Bronze Sculpture for Sale
Soleils Mouillés, 2017
Painting : oil · 152 x 198 cm 59.8 x 78 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 )
152 x 198 cm 59.8 x 78 inch Height x Width x Depth
Sold by
Art gallery
Professional art gallery • France
Credentials
Vetted seller since 2015
Discount
This seller offers discount when you purchase multiple artworks.
Description
These are skies seen from the earth, seen from humans, seen from the solitude of the artist who stands up, romantic, in front of the immense nature.
These skies which exasperate the colorist's palette, how to paint their changing color?
How can we make the infinite color chart of this world above us visible?
Reduce the palette and make yellows, blues and reds dance like the impressionist masters?
Or get carried away in a synesthesia delirium where each color is a note, where each note is a cloud?
Or, try to penetrate into the material of the sky to flush out the evanescent color, the invisible colored, like the Classics in search of "color-mood"?
In the works of the painter Frédéric Choisel, we seize by sight the moods of a sky of intangible essence: ocher, orange, bladder green, purple, umber and bilious black.
The clouds in their epiphanic nimbuses speak as an oracle.
Their messages are good or bad, depending on whether the sky is clear or threatening.
When the sky is charged, it is akin to the apocalyptic visions of times past or to come.
Everywhere, an arid nudity, dark expanses which advance towards a horizon from which there is no Jerusalem.
A tarred carcass is exposed to brackish water, the last residue of human life.
This “worry” which vibrates in several of the artist's canvases translates the fear of a god or of a nature which has the power to annihilate everything, thus leaving us in front of the hallucinatory spectacle of a mauve sky.
There are also paintings that strike with their very different aesthetics.
The painter who oscillates between figurative and abstract art, reconciles forms using different techniques: brush and oil paint for skies, knife and tar for terrestrial forms.
The abstract gesture stains the canvas, tames the clouds with its multiple assaults, covers the purity of the sky with mud and brambles.
These operations mutilate and hybridize the works which de facto fall within the discursive and reflective field of contemporary painting.
Finally, what we perceive is that, behind the enterprise of painting skies, hides an initiation into mystery, a conquest or a reconquest of the gesture of painting, a desire to probe the skies to better understand life. on earth.
These skies which exasperate the colorist's palette, how to paint their changing color?
How can we make the infinite color chart of this world above us visible?
Reduce the palette and make yellows, blues and reds dance like the impressionist masters?
Or get carried away in a synesthesia delirium where each color is a note, where each note is a cloud?
Or, try to penetrate into the material of the sky to flush out the evanescent color, the invisible colored, like the Classics in search of "color-mood"?
In the works of the painter Frédéric Choisel, we seize by sight the moods of a sky of intangible essence: ocher, orange, bladder green, purple, umber and bilious black.
The clouds in their epiphanic nimbuses speak as an oracle.
Their messages are good or bad, depending on whether the sky is clear or threatening.
When the sky is charged, it is akin to the apocalyptic visions of times past or to come.
Everywhere, an arid nudity, dark expanses which advance towards a horizon from which there is no Jerusalem.
A tarred carcass is exposed to brackish water, the last residue of human life.
This “worry” which vibrates in several of the artist's canvases translates the fear of a god or of a nature which has the power to annihilate everything, thus leaving us in front of the hallucinatory spectacle of a mauve sky.
There are also paintings that strike with their very different aesthetics.
The painter who oscillates between figurative and abstract art, reconciles forms using different techniques: brush and oil paint for skies, knife and tar for terrestrial forms.
The abstract gesture stains the canvas, tames the clouds with its multiple assaults, covers the purity of the sky with mud and brambles.
These operations mutilate and hybridize the works which de facto fall within the discursive and reflective field of contemporary painting.
Finally, what we perceive is that, behind the enterprise of painting skies, hides an initiation into mystery, a conquest or a reconquest of the gesture of painting, a desire to probe the skies to better understand life. on earth.
Presentation
At eleven years old, Frédéric Choisel starts to take his first photographs with an old Pentax camera. It leads him a few years later to the Ecole Supérieur d'Etudes Cinématographiques of Paris. After graduating, he has the honour to work with the painter Gaétan de Rosnay, whose post-impressionist style and contagious enthusiasm for painting had an influence on his artistic researches. The painter encourages him to explore classic painting, the light and the shapes in Dutch and Spanish paintings of the XVIIth century, as well as the French artists as Delacroix, Courbet, Chardin or Corot. The eye is formed and the hand disciplines itself.
Settled in San Francisco, Frédéric Choisel starts a career in audiovisual production with the elusive desire of pictures that takes him away from painting. The contact, sensuality, physical dimension, material, which are absent of photography, are missing him. So he starts to mix his experience of photography with his first classic and realistic paintings. Then, he goes towards the Abstract Expressionists, attracted by the work of Cézanne, and in particular of Kooning and Staël. His work is distinguished: A rigour that led him to be regularly exhibited in San Francisco.
Today, in a great part of his work the idea of "passing" persists as for Frédéric Choisel reality is the combination of several attempts to understand and represent the world. Thus, his new abstract floral series called "Akua" (which refers to the gods of the oceanic islands) distils force, undeniable plastic beauty, but also the dimension of fullness that extends with the time in his presence.
It is a specific manner to walk into the painting by creating new spaces where abstraction is a trend that first takes us further away, and then frees the mind from preconceived ideas.
Settled in San Francisco, Frédéric Choisel starts a career in audiovisual production with the elusive desire of pictures that takes him away from painting. The contact, sensuality, physical dimension, material, which are absent of photography, are missing him. So he starts to mix his experience of photography with his first classic and realistic paintings. Then, he goes towards the Abstract Expressionists, attracted by the work of Cézanne, and in particular of Kooning and Staël. His work is distinguished: A rigour that led him to be regularly exhibited in San Francisco.
Today, in a great part of his work the idea of "passing" persists as for Frédéric Choisel reality is the combination of several attempts to understand and represent the world. Thus, his new abstract floral series called "Akua" (which refers to the gods of the oceanic islands) distils force, undeniable plastic beauty, but also the dimension of fullness that extends with the time in his presence.
It is a specific manner to walk into the painting by creating new spaces where abstraction is a trend that first takes us further away, and then frees the mind from preconceived ideas.
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All our reviews are extracted from Verified Reviews
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