VIEW IN MY ROOM
Belgium
Painting, Oil on Canvas
Size: 39.4 W x 39.4 H x 1.6 D in
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One of the first portrait of Awa Igara, my 19 year old Japanese partner. The girl is lying on the edge of the pool. the face almost turned to the right, with the lost look, quite sad. She stands topless. Her right leg is bent. A white cloth is tight on his forehead to maintain his hair. “Awa early in the morning, lifting of attack in a well-rolled body to go swimming in the Kokage swimming pool, with a chinchikurin dress which reveals her entire back. To go faster, she now wears a yellow panty cut very high on the hips. Haku haku! Virgin dressed in black and naked flesh, she comes and goes around me like a wasp in this breathtaking outfit ”. (Extract from my workshop journal of Sunday July 20, 1975). Amber painting on canvas mounted on panel. Varnished and ready to hang. Signature on the back. ______________________________________________ Dimanche 20 juillet 1975 " Awa de grand matin levée d’attaque dans un corps neuf pour aller nager à la piscine du Kokage avec une robe chinchikurin qui lui découvre tout le dos pour aller plus vite elle porte maintenant un slip jaune découpé très haut sur les hanches haku haku vierge habilée de noir et de chair nue elle va et vient autour de moi comme une guêpe dans cette tenue ahurissante "
Painting:Oil on Canvas
Original:One-of-a-kind Artwork
Size:39.4 W x 39.4 H x 1.6 D in
Frame:Black
Ready to Hang:Not applicable
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Belgium.
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Born in 1948 in Belgium, Daniel Moline de Saint-Yon is a Belgian writer and portraitist living and working in the countryside near Spa. He graduated as an philosopher from FUNDP in Namur and lived as an artist 16 years in Japan (until 1990). His work has been regularly exhibited in solo and group exhibitions in Belgium and Japan. Staying receptive to the history and the cultural interaction between Europe and Japan is one of his main concern. Moline’s creative process starts with sketches and drawing from life on the canvas. He paints mostly portraits (mainly women), spending a great deal of time with each subject, a rapport with his model being necessary to work. He tried several mediums but somehow always returns to amber as he finds it the ideal and enigmatic partner adapted to his needs of expression. This light oily substance of rare purity and beautiful transparency takes some days to dry out, but brightens tonnes and offers remarkable elasticity. Several thin layers of extra-fine paint will sustain for ever the ardour an bloom of color fields with strong visual impact. A patient process for a unique result ! Moline’s artistic career ( by Emmanuelle Dubuisson, in french) : « Peintre de figures, de portraits et de grandes compositions dans un style fortement graphique. Formation à Namur en Belgique avec Luc Perot, puis au Japon où il étudie la décoration et devient l'élève du Maître Ryû Oda. Il pratique ensuite la calligraphie avec le moine zen Tainin Yukimura dans un temple à Shobara. Lauréat en 1984 du concours du Kansaï à Kyoto, il participe à plusieurs expositions à Tokyo, Kyoto et Kobe, où il séjournera seize ans (1973-1990). Conjuguant les approches orientales et occidentales, sa démarche picturale sʼinscrit alors en de larges compositions volcaniques où trônent dʼépais personnages au graphisme vigoureux et dont lʼénergie vitale fait ressortir une violence expressive. Lʼœuvre porte aussi les traces dʼune calligraphie pratiquée chez les moines bouddhistes, qui se mêlent aux formes nues dans un foisonnement de taches de couleur, de courbes douces et dʼentrelacements surprenants. On y retrouve aussi des traits communs avec lʼœuvre du peintre japonais Shôhaku. Les sujets, liés au corps, souvent nus, évoquent accouchements, accouplements ou corps doubles, et allient, dans un mélange de tout et de néant, tendresse et cruauté. Comme si la violence de ces figures s'accompagnait toujours dʼune bienveillance retenue envers la vie.
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