Corner of the village, 2020
Painting : oil · 15.2 x 20.3 x 0.3 cm 6 x 8 x 0.1 inch
$455
455 $US
One of the last works available by this artist
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Shipped from: France
Delivery to: United States , $ 69
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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
Unstretched (shipped rolled)
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
15.2 x 20.3 x 0.3 cm 6 x 8 x 0.1 inch Height x Width x Depth
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Art gallery
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Vetted seller since 2022
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Description
Everything that is painted directly and on the spot has always a strength, a power, a vivacity of touch which one cannot recover in the studio¦ three strokes of a brush in front of nature are worth more than two days of work at the easel. Eugene Boudin ( ..and boy could he could paint!) Gone are the days when I would walk around looking endlessly for that perfect scene to paint. These days, pretty anything I paint “ even en plein air “ is a composite of structures and objects and colours in that particular area or space, which I use to create what I feel is harmonious, but still has some aspects of representation as opposed to pure abstraction, whatever that may be.
However, Eugene is unmistakably correct that direct painting, ie actually standing in the snow or on the beach or in front of the model always produces something that is far more powerful than carefully worked and reworked studies in the studio.
I believe there are a few reasons for this. Firstly, when you paint directly, there is usually a sense of no time to waste, whether it is the weather, encroaching livestock, impending tides, or even the cost of the model. So this tends to induce an approach of lets just fly into this and throw a bit of paint around and see how it goes.
As it happens, it normally produces a strong painting.
Another consideration is that what happens when you paint directly or in situ, is that you are not just painting what is there, you are painting the feeling or human experience of being there, and this inevitably comes out in the work, even if you dont see it at first. Quite often, I will paint a panel outside, and then take it back to the studio and leave it for a few days or weeks. When I do take it out and have another look, on most occasions I am surprised that what I thought was a pretty ordinary effort on the day, now stands as a strong painting, and reminds me how the snow felt under my feet, or being almost swept away by the tide, and takes me back to having really been there, and the is what it is all about. Ready to Hang: No.
However, Eugene is unmistakably correct that direct painting, ie actually standing in the snow or on the beach or in front of the model always produces something that is far more powerful than carefully worked and reworked studies in the studio.
I believe there are a few reasons for this. Firstly, when you paint directly, there is usually a sense of no time to waste, whether it is the weather, encroaching livestock, impending tides, or even the cost of the model. So this tends to induce an approach of lets just fly into this and throw a bit of paint around and see how it goes.
As it happens, it normally produces a strong painting.
Another consideration is that what happens when you paint directly or in situ, is that you are not just painting what is there, you are painting the feeling or human experience of being there, and this inevitably comes out in the work, even if you dont see it at first. Quite often, I will paint a panel outside, and then take it back to the studio and leave it for a few days or weeks. When I do take it out and have another look, on most occasions I am surprised that what I thought was a pretty ordinary effort on the day, now stands as a strong painting, and reminds me how the snow felt under my feet, or being almost swept away by the tide, and takes me back to having really been there, and the is what it is all about. Ready to Hang: No.
Presentation
Artist Statement:
I have had a passion for painting and drawing all my life. These days, I will generally paint and draw anything that will be still enough for long enough to let me! I prefer to paint directly (ie with the actual subject matter in front of me, rather than a photo) either in the studio or out in the elements 'en plein air'.
To me, a well executed drawing or painting (mine or anyone else's) can convey a truth more eloquently, an emotion or a feeling of human experience more truthfully than any other form of expression. I can still remember the first time I saw a Leonardo drawing in a text book – I was literally transfixed at how the world could be viewed in a different way other than how I had been brought up. To me, the Leonardo drawings were able to get directly to the heart of the matter, and disregard what he could not be bothered to 'see'.
Since my decision to become a full time artist some twenty something years ago, I have tirelessly pursued a goal to be able to just do it better. This has inevitable involved me going through a number of stages and phases, all of which have helped me acquire more experience and skills as I moved forward.
It has long been touted that in order for an artist to develop, he/she needs to travel and experience different environments, so the journey is a physical one as well, and my wife (Isix) and I have lived in Australia, England, Wales, The Netherlands , Hong Kong and France, taking in many other countries along the way, including Spain, Portugal, Italy, Scotland, Germany, Croatia, Russia, Sweden, Crete, Fiji, New Caledonia.
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Education:
1997 - 1999 Diploma, Julian Ashton Art School, Sydney
2000 -2003 Bachelor of Fine Arts (Major Painting and Drawing) University of NSW.
2004 Invited to do an Honours year, which has been deferred
Awards & Distinctions:
2021 Awarded First prize for oil painting at the Echallot'Arts festival
2020, 2018, 2015 & 2014 Chosen for exhibition in Salon d'Automne, Paris, France
2019 Awarded painting prize at the Montmarte à Clisson Painting Festival, France
2019 Featured by Saatchi Art's 'New Masters of 2019 printed catalogue delivered to thousands of collectors in the USA
2018 Featured by Saatchi Art in a collection
2017 Awarded painting prize at the Magne International Painting Festival, France
2014 Awarded prize at the Art in the Open festival, Ireland
Exhibitions:
2019 – Montmarte à Clisson Painting Festival, France
2017 – Magne International Painting Festival, France
2016, 2014, 2013, 2012, 2019 – Noordwijk Schilderfest, Netherlands
2015 – Solo Exhibition in Groupama, Niort, France
2015 – Exhibition in Galerie Beauté du Matin Calme, Paris & Séoul
2014 – Art in the Open festival, Ireland (awarded prize)
2014 – Solo Exhibition in Château Sainte-Catherine, France
2014 – Exhibition in Art De La Brèche, France
2013 – Solo Exhibition in Royal Gallery Amsterdam, Netherlands
2011 – Solo Exhibition, Artest Sydney, Australia
2010 – Jean David Atelier d'art, Cordes sur Ciel, France
2009 – Solo Exhibition in KunstKerk, Amsterdam
2008 – Affordable Art Show at Marcello's Gallerie HAAGS, Netherlands
2008 – Paint, Light & Colour – solo exhibition at The Gallery Upstairs, Netherlands
2006 – Annual Exhibition Royal Society of Oil Painters, Mall Galleries London
2006 – Battersea Contemporary Art Fair, London
2006 – Affordable Art Fair, London
2005 – “Love" Exhibition at the West-Eleven, London
2004 – Solo Exhibition at The Watch House, Balmain Sydney
2003 & 2002 – Threshold at Manly Arts Festival, Sydney
1999 – Julian Ashton Art School Annual Exhibition, Australia
Professional/Teaching Experience:
2003 Tutor for Undergrad students at the College of Fine arts, University of NSW
2006 Art Teacher, Wandsworth School, London
2015 till present Teaching regular classes in France from my studio
Artistic Influences:
The largest influences in my career have been Degas, Picasso, Fred Williams, Richard Schmid (American, recently departed), Mary Cassatt and many others.
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