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Clin d'oeil, Picasso Print

Richard Routin

France

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8 x 12 in ($60)

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About The Artwork

Acrylic Painting: A nod to Dali ORIGINAL WORK: Subject: acrylic painting Acrylic paint on hahnemuhle 500gsm paper Dimension cm 88 x 58 cm + 2 cm white margin Unique piece, original work Certificate of authenticity signed by the artist Description GLANCE SERIES This painting is part of a series of winks around artists who, through their expression, have tickled my senses and my imagination, and all of them have inspired my current work. A nod to PICASSO It wasn't his early works, where Picasso often depicted horses realistically, in scenes of bullfights or other equestrian events that really stuck with me. To be honest, it was a few years ago, when I found myself face to face with Guernica, when I was a kid when I was first struck by his work. His almost abstract unstructured horse represented for me the very image of emotion. A set of forms composing the very essence of true emotion, the violence of barbarism and suffering. He then went to the essentials by freeing himself from all barriers and perfectly succeeding in allowing us to access where he wanted to take us. Pure emotion... In other works, Picasso used horses to represent ideas of strength, power and freedom, but also sometimes brutality and violence. From angular and deconstructed forms, he managed to express a range of emotions to perfection. Just like my fusion series and my nod to Dali, I, like Picasso, wanted to show all the admiration I feel for his work.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:8 W x 12 H x 0.1 D in

Size with Frame:13.25 W x 17.25 H x 1.2 D in

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If we know exactly what we are going to do What's the point of doing it. Pablo Picasso "Escape and extirpate from the depths of your entrails this animal, passionate being, accompanied by its overflow of repressed emotions and finally give it a reason for being, give it the power to express itself, constantly nourish it, until 'until it invades you' Everyone has their own way of approaching art. As far as I am concerned, and if I go back to my most distant childhood memories, it was without a shadow of a doubt always motivated by an insatiable search for freedom. This absence of hindrance that only drawing and painting have always offered me. Gradually remove one by one these elements that I would call "disturbing", and which connects you to reality, to this visceral anguish of doing wrong, of not pleasing, of disappointing. Escape and extirpate from the depths of your entrails this animal, passionate being, accompanied by its overflow of repressed emotions and finally give it a reason for being, give it the power to express itself, constantly feed it, until until it invades you. This is perhaps why drawing, painting, were always a necessity for the neurotic being that I would undoubtedly have become without the contribution of this real breath of oxygen. This is also why I do not remember a moment, as far back as my memory can go, when I put down my pencils and my brushes. More or less cured of this fear, today I am in a completely different process. That of exchange, that of exhibiting this sensitivity, that of revealing oneself. Maybe it's pretentious, who isn't? Perhaps it is presumptuous, but the very idea of ​​provoking emotions for as many people as possible, of exposing oneself in this way remains such an intoxicating sensation that it seems difficult for me to do without it. No art school. Minot I did not want to let myself be locked into a kind of straitjacket that I did not feel, at the time, really constructive, in a purist self-taught approach that I claimed. No matter…. hard work and passion allowed me to explore my own paths and make my own mistakes. But why the horse, will you tell me? Well I would say dating. First of all with my wife, this wonderful and passionate being, who shares with the horse this same bond that I share with painting. I have devoted to these sides a real passion for this curious quadruped. This inextricable bond of freedom and becoming one with the animal.

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