Voyages en Arcadie N°122
Gilbert Sabatier
Painting - 50 x 40 x 1.8 cm Painting - 19.7 x 15.7 x 0.7 inch
$1,494
Painting : oil
73 x 54 x 2 cm 28.7 x 21.3 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
73 x 54 x 2 cm 28.7 x 21.3 x 0.8 inch Height x Width x Depth
Support
Framing
Sky blue ornate
Artwork dimensions including frame
76 x 57 x 3.7 cm 29.9 x 22.4 x 1.5 inch
Artwork sold in perfect condition
Artwork location: France
Work from the period “In search of the timeless" (1972-1974)
Compared to “Aerial Surrealism", this new period did not constitute a break but testified to my more serene vision of human beings facing their metaphysical questions.
Excluding any scientific basis, my interpretation was synonymous with the acceptance of quantifiable human time and infinite divine time. However, I opened windows onto possible spaces of timelessness.
By stopping or slowing down cosmic mechanics, I wondered if men could access eternity while freeing themselves from the order designed by the Great Architect.
By compressing our biological duration to the second and the universe to the century, I slipped pauses into these clocks. These erased space and duration. However, I did not deny time. I suspended it and made it my own by welding past, present and future. I objected to a before and after Big Bang. My steps no longer followed those of the god Chronos: no beginning or end.
When reading, listening to music or looking at photographs, I always felt the physical presence of the fictional characters and their creators.
How many times have I let myself be carried away by a 19th century symphony and experienced the return to life of my favorite composers?
Little by little, the idea came to me of possibilities of resistance to time. The representation of my fantasies changed. My characters became flesh beings again. Their spirituality and understanding of the infinite made them seem less translucent. They found themselves in spheres of humanity. Their anxieties disappeared, giving way to serenity.
On my paintings, men became aware that, by their very existence, they could model time Freed from the agonies of identity questions, they no longer tried to hide the ephemeral. Although the solitude was still present, the general atmosphere of my paintings was tinged with a warmer color. Suspended, the dreams of my creatures no longer released this poisonous milk which once paralyzed them to the point of forgetting that they were alive.
Furthermore, I wanted my art to go beyond the traditional representation of nature through its projections. Far from Cartesian thought and scientific rigor, my works played with the unconscious. Perhaps they were trying to interpret nature so that it would end up imitating them...
In any case, this new period tended towards a reconciliation with the deserved Eden. I was no longer suggesting cataclysms. Human beings had their destiny in hand. If they were not the originator of the spark of all life, they were the ones who thought and acted.
The dark backgrounds of my paintings were crossed by lightning reflecting celestial deserts, privileged places of meditation. The poses of the characters became more restful and more static, like a suspended time of reflection.
The unity of my paintings combined well-being and communion. I no longer represented damnation, resurrection, divine anger and floods, signs of the faults of humanity. On the contrary, my characters, thinking beings, became the universe in an understanding with the cosmos.
Vallobra, art critic, discoverer of the surrealist painter Delvaux, wrote in 1973 that the fantastic and the Dantesque confront each other in the work, bordering on the surreal as conceived by G. Sabatier.
A breath evoking tragic biblical scenes seems to separate and dislocate man between light and darkness.
By ignoring Sabatier's tormented subjectivity and only defining his objectivity in a pictorial way, we can consider that his research into decanting and dematerializing the mass and volume of painted subjects achieves transfiguration by only juxtaposing with a extreme finesse the soul of things.
About the seller
Professional art gallery • France
Vetted Seller
This seller rewards your purchases of multiple artworks
Gilbert Sabatier is a painter, engraver, sculptor. A creator since 1960, he is the author of 19 periods ranging from figurative to contemporary research. His total work represents two thousand paintings, 800 sculptures and 250 engravings.
His work is a hypnotizing and protean universe that questions the art of our time in all its forms, colors and movements. Explorer of the impossible, alchemist of matter and adventurer of art, Sabatier has never stopped creating paintings, engravings, screen prints and sculptures, sometimes monumental, sometimes light.
From his figurative early works to his research on weightlessness and suspended time, from his paintings between dreams and reality to his quest for abstraction, from his fascination with the laws of the universe to the invention of a new genre, synthesis of all his obsessions, the artist opens up like never before.
Throughout his life, he tried to artistically express the aspirations and doubts of human beings in the face of an undeciphered universe. For those who discover his work to immerse themselves in the heart and mind of a resolutely free artist.
PAINTER • ENGRAVER • SCULPTOR
PRESENTATION OF THE ARTIST© NRCO
Born in 1941 in Haiphong (Vietnam), and painter since 1960, Gilbert Sabatier is the author of 2000 paintings, 800 sculptures, 250 engravings, illustrations – works present in various personal, group, national and international exhibitions . He is the creator of 19 periods ranging from classic to contemporary research.
His largest painting reaches 60 m² and his largest sculpture 18 meters long. As for his first important work, The Last Supper, exhibited at the Salon des Artistes Français in Paris in 1963, it was acquired by the church of Vineuil (Loir et Cher).
He lives and works in Orléans as well as in Loir et Cher.
(Personal Exhibition = EP)
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