Test de drone sur l'Aquitaine par gros temps, 2025
Painting : oil, collage · 120 x 80 x 2 cm 47.2 x 31.5 x 0.8 inch · Ready to hang
£3,105
3 105 £GB
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Shipped from: France
Delivery to: United Kingdom , £ 174
Estimated delivery: One to two weeks
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Verified Reviews : 9.6/10
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About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed, ready to hang
with stretcher frame
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
120 x 80 x 2 cm 47.2 x 31.5 x 0.8 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2017 • Top Seller
Description
In Test de drone sur l'Aquitaine par gros temps, Alain Abramatic captures the power and modernity of a FREMM-type frigate braving rough seas. Viewed head-on, the ship's imposing silhouette stands out forcefully against a light background, giving the impression that it is emerging from the heart of the waves. The stem cuts through the sea in a burst of foam, suggested by sand splatters and expressive brushstrokes.
Above the vessel, a drone maneuvers through the air, highlighting the technological and strategic dimension of the scene. This visual dialogue between the ship and the aerial device evokes modern forms of maritime surveillance. The deliberately limited palette, dominated by greys and blacks, reinforces the dramatic atmosphere of the storm. The artist’s free gestures and sand textures suggest wind, spray, and the violence of the sea, while the precise treatment of the ship creates a contrast between technical rigor and pictorial spontaneity. Between realism and contemporary style, the work conveys the tension of navigating difficult conditions.
Presentation
Painting is a material and spiritual journey that I take around my first passions, mountains, water, sailing, sea and music. Since my beginnings in 1974, I have trained with other painters. First very inspired by the vibration of colors in the Impressionists and the Fauvists, I turned in the 80s to watercolor, whose transparencies I appreciate.
Finally around the 2000s, I discovered contemporary painting and mixed techniques opening up the field of possibilities. Indeed, by preparing my paintings with collages of paper and sand, I create textures where the paint, very diluted in the manner of watercolors, reacts by drainage or by diffusion to leave its own mark. By the gesture, I print the energies. By the softness of the transparencies and the relationship to emptiness, I register my emotions. Each painting thus invites to a poetic journey.
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