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les hommes et les papillons

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les hommes et les papillons Painting

Emanuel Crudu

Germany

Painting, Oil on Canvas

Size: 35.4 W x 35.4 H x 0.4 D in

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$1,251

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les hommes et les papillons From the series 'Geographies of the soul' oil painting on canvas. painted in Paris in 2021. This painting is referring to Romain Gary's ending of 'European Education: "Rien d'important ne meurt... seuls... les hommes... et les papillons... Sur la terre, de longues colon...

Year Created:

2021

Subject:
Mediums:

Painting, Oil on Canvas

Rarity:

One-of-a-kind Artwork

Size:

35.4 W x 35.4 H x 0.4 D in

Ready to Hang:

Yes

Frame:

Not Framed

Authenticity:

Certificate is Included

Packaging:

Ships in a Box

Delivery Cost:

Shipping is included in price.

Delivery Time:

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

Returns:

14-day return policy. Visit our help section for more information.

Handling:

Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.

Ships From:

Germany.

Customs:

Shipments from Germany may experience delays due to country's regulations for exporting valuable artworks.

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Need more information?

"After all everyone dances to their own personal boomboom" (Tristan Tzara) Nomadic artist in movement between Paris, Lucca in Tuscany and now based in Berlin, after living in all cardinal points of Europe. Oil is my preferred painting medium for its ability to oppose substantive resistance and challenge my initial choices or instincts by leading me into alternative unintentional combinations and visual textures. My paintings are abstract in the residual sense of escapism: I pursue abstraction as something that eludes my experience or any given experience, something that takes me out of the self and not something that conflates the self into an egotistic paroxysm of any superior knowledge, perception or skill. Painting is an opportunity to encounter beauty as accidentality: unplanned, unpredictable and unconstrained. Yet always in confronting the ambiguity and substantiation of matter. My abstractions are expressive shapes taken by the banality of being, and not at all a deep psychoanalytical style of search for something deeply hidden. I don’t paint to uncover the hidden, but rather to cover up the lack of meaning in a world with no metaphysical prospects or substantive reasons for optimism. And all happens in the circumstances that the temptation for optimism cannot be fully abandoned. My abstractions are visual signs kidnapped from my daily views on the world, combining active optimism and pessimism altogether in what I call a 'romantisme dés-espéré'.

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