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Karen Silve, The State of Then, Painting on canvas
Karen Silve, The State of Then, Painting on canvas
Karen Silve, The State of Then, Painting on canvas
Karen Silve, The State of Then, Painting on canvas
Karen Silve, The State of Then, Painting on canvas
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Karen Silve, The State of Then, Painting on canvas
Karen Silve, The State of Then, Painting on canvas
Karen Silve, The State of Then, Painting on canvas
Karen Silve, The State of Then, Painting on canvas
Karen Silve, The State of Then, Painting on canvas
Karen Silve, The State of Then, Painting on canvas
Karen Silve, The State of Then, Painting on canvas
Karen Silve, The State of Then, Painting on canvas
Karen Silve, The State of Then, Painting on canvas
Karen Silve, The State of Then, Painting on canvas

The State of Then, 2026
Karen Silve  

Painting : acrylic, canvas · 180 x 150 cm 70.9 x 59.1 inch

€14,000 14 000 €

One of the last works available by this artist

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Shipped from: France

Delivery to: France , € 145

Estimated delivery: One to two weeks

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Verified Reviews : 9.6/10
9.6/10
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About the artwork

Type

Painting : Unique artwork

Condition

Artwork sold in perfect condition, not framed

Authenticity

Sold with certificate of Authenticity from the artist

Invoice from the artist

Signature

Hand-signed by artist

Technique & Support

acrylic , canvas on canvas

Dimensions ( cm • inch )

180 x 150 cm 70.9 x 59.1 inch Height x Width x Depth

Sold by

Independent artist

Karen Silve • France

Credentials

Vetted seller since 2026

Description

This artwork presents a vibrant and dynamic composition characterized by a blend of soft and bold abstract brushstrokes. The canvas is dominated by pastel pinks and greens, interspersed with hints of earthy browns and muted blues. The artist employs a fluid and expressive style, creating a sense of movement and depth. The juxtaposition of colors and forms evokes a feeling of spontaneity and emotion, inviting viewers to interpret the scene personally. The piece uniquely captures an impressionistic essence, reminiscent of a lush garden or floral landscape, while maintaining an abstract form. Its harmonious yet chaotic structure draws the eye across the canvas, highlighting the artist's skillful manipulation of color and texture. This artwork stands out for its ability to communicate feeling and atmosphere through abstraction, making it a compelling and immersive visual experience.

Abstract

colorful

Sky blue

Pink
Karen Silve, The State of Then
Karen Silve

Karen Silve

France  • 1969

Presentation

Les peintures de Karen Silve sont des distillations de ses émotions, impressions et expériences liées à la nature et à la culture. Entourée par la beauté pittoresque du nord-ouest du Pacifique aux États-Unis et de la campagne provençale, elle superpose couleurs et gestes dans des récits abstraits — des compositions d'images, de sensations et de souvenirs qui fusionnent dans un espace pictural non littéral, où dialoguent ambiguïté et clarté, calme et tension, intérieur et extérieur.

Le célèbre critique Peter Frank, qui place l'artiste dans la lignée de Cézanne, Monet, de Kooning et Mitchell, ajoute : « Malgré toute leur exubérance broussailleuse et dégoulinante, les peintures de Silve sont composées avec une rigueur presque architecturale qui imite les rythmes glorieux de la nature elle-même. »

Cette sensibilité accrue au monde naturel peut provenir de ses premiers travaux de figuration et de paysage. C'est en tant qu'artiste émergente, étudiante à Aix-en-Provence en France à l'école Léo Marchutz, qu'elle a trouvé sa véritable passion pour la peinture, la couleur et la nature, ainsi que l'éthique de travail qui allait la propulser au cours des années à venir. Depuis ces années de formation, elle a exposé dans des musées, des centres d'art et des galeries à New York, Washington, D.C., Chicago, Miami, Santa Fe et Sun Valley, ainsi qu'au Royaume-Uni, à Venise, au Qatar, à Brunei et au Mexique, où son travail est inclus dans la collection permanente du consulat américain à Monterrey.

Bénéficiaire de bourses et de résidences prestigieuses, elle a reçu les éloges de la critique dans des publications telles que The Washington Post (« Sa main libre et ses éclaboussures vives rappellent Jackson Pollock… et font écho à la technique de Gerhard Richter ») et d'Ann Landi, collaboratrice d'ARTnews et du New York Times (« Parce que beaucoup de ses œuvres sont à échelle humaine, nous nous y rapportons avec notre propre corps et entrons dans son dialogue avec les matériaux »).

English:

Karen Silve's paintings are distillations of her emotions, impressions, and experiences in the realms of nature and culture. Surrounded by the scenic beauty of the Pacific Northwest and the the Provençal countryside, she layers color and gesture into abstracted narratives—composites of visuals, sensations, and memories, which coalesce in a non-literal pictorial space where ambiguity and clarity, calm and tension, interior and exterior come into dialogue.

Placing the artist in the lineages of Cézanne, Monet, de Kooning, and Mitchell, renowned critic Peter Frank adds:  “For all their brushy, dripping exuberance, Silve's paintings are composed with an almost architectural rigor that emulates nature's own glorious rhythms."

This heightened sensitivity to the natural world may stem from her early work in figuration and landscape.  It was as an emerging artist, studying in Aix-en-Provence, France at the Léo Marchutz School, that she found her true passion for painting, color, and nature, as well as the work ethic that would power her through the years to come. 

Since those formative years, she has exhibited in museums, art centers, and galleries in New York City, Washington, D.C., Chicago, Miami, Santa Fe, and Sun Valley, as well as the United Kingdom, Venice, Qatar, Brunei, and Mexico, where her work is included in the permanent collection of the U.S. Consulate in Monterrey. The recipient of prestigious grants and residencies, she has won critical praise in publications such as The Washington Post (“Her free hand and lively spattering recall Jackson Pollock... and parallel the technique of Gerhard Richter") and from ARTnews and New York Times contributor Ann Landi (“Because many of her works are human-scaled, we relate to them with our own bodies and enter into her dialogue with materials").

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