Dans le parc, 2008
Thérèse Boucraut  

Painting : oil · 130 x 130 x 2 cm 51.2 x 51.2 x 0.8 inch · Ready to hang

€5,300 5 300 €

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Shipped from: France

Delivery to: France , € 106

Estimated delivery: One to two weeks

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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, ready to hang

Authenticity

Sold with certificate of Authenticity from the artist

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

oil on canvas

Dimensions ( cminch )

130 x 130 x 2 cm 51.2 x 51.2 x 0.8 inch Height x Width x Depth

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Credentials

Vetted seller since 2016 • Top Seller

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This seller offers discount when you purchase multiple artworks.

Description

This captivating work, presumably a painting, features a human figure enveloped in a mysterious and melancholic atmosphere. The person depicted, presumably a woman, sits in a dark forest, giving an impression of both solitude and serenity. The most striking element of this painting is the bold use of color, particularly the bright red cloak that envelops the main subject. This bright color creates a striking contrast with the brown and earthy setting of the forest, immediately drawing the viewer's eye to the central figure. This red cloak also seems to symbolize warmth and life in the face of the surrounding darkness, perhaps an allusion to the complex emotions of the individual depicted. The play of light and shadow is also remarkable. The bare trees that form the background create a rich visual texture, their lack of foliage adding to the dark, wintry mood. The light appears filtered, accentuating the features of the woman's pensive face, while plunging some parts into deep darkness. This contrast between the soft lighting and the twilight shadows adds extra depth to the scene, suggesting inner reflection or quiet meditation. In addition, the subject's slightly slumped and thoughtful position conveys a range of emotions: from fatigue to contemplation, perhaps even sadness. His expression suggests a personal story, a moment of pause in a difficult journey, or introspection in the face of life's challenges. In summary, this painting is distinguished by the bold combination of colors, the masterful use of light and shadow, and the eloquent and introspective expression of its subject. It is a work that invites not only visual contemplation, but also a reflection on deep and often unexpressed human emotions.

Thérèse Boucraut, Dans le parc
France

Presentation

Thérèse Boucraut (born in 1930) grew up in the Petit-Bateau factory, a company created by her grandfather, then managed by her parents. During her childhood, she played in these buildings, these interior streets, a small closed town, full of forbidden games, discovering colors and materials, in the atmosphere of a craft profession: assembling shapes, creating new methods for weaving threads, searching for colors... In this context, she practiced drawing very early, and approached various techniques (watercolors, charcoals, tapestries, engraving, clay...) as evidence of a manual and physical practice of pictorial art.

Thérèse Boucraut paints from nature, and with models her painting is like an imaginary figurative theater but not realistic sometimes, the human figure is present as a testimony of the existence of objects then only the objects remain present, scattered, vibrant with life of yesteryear, the human figure is set in the space of the forest, or the workshop: the forest, the workshop, becoming a large theater, a space of suspended play. The scales change, and seem to question the place of the human: object or actor? Leaving the "Mural Painting" Workshop of the ENSAD, where Gromaire taught, and holding the diploma, in 1957, Thérèse Boucraut devoted herself to painting.

Two major trends at the time separated painters - all the creators who worked in and around the field of art - or even opposed them, sometimes violently. Abstraction and Figuration; in this context we will speak of a "return to figuration". Over the following years, even decades, the problem of the subject linked to the return to figuration was latent.

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