La lune noire, Circa 1995
Print : digital art · 45 x 32 x 0.1 cm 17.7 x 12.6 x 0 inch
€300
300 €
One of the last works available by this artist
Shipping & delivery
Shipped from: France
Delivery to: Germany , € 27
Estimated delivery: One to two weeks
Free returns within 14 days, full refund
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Verified Reviews : 9.6/10
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About the artwork
Type
Print : numbered and limited to 200 copies
1 copy available
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
digital art on paper
Dimensions ( cm • inch )
45 x 32 x 0.1 cm 17.7 x 12.6 x 0 inch Height x Width x Depth
Sold by
Art gallery
Professional art gallery • France
Credentials
Vetted seller since 2014
Description
An animal portrait of great precision. The fixed gaze of a French bulldog captures attention. The black and white treatment accentuates the contrasts. The light sculpts the volumes of the coat and the wrinkles of the face.
The work in charcoal or black stone brings a velvety depth to the dark background. The subject stands out clearly on a light ground. The balance of grays creates a calm and solemn atmosphere.
The composition places the animal in a noble posture. Each anatomical detail is rendered with accuracy. The line is sure and controlled.
This work is presented in the form of a limited edition. It is numbered 8 of 200 and bears the artist's signature in the bottom right. The text La Lune Noire is soberly inscribed at the foot of the image.
Presentation
François Bard is a French painter born in 1959 in Lille (France). He lives and works in Paris.
He has studied painting at the Beaux-Arts (ENSBA) in Paris, and graduated in 1980.
He has been selected to be a resident at the Casa de Velazquez (Spain) from 1988 to 1990. He won the first Belmondo Prize in 1990 .From 1990 to 2000 he has been an oil painting professor at the Beaux-Arts Ateliers of the city of Paris.
Since September 2011, François Bard has been represented by a new gallery, the Olivier Waltman Gallery in Saint-Germain-des-Prés, Paris (France).
The painting of François Bard combines a sharp observation of our time and his personal mythology. Mid-way between the great tradition of painting and a very cinematic universe, the artist creates a deep and intimate world. Like a chiaroscuro, his technique deploys flamboyant colors that seem to be mute at the same time.
His painting style, fine and old, evokes a very contemporary mural style, and it is a way for the artist to deliver his own vision of the Vanity. The depth of his subjects makes us think of the canvas treated as a cinema screen: black, intense, perfect for the mise en abîme.
François Bard ?s vocabulary can be associated with the heroines of David Lynch, the broken faces of Martin Scorcese and with the great American road movies.
The large formats and photographic framing force the viewer to confront the works directly. His characters and landscapes, although strange to us, seem surprisingly familiar. The work of François Bard escapes to categories; his canvases play with the codes of the narration and manipulate our gaze as they wish.
He has studied painting at the Beaux-Arts (ENSBA) in Paris, and graduated in 1980.
He has been selected to be a resident at the Casa de Velazquez (Spain) from 1988 to 1990. He won the first Belmondo Prize in 1990 .From 1990 to 2000 he has been an oil painting professor at the Beaux-Arts Ateliers of the city of Paris.
Since September 2011, François Bard has been represented by a new gallery, the Olivier Waltman Gallery in Saint-Germain-des-Prés, Paris (France).
The painting of François Bard combines a sharp observation of our time and his personal mythology. Mid-way between the great tradition of painting and a very cinematic universe, the artist creates a deep and intimate world. Like a chiaroscuro, his technique deploys flamboyant colors that seem to be mute at the same time.
His painting style, fine and old, evokes a very contemporary mural style, and it is a way for the artist to deliver his own vision of the Vanity. The depth of his subjects makes us think of the canvas treated as a cinema screen: black, intense, perfect for the mise en abîme.
François Bard ?s vocabulary can be associated with the heroines of David Lynch, the broken faces of Martin Scorcese and with the great American road movies.
The large formats and photographic framing force the viewer to confront the works directly. His characters and landscapes, although strange to us, seem surprisingly familiar. The work of François Bard escapes to categories; his canvases play with the codes of the narration and manipulate our gaze as they wish.
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