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Illuminated Leopard With Crown Painting

Genevieve Esson

United States

Painting, Acrylic on Canvas

Size: 4 W x 6 H x 1 D in

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$240

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About The Artwork

I love the animals in Illuminated Manuscripts from the Middle Ages, aka Medieval art. This image is inspired from The Morgan Animals & Beasts Leopard wearing crown around its neck | Book of Hours | France, Paris, | ca. 1420-1425 | The Morgan Library & Museum. It is a leopard hanging out in the margins of a medieval manuscript. Please see link for more info and image of the original: http://ica.themorgan.org/manuscript/page/203/76924 I have always admired medieval illuminated manuscripts. I am in the process of illuminating the alphabet. My artwork is not an exact copy of the leopard from the Book of Hours. I have recreated it to my liking and added a different background top and bottom, and used real gold leaf for the crown and leaves in the background.

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:4 W x 6 H x 1 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Genevieve Esson has a B.A. in Painting from Webster University, an award winning artist, her work is collected regionally and internationally. Esson is a painter and multi media artist and has completed 20 Public Art Projects. Her main medium is painting in acrylics. Born and raised in St. Louis, Missouri, she participates and exhibits her artwork at fairs, festivals, gallery shows, coffee houses, hospitals, restaurants and LIVE art events. Esson makes paintings and mixed media artworks. By merging several seemingly incompatible worlds into a new universe, Esson tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations. Her works isolate the movements of humans and/or objects. By doing so, new sequences are created which reveal an inseparable relationship between motion and sound. By questioning the concept of movement, she uses a visual vocabulary that incorporates time as well as space – a fictional and experiential universe that only emerges bit by bit. Her works are based on imaginary associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. With a conceptual approach, luring the viewer round and round in circles, she finds that movement reveals an inherent awkwardness, a humour that echoes our own vulnerabilities.

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