N° 1020 Sotto voce. Guggenheim (fin), 2017
R. Cavalié  

Painting : oil · 33 x 24 x 2 cm 13 x 9.4 x 0.8 inch

€280 280 €
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Shipped from: France

Delivery to: Italy Free delivery

Estimated delivery: Less than one week

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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

Authenticity

Sold with certificate of Authenticity from the artist

Invoice from the artist

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cm • inch )

33 x 24 x 2 cm 13 x 9.4 x 0.8 inch Height x Width x Depth

Sold by

Independent artist

Credentials

Vetted seller since 2021

Discount

This seller offers discount when you purchase multiple artworks.

Description
The artist shows here his astonishment to learn that, according to his wish, Peggy Guggenheim who had two children, including a daughter named Pegeen, wished to rest here, in his palace museum alongside his dogs. Help to do this, a mask from the Baltic countries.

Portrait

Costumes

Venice

Beige

R. Cavalié, N° 1020  Sotto voce. Guggenheim (fin)

R. Cavalié

France  • 1944
184 followers

Presentation

"Bonpointism" could be her trademark because, born in an unmade bed of teachers in the land of Jaurès, she never stopped creating the images she dreamed of owning as a child.

The work, especially figurative, is aimed at people wishing to live daily with this particular breath in a corner of their living space. As the surface area of homes is shrinking especially in the city, the artist has thus been led to favor medium to small formats. His work, where the significance of an assertive design is concretized, is always carried out in the urgency of a creation that absolutely does not take into account the dictates of fashion or even his personal taste.

The color, the reliability of the line, the enhancement of a light inherent in each subject approached, allow us to recognize an appearance of naive appearance but carrying, perhaps by that very fact, an undeniable finesse in the understanding of our world and its underlying poetry.

The abundance of production and the versatility of the themes show an imaginary in perpetual boiling, nonetheless ordered by a certain rigor which, curiously, turns out not to be devoid of both humor and love.

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