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Sylvie Derely

Charlotte, 2016

$ 3,018

Sylvie Derely Charlotte, 2016

Name: Charlotte
Brand: Artsper
SKU: 315613
Price: 2400 EUR
Availability: InStock

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$USD 3,018

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GALERIE ESTADES

PARIS - LYON - TOULON, France

Artsper seller since 2016
41 orders finalized

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About the work

Medium

Sculpture : bronze, metal, bronze patina
Dimensions cm | inch

40 x 11 x 18 cm 15.7 x 4.3 x 7.1 inch
Type

Numbered and limited to 8 copies
1 remaining copy
Authenticity

Work sold with an invoice from the gallery
and a certificate of authenticity
Signature

Artwork signed in the mold
About the artwork

Artwork sold in perfect condition

Bronze sculpture (Barthélémy Foundry) signed and numbered 1/8.
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Origin: France
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Inspired by Alberto Giacometti

Themes: Nude, Urban Landscape

Colours: Sculpture Grey

Artist

Tags:

statue

Sylvie Derely

France

“Originally from Lille, Sylvie Derely began painting in 1977. Self-taught, she trained at the School of Fine Arts in Reims. At the beginning of the 80s, she divided herself between watercolor and orders for textile designs. Her attraction to the great horizons, memory of a childhood in the north, made her a painter of frescoes. Large Parisian houses appeal to his talent, Guerlain, Renault or Rochas who ask him to decorate their facade with painted tarpaulins. (…) Living in the Lyon region since 1993, she devotes herself entirely to sculpture, drawing her inspiration from her many travels and from the lives of the people around her. Sylvie Derely expresses a great sensitivity in her art, very feminine, never aggressive and always touching. The movement it gives off makes it almost alive. “Sylvie Derely's sculptures have the harmonious and soft curves of the landscape that can be seen from her studio, facing the slopes of Lyon. Young girls or mothers, in mini skirts, with flat or round belly of the spring of life, when one is about to give it. All have large arms to hug, have the long legs of those who stride the world. (…) Sylvie Derely takes a tender look at the family: couples in harmony that we imagine too recent perhaps, to be damaged by the daily knife blows but who nevertheless seem to retain the bond of the first moments. Could it be that Sylvie Derely, by omitting to sculpt faces, is thus trying to hide from us her fears, her lacks, her weaknesses? The rigid necks of these young girls, of these women, prove the restraint, the pride of the artist in the face of the world, in the face of adversity. So in this hymn to life that Sylvie DERELY offers us, would there not be a way to retain, in our turn, our distress to greet with her the happiness placed within our reach and to immerse ourselves in it. "

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