![Painting, Lectrice aux anémones, Thérèse Boucraut](https://media.artsper.com/artwork/2219660_1_s.jpg)
Lectrice aux anémones
Thérèse Boucraut
Painting - 99 x 99 x 3 cm Painting - 39 x 39 x 1.2 inch
$4,652
Painting : oil
98 x 131 x 2 cm 38.6 x 51.6 x 0.8 inch
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Type
Unique work
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Medium
Painting: oil
Dimensions cm • inch
98 x 131 x 2 cm 38.6 x 51.6 x 0.8 inch Height x Width x Depth
Support
Framing
Not framed
Artwork sold in perfect condition
Artwork location: France
This artwork depicts an intimate and intriguing scene where two identical figures, possibly twins, are seated around a circular table covered with a white and red tablecloth. The artist uses a warm, earthy color palette, creating a comfortable and familiar atmosphere. The two figures, dressed similarly in patterned shirts and red jackets, are immersed in a quiet and thoughtful activity. One of the figures holds a deck of cards, while the other appears to be about to drink a cup of coffee. This arrangement evokes a moment of complicity and connivance, accentuated by the attentive gaze they give each other. The arrangement of the elements on the table, simple but symbolic, draws the viewer's gaze towards the center of the composition. The carefully painted folds of the tablecloth, as well as the delicate patterns of the shirts, are evidence of the artist's technical precision. In the background, a red and yellow handbag, casually placed on the floor, adds a touch of realism to the scene. The general setting appears to be an outdoor environment, probably by the sea or in a sandy space, suggested by the texture of the ground. This gives the scene an aspect of summer relaxation, a break from everyday life, reinforced by the relaxed posture of the characters. The originality of this work lies in the mirroring of the characters, creating a visual and narrative intrigue. The observer is invited to contemplate not only the striking resemblance of the figures, but also to look for subtle clues about their relationship and shared history. The treatment of shadows and lights accentuates the effect of volume and physical presence, transcending simple illustration to reach an almost photographic dimension. In short, this painting is an eloquent exploration of the themes of duality, intimacy and contemplation, realized with undeniable technical mastery and a keen sense of composition.
About the seller
Paul Stewart Gallery • France
Artsper seller since 2016
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Thérèse Boucraut (born in 1930) grew up in the Petit-Bateau factory, a company created by her grandfather, then managed by her parents. During her childhood, she played in these buildings, these interior streets, a small closed town, full of forbidden games, discovering colors and materials, in the atmosphere of a craft profession: assembling shapes, creating new methods for weaving threads, searching for colors... In this context, she practiced drawing very early, and approached various techniques (watercolors, charcoals, tapestries, engraving, clay...) as evidence of a manual and physical practice of pictorial art.
Thérèse Boucraut paints from nature, and with models her painting is like an imaginary figurative theater but not realistic sometimes, the human figure is present as a testimony of the existence of objects then only the objects remain present, scattered, vibrant with life of yesteryear, the human figure is set in the space of the forest, or the workshop: the forest, the workshop, becoming a large theater, a space of suspended play. The scales change, and seem to question the place of the human: object or actor? Leaving the "Mural Painting" Workshop of the ENSAD, where Gromaire taught, and holding the diploma, in 1957, Thérèse Boucraut devoted herself to painting.
Two major trends at the time separated painters - all the creators who worked in and around the field of art - or even opposed them, sometimes violently. Abstraction and Figuration; in this context we will speak of a "return to figuration". Over the following years, even decades, the problem of the subject linked to the return to figuration was latent.
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