Martin Finnin
Beauty Has Him Nearly Killed
Beauty Has Him Nearly Killed
Oil on canvas I 30 x 25 cm
This small painting brings together a warm coral form, a darker red beside it, and loose green marks that suggest something botanical without needing to be identified. The image stays open, letting the colours and forms settle into their own quiet balance.
Key information and details about the painting’s creation below.
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Purchase Information
Artwork Details
Oil on canvas
30 x 25 cm
2021
Signed on the front | signed and dated on the reverse
Framed
Payment & Purchase
Payment is made in full through the online shop. Once your purchase is complete, the artwork is marked as sold and reserved exclusively for you. You will receive an order confirmation by email with full details of your purchase.
We will then be in contact to arrange delivery - see further details in the section below.
Delivery
Delivery within the Republic of Ireland is included at no additional cost.
Each work will be carefully prepared and delivered after the exhibition closes 8th December.
We will contact you directly to arrange a convenient delivery time.
Returns & Enquiries
Each artwork is a unique original, and all sales are final.
If you have any questions before purchase, or would like to view a work in person during the exhibition, please contact us prior to placing your order.
Provenance & Copyright
All artworks are sold directly by Martin Finnin and come from the artist’s studio, not through resale.
Purchase of an artwork does not include the transfer or licensing of copyright, which remains with the artist.
Beauty Has Him Nearly Killed
Each painting carries its own journey - here’s a glimpse of how this piece unfolded.
Small paintings can be elusive and stubborn, making it harder to trap whatever needs saying within such narrow confines. I often spend as much time with a small canvas as I do with a much larger one.
This piece was started in 2019 and carried with me through the long months of the lockdowns. I painted it in a makeshift studio at the back of the house, watching the garden shift through its seasons as I kept returning to the surface. Several times I ended up dipping a large brush in white spirits, wipe it all away completely, let it dry, and begin again. You’d want to be half-mad to keep doing this. Painting often feels pointless, until suddenly it doesn’t.
There’s a stillness in these works, a quietness born of that entire experience. The texture of the canvas became important too, another participant in the painting, carrying its own grain of time and weather.
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