BRAISES DU SOIR, 2026
Painting : acrylic · 80 x 80 x 2 cm 31.5 x 31.5 x 0.8 inch · Ready to hang
$3,676
3 676 $US
Delivered in time for Christmas
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Shipped from: France
Delivery to: United States , $ 439
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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, 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 )
80 x 80 x 2 cm 31.5 x 31.5 x 0.8 inch Height x Width x Depth
Artwork dimensions including frame
83 x 83 x 4 cm 32.7 x 32.7 x 1.6 inch
Sold by
Art gallery
Credentials
Vetted seller since 2017 • Top Seller
Description
Plastic description
The natural linen canvas is left bare on a regular border, which frames the composition of a light edging. In the center, a red field occupies almost the entire square: bright reds, deep roses, carmines, applied in broad, vertical touches that allow the weave of the support to show through in places. Orange and gold yellows are deposited on this field, in thick layers and streaks, concentrated towards the center and the bottom. Black and very dark brown masses, with cut-out contours and filamentous extensions, traverse the middle part and descend towards the lower right corner. A few golden, fine, liquid lines curl above the reds. The material remains thin on the edges and thickens in the center.
Critical analysis
The work seeks a subdued intensity rather than brilliance. The reds are softened by the yellows and oranges, the muted contrasts, as if the flamboyance of the zenith has converted into diffuse heat. This part is held by the support: the natural linen, visible in reserve and under the thin layers, cools the reds and prevents them from turning to a scream. The dark masses, far from extinguishing the composition, fulfill the function of embers in a hearth—they denote what has burned and continues to glow red. The free linen border does the rest: it contains the incandescence and prevents the red field from overflowing, giving the whole the measure of a controlled fire rather than a conflagration.
Placement in the work of GABAN
Evening embers belongs to Excess & Splendors and functions in response to the most solar canvases in the series. Where those work the apex, this one works what remains after. This is an important shift in the logic of the series: splendor is no longer a peak but a persistence. The work asserts that beauty can be less brilliant and just as powerful, and that there is an intensity specific to the ember that continues to burn beyond the explosion. The use of natural linen, rather than a prepared ground, places this piece on the side of canvases where GABAN allows the support to participate in the color rather than receive it passively. Echo in contemporary art The colored field occupying almost the entire support, treated in modulations rather than forms, falls under chromatic abstractions attached to color as an autonomous subject and to its effects on the gaze. The use of an unprimed canvas, whose fiber and natural color intervene in the pictorial economy, connects the work to a material sensibility attentive to the autonomy of the support. The motif of twilight reddening, finally, crosses a long tradition of evening painting, here stripped of all horizon and all landscape. GABAN's particular contribution lies in the combination: a sustained chromatic field, placed on a rough material that attenuates its violence. Symbolic and spiritual resonances The ember occupies a particular position in the imagination of fire: it is neither the flame nor the ash, but the intermediate state where the heat has withdrawn from the spectacle to concentrate. The work makes it a figure of time that follows the event. What is celebrated in it is not the excess but its remainder, and the question posed is that of what remains when the initial intensity has passed. In a more internal reading, the canvas suggests that duration is a form of force, and that what continues to burn without brilliance has lost nothing of its heat. The linen edging that frames the red field then figures what contains and preserves.
Conclusion
Evening embers is a work of continuity more than of brilliance. Its success lies in the balance between a sustained red field and the restraint imposed on it by the natural linen, visible in reserve and under the color. It asserts that splendor can be measured by what it lasts, and not by what it carries away
Presentation
GABAN is the name of a tight wing beat.
a breath that is no longer stifled. A vibration that imposes its necessity. Painter of pure emotion and living matter, GABAN emerges late, but with the certainty of being, finally, where everything converges.
Descended from a lineage of artists – grandson of Maxime Pierre André Verdier, painter and professor at the Beaux-Arts, and son of Michel Verdier, pathologist and leatherworker – GABAN carries in his veins the memory of gestures, the rigor of the gaze, and the freedom of pigments. But it is outside the academies that his work takes shape. A few courses, quickly abandoned. The essential is elsewhere: in the clash of colors, the visceral drive of the gesture, the tension between surface and depth. Never copy reality. Pierce it. Feel it. Invent it. With GABAN, emotion prevails over figuration, texture over line. His studios, in Paris and Aix-en-Provence, are sanctuaries. On one side a setting built for her by her partner, where the silent metamorphosis of an demanding and exposed Parisian life takes place, towards an inner fertility. There, the Ithaque house park unfolds its infinite palette of greens, ochres, wet shadows. Nature is not a source of inspiration: it is a matrix, a partner, a living double. On the other, his Parisian studio where the reflections of the sun on the Parisian rooftops are as many mirrors of souls, fertile ground for his creations. GABAN, a name chosen with poise by a woman who fully embraces herself but refuses assignments. Ambition is not gendered: to become a great artist, to sell his works during his lifetime, to exist in matter and in the market. That the art history is predominantly masculine is not a constraint, it is a field to reinvent. Appearing in painting in 2013 in a moment of assumed fracture with conventions and self-censorship, GABAN enters creation by breaking through. His period “EMERGENCE" (2013-2017) is dense, mineral, tumultuous. The canvases bear the stigmas of excess, of inner chaos, of flaws as much as of the will to extract oneself. The material is raw, sometimes black, incised, like scorched earth still smoking. Since 2025, a new era is taking hold: the period “CONVERGENCE", oriented towards calming, acceptance, openness. The colors broaden, the forms breathe, the gestures lighten without ever losing intensity. GABAN no longer seeks: GABAN is. And each canvas says it with elegance and power. GABAN does not paint to adorn, but to speak. To speak the dazzling beauty of the living, the subterranean struggles of the soul, and that quest for an always unstable balance between demand, freedom, and humanity.
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