Les beautés endormies, 2022
Sandrine Stoïanov  

Painting : oil · 60 x 81 x 2 cm 23.6 x 31.9 x 0.8 inch · Ready to hang

€3,600 3 600 €

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Shipped from: France

Delivery to: France , € 48

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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, framed, ready to hang

Authenticity

Sold with certificate of Authenticity from the artist

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cminch )

60 x 81 x 2 cm 23.6 x 31.9 x 0.8 inch Height x Width x Depth

Artwork dimensions including frame

67 x 88 x 2.5 cm 26.4 x 34.6 x 1 inch

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Credentials

Vetted seller since 2016 • Top Seller

Discount

This seller offers discount when you purchase multiple artworks.

Description

This artwork poignantly depicts two sleeping figures side by side, capturing a moment of serene intimacy. The play of light and shadow skillfully highlights the soft contours of the faces, emphasizing the tranquility of their synchronized breathing. The warm, earthy colors of the blankets delicately contrast with the darker, nuanced hues of the hair and clothing, creating a soothing visual harmony. The realism is heightened by the precision of the details, such as the folds of the sheets and the texture of the skin, which add a tactile dimension to the scene. The tight composition invites the viewer to share in the quietude of this moment, evoking feelings of peace and deep human connection. It is a masterful representation of the vulnerability and beauty of human intimacy.

Sandrine Stoïanov, Les beautés endormies
France  • 1973

Presentation

A former student of the Beaux-Arts d'Épinal and Reims, where she studied conceptual art, Sandrine Stoïanov trained in cartooning on the job after a spell at Gobelins l'école de l'image. She has co-directed two short animated films with writer-director Jean-Charles Finck that are very personal to her: Irinka & Sandrinka (2006) and Le Monde en Soi (2020), nominated for a César in 2022.

For the latter, the script demanded that she return to her first love of painting and tackle a technique she had never practised before: oil painting. It was a turning point. With the help of isolation and time in confinement, she very quickly found, over and above well-digested influences, her own touch, a personal gesture, her 'way'... which she has been expressing in her canvases ever since. So, almost incidentally, she became a painter. Like the character in her film (who already looked a lot like her). Life imitates art.Her artistic approach is to give faces to the cultural mix of urban society. To take the 'long time' required by the technique of oil painting and the patient observation of his contemporaries, to reveal what they simulate and what they mask, in the manner of a Degas, a Lautrec, or perhaps a Hopper, thus rediscovering the light of a social naturalism, but of today. Painting human beings caught up in the modernity of their attachments, their contradictions and aspirations, the weight of their daily lives, and thus creating portraits of people we are not used to seeing represented in this light, particularly women. Little by little, she built up her body of work.

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