Gerbe de rires - série couleurs de l'île de la Martinique, 2016
Painting : oil · 80 x 80 x 2 cm 31.5 x 31.5 x 0.8 inch · Ready to hang
€1,320
1 320 €
One of the last works available by this artist
Shipping & delivery
Shipped from: France
Delivery to: Spain , € 100
Estimated delivery: Less than one week
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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 gallery
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
80 x 80 x 2 cm 31.5 x 31.5 x 0.8 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2018 • Top Seller
Description
Abstract painting - Mixed media
Presentation
Isabel Tronçon is born at the edge of May 1968, and she inherited from it a singular need of liberty. She paints since she's 18. Her material is the abstract, her weapon the knife, her condiment the oil.
She is a passionate admirer of Nicolas de Stael and Zao Wou Ki. She juxtaposes the colors, they fight, they love, they embrace each other, penetrates and love again. She describes the wind and its movement, the sun and its' smell, the sand, the boring...
Isabel Tronçon finds in the abstract art a connexion with jazz music, surrealism, the Nouveau Roman style, modern philosophy a sort of non conformism, a singularity, a fantasy or what calls the art critic Alexandre Benois the "zero of the forms". To put it in a nutshell, an aesthetic autonomy or an extended language, if ever utopian or avant garde.
She is a passionate admirer of Nicolas de Stael and Zao Wou Ki. She juxtaposes the colors, they fight, they love, they embrace each other, penetrates and love again. She describes the wind and its movement, the sun and its' smell, the sand, the boring...
Isabel Tronçon finds in the abstract art a connexion with jazz music, surrealism, the Nouveau Roman style, modern philosophy a sort of non conformism, a singularity, a fantasy or what calls the art critic Alexandre Benois the "zero of the forms". To put it in a nutshell, an aesthetic autonomy or an extended language, if ever utopian or avant garde.
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