 70 × 50 × 8 cm. Image courtesy of Buysse Gallery. © Stefan Nikolaev. All rights reserved. Vanité aux pommes, Stefan Nikolaev, 2026 Watercolour on paper, copper, Murano glass, copper frame and glass. 70 × 50 × 8 cm.
Image courtesy of Buysse Gallery. © Stefan Nikolaev. All rights reserved.

Stefan Nikolaev Bulgaria, b. 1970

Vanité aux pommes, 2026
Aquarelle sur papier, cuivre, verre de Murano, cadre cuivre, verre watercolour on paper, copper, Murano glass, copper frame, glass
70 x 50 x 8 cm
27 1/2 x 19 3/4 x 3 1/8 in
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Further images

  • (View a larger image of thumbnail 1 ) Vanité aux pommes, Stefan Nikolaev, 2026 Watercolour on paper, copper, Murano glass, copper frame and glass. 70 × 50 × 8 cm. Image courtesy of Buysse Gallery. © Stefan Nikolaev. All rights reserved.
  • (View a larger image of thumbnail 2 ) Vanité aux pommes, Stefan Nikolaev, 2026 Watercolour on paper, copper, Murano glass, copper frame and glass. 70 × 50 × 8 cm. Image courtesy of Buysse Gallery. © Stefan Nikolaev. All rights reserved.
In Vanité aux pommes (2026), Stefan Nikolaev revisits the historical language of the vanitas through watercolour, copper and Murano glass. A skull, candle and still life are assembled across overlapping...
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In Vanité aux pommes (2026), Stefan Nikolaev revisits the historical language of the vanitas through watercolour, copper and Murano glass. A skull, candle and still life are assembled across overlapping fields of coloured paper, while lines of glass introduce actual light into the composition. Rather than reproducing the conventions of the genre, Nikolaev reconstructs them through material, transparency and illumination.
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