Beach-volley, 2026
Herve Malcom Thomas  

Painting : oil · 162 x 130 x 5 cm 63.8 x 51.2 x 2 inch · Ready to hang

€3,600 3 600 €

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Shipped from: France

Delivery to: Germany , € 108

Estimated delivery: One month and a half

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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

with stretcher frame

Authenticity

Sold with certificate of Authenticity from the artist

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

Dimensions ( cm • inch )

162 x 130 x 5 cm 63.8 x 51.2 x 2 inch Height x Width x Depth

Sold by

Credentials

Vetted seller since 2021

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This seller offers discount when you purchase multiple artworks.

Description

Abstraction takes over the canvas through a play of lines and colors. The gesture is free. The brush traces broad curves and dark arcs that structure the composition. Shades of blue and ochre intertwine in a controlled chromatic dialogue.
The material accumulates in successive touches. Areas of white bring light and breath to the whole. The eye circulates between organic shapes and geometric segments. Each superposition reveals a new depth.
The tension arises from the contrast between the softness of the gradients and the force of the black lines. The balance is fragile, almost suspended. The composition suggests a perpetual movement, an energy that crosses the support without ever stopping.
This oil painting on canvas is distinguished by its technical rigor and sensitivity. It proposes a visual exploration where the void and the full respond to each other. The whole concludes with precise graphic details and a discreet signature in the bottom left.

Abstract

Sport

Human body

Semi-abstract

colorful

Fictional Character

orange

Sky blue

Herve Malcom Thomas, Beach-volley
France  • 1962

Presentation

“I have been painting continuously since leaving the Ecole des Beaux-Arts in Metz in 1987.

Not being able to consider my work as a painter as being really “abstract" any more than “figurative", the idea of this oxymoron “Inabstrait ©" allowed me to define more precisely, and without Manichaeism, my painting.

“Inabstrait ©" would therefore consist in evolving freely between these two worlds, without being constrained to anything, or rather by admitting all the ways useful to the realization of a painting which would be resolutely a “drift", in the sense of the freedom of pictorial expression; thus erasing, adding, finally deciding what is good to let appear ".

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