Nu, Fauve sur une chaise, 2024
Painting : acrylic · 73 x 60 x 2 cm 28.7 x 23.6 x 0.8 inch
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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 gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
73 x 60 x 2 cm 28.7 x 23.6 x 0.8 inch Height x Width x Depth
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Art gallery
Credentials
Vetted seller since 2024 • Top Seller
Discount
This seller offers discount when you purchase multiple artworks.
Description
It is an acrylic on canvas measuring 73 x 60 cm, mounted on a frame, with the artist's signature at the bottom right and on the back + artist's certificate of authenticity - The artist's favorite themes artist are art deco expressionism, nude, fauvism, cubism
Patricia KLEYMANN is a French painter born in 1965, and living in the south of France - She has participated in numerous exhibitions in France and internationally, and her works are now collected around the world - She took part in the literary project entitled "Women and Artists" and "Artists of the 20th and 21st century", published by REGARDS Editions
Shipping from France by Colissimo or Fedex
Presentation
Patricia Kleyman is a French painter, born in 1965. Self-taught since 1999, during her career she has participated in numerous exhibitions in France and internationally.
His artistic recognition has crystallized through Akoun, Drouot and Artprice rating, and her paintings are collected across the world.
The artist has also taken part in a literary project entitled "Women and Artists".
Like dreamlike tales, nimbed in symbolism and offered to expressionism, the works of Patricia Kleyman transcend the instant to settle in temporality.
In a bedazzlement of shapes, her paintings - poetic odes to Woman - are adorned with primary colors with strong tones that evolve in a mastered cacophony, transporting the viewer into an unexpected and chimerical universe, where, sometimes harmoniously lascivious, sometimes thoughtful or contemplative, the female figures seem to indulge in a duality between a manifest modesty and a deliciously assumed femininity, freeing themselves from the shackles of the canvas, to splash the viewer with an obvious vital force and a communicative energy tinged with a some nostalgia for the past.
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