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Song without words 1/ 32 ניגון (nigoun)
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Song without words 1/ 32 ניגון (nigoun) Painting

Yohanan Delaunay-Israel

Israel

Painting, Acrylic on Canvas

Size: 37 W x 25.2 H x 0.8 D in

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About The Artwork

Cette oeuvre appartient à la série intitulée "Song without word / ניגון 5 (nigoun)", titre de pièces pour piano de Mendelsohn et pour Nigoun nom des mélodies hassidiques sans paroles, . Elle est composée à partir d'un principe inspiré de la construction géométrique du nombre d' or . Elle est réalisée sur une toile de lin- coton écrue apprêtée avec un Gesso acrylique. La peinture est constituée d'un entrelacement de surfaces et de gestes de couleurs jouant aussi avec celle de la toile. Elle est signée au verso.

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:37 W x 25.2 H x 0.8 D in

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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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