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Drawing, Watercolor on Paper
Size: 37.4 W x 49.2 H x 0.4 D in
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Œuvre de la série des Lishma /לשמה, en hébreu « en son nom » signifie la finalité désintéressée de l’étude juive. Ici ce serait au nom de la peinture, d’une pratique toute à ses avènements, plus proche des expressions de l’inconscient que de celles du moi. Echapper aux discours et aux injonctions, faire place au silence des œuvres et au mutisme de la peinture. Se laisser porter par ce qui advient chaque jour de manière impromptue sans repentir ni correction. Sa géométrie est le fruit d’une improvisation à partir de la structure de la série des « Compositions ». Elle marque le retour au travail de l'aquarelle initié à l'origine au sortir de la Villa Arson pour les premiers losanges. Gestes, lignes et aplats sont posés au jour le jour, ils dessinent les réserves de blancs qui les portent et intègrent toutes les surprises, contretemps et anicroches de parcours. Elle donne à voir l’histoire du « dialogue » instauré entre la géométrie, le geste libre et les champs de couleurs.
Drawing:Watercolor on Paper
Size:37.4 W x 49.2 H x 0.4 D in
Ready to Hang:Not applicable
Packaging:Ships Rolled in a Tube
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
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J/Y Delaunay-Israel was born in France. He has been living and working in Jerusalem since 2015. Trained at the I.A.V. of Orleans and the Villa Arson (Ecole Nationale Supérieure d'Arts) of Nice, he then, in parallel with his artistic activity, worked as a nurse, a care executive and a director of care in psychiatry. At the end of his studies he decided to follow the voices of painting which, from the blown hands of Gargas to the prints of those of Jasper Johns in " Plongeur ", carried him from the banks of Support Surface to Motherwell and Ryman via Shi-Tao (" Les propos du Moine Citrouille amère ") and the ocean of Art Brut. Thus since 1984, he has been creating series on canvas or paper with different techniques (watercolour, acrylic, inks, oil, charcoal, pastel) whose titles are often inspired by literature or music: Composition " 1984/1989, " Prémices " 1988/1990, " Desseins " 1991/1994 , " Curvas " 1994/1996, " Patrimoine " 2000/2004 , " Les Bijoux " 2002/2006 , " Ellis Island " 2004/2013 , " Epiphanies hierosolymitaines " 2017/2019, " Dances/Ricoudim "2016/..., " Long distance call " 2017/..., " Songs without word/Nigounim" 2020/..., " Fugues " 2016/..., " Lishma " 2018/... Methodically, starting from principles of composition drawn from the history of art and geometry, he endeavours, day after day, to set the times of the appearance of the painting, the "history" of its advent. Thus, out of all preliminaries or premeditations, he leads several paintings at once. At each session he intervenes only once and without repentance, on a part of each of them, leaving paintings and reserves in suspense until the next time. Thus the painter's gesture is as if cut, both in its thickness and in its surface, into multiple interlaced transverse strata and shows the singular dialogue of the painting with the author of its appearance. His works have been regularly exhibited in France and Israel. Two catalogues published by the Centre d' Art Contemporain de la Scène Nationale d' Orléans have been devoted to him with texts by the painter Christian Bonnefoi "La pose du temps" and the art historian Tristan Trémeau "Peindre avec réserve". He himself has devoted several writings to his work as well as to the workshops of artistic practices and cultural projects he conducted at the psychiatric hospital.
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