|Size:||30.00" x 24.00"|
|Medium:||Oil on Linen with Acrylic and Gesso|
This series of paintings has been elaborated as a dialog. A dialog with painters I admire and that lived a long time ago. Their message, alive in their works, has been transmitted to me through the ages. It has been a source of comfort, a shield against the brutality of present times, but also a source of questioning in regards to what it means to paint.
I wanted to answer them in a very personal way. A painterly tribute seemed most appropriate. So, I painted their portrait. For that purpose, I wanted to go to the core of their practice. I wanted to hear the tone of their voice with my own ears sort of speak. And because their voice is essentially composed of colors, I went on a quest to find the traditional pigments those old masters were using. In the end, each color particle incorporated to that series is a color used or available to those painters in their time. That’s how I came to speak the language of Rembrandt, Goya, Caravaggio, the Greco: by handling genuine Vermilion, Lapis Lazuli, Orpiment, Malachite, Madder Lake, Lead White, Nicosia Green Earth, etc. It was really like learning to speak a new language! With its share of constraints due to a very limited palette but also with moments of pure blessing. I remember my excitement when I painted a swirling sky like the Greco or when I reached exactly the same flesh tone as Goya when mixing probably the same colors. That was amazing. Like penetrating a sacred place guarded by centuries of craftsmanship. Also, the strange feeling of having stepped into their work, like an anachronistic visitor suddenly on stage, both puzzled and grateful.
This retrospective or traditional process is going against a lot of current art that claims to be, often in a rather meaningless way, in rupture with the past. It breaks with the tradition of burning bridges all the time. In this perspective, framing plays a large role. On certain sections of the otherwise very modern frames, hand carved wood onlays of traditional patterns that are gilded with gold leaf are applied. These onlays act as visual quotes, reminders of a historicity that has been taken out of its context, eruptions of glory and loneliness.
I hope that, with time, this series will acquire a baroque look, the look of a weird pearl according to the first meaning of the word, and that it will shine from inside the modern stew. I also hope that the viewer, more than a row of superstars, will see in it the gaze of a contemporary painter on older painters yes, but more so, that he will see the intimacy of that gaze.
We apologize for the inconvenience of not posting prices. Many of our artists don’t allow us to publish prices. We are working with our artists to ultimately have prices on the web site and until then you can inquire by email and we will answer as quickly as possible.
If you are looking to compare prices of works we have to a comparable work you own, or if you are just doing research, we encourage you to contact us through the regular contact form HERE and we will see if we can help.