Blossom cherie, 2024
Agnès Jennepin  

Painting : ink · 130 x 100 x 0.1 cm 51.2 x 39.4 x 0 inch

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Verified Reviews : 9.6/10
About the artwork

Type

Painting : Unique artwork

Condition

Artwork sold in perfect condition, not framed

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cminch )

130 x 100 x 0.1 cm 51.2 x 39.4 x 0 inch Height x Width x Depth

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Credentials

Vetted seller since 2014 • Top Seller

Description

This work by Agnès Jennepin depicts a cherry blossom tree, its branches adorned with delicate flowers in shades of pink and white. The sky in the background, painted in soothing shades of blue and turquoise, creates a striking contrast with the vivid hues of the flowers. Each petal appears meticulously detailed, evoking the fragility and fleeting beauty of spring. The artist succeeds in capturing the light with precision thanks to her ink work on both sides of the Wenzhou paper. The harmonious colors and balanced composition give this painting an atmosphere of serenity and wonder. The subtle nuances of the foliage and the attention to detail demonstrate impressive technical mastery. This work invites contemplation, celebrating natural beauty with timeless elegance.

Floral

Garden

Japanese Art

Plants

Sky blue

Pink

Agnès Jennepin, Blossom cherie
France  • 1966

Presentation

Born in Nice in 1966, Agnès Jennepin, after scientific studies, acquired a multidisciplinary practical education at the school of plastic arts in Nice and studied art history there. She was also introduced to mosaic, and stained glass in several workshops. If his work is protean, his quest for confrontation with light, initiated by his manipulation of glasses in his first creations, remains capital. She tackles two subjects which overlap in the space of her studio and her time, the notion of landscapes, abstracts, and female portraits. What is at play in his female portraits concerns the duality of being, the place of lived experience, visible, and the other part of oneself. His pictorial research is in relation to the past time and to the memory trace left. Whether her choice is on a thick paper or on the contrary very thin, she likes to be surprised by it, as in a clinch where her will may not win. He becomes a moult, a skin, works for what constitutes him, and turns around, revealing, in his “Double Face” portraits, the back, intimate, ethereal. His representations seem almost ephemeral, like disembodied apparitions, leaving all room for mystery and secrecy.

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