N° 952 Marguerite Yourcenar, 2014
R. Cavalié  

Painting : oil · 65 x 92 x 2 cm 25.6 x 36.2 x 0.8 inch

$1,167 1 167 $US

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Shipped from: France

Delivery to: United States 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 )

65 x 92 x 2 cm 25.6 x 36.2 x 0.8 inch Height x Width x Depth

Sold by

Independent artist

Credentials

Vetted seller since 2021

Discount

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Description
The portrait was made from the interview in Apostrophes by Bernard Pivot in 1979.
The cartouche evokes the Polish Horseman by Rembrandt. The text in ancient Greek is from Aristophanes: We have no more oil left in the lamp. There is also a bit of Petite Plaisance, inside and outside.

Portrait

figurative

People

Faces

Beige

orange

R. Cavalié, N° 952 Marguerite Yourcenar

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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