by Guillaume Moschini
Painting : acrylic, ink
114 x 146 x 2.5 cm 44.9 x 57.5 x 1 inch
Second NOT DISPLAYED BLUR TEXT
Free returns within 14 days
Authenticity guaranteed
Learn moreSecure payment
About the artwork
Type
Unique work
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Dimensions cm • inch
114 x 146 x 2.5 cm 44.9 x 57.5 x 1 inch Height x Width x Depth
Framing
Not framed
Tags
Artwork sold in perfect condition
Artwork location: France
This method is especially safe for large works, and provides lower shipping costs as well.
Rolled works can be easily stretched (for canvas works, i.e. placed onto wooden stretcher bars) and/or framed by a local framer upon arrival.
Guillaume Moschini is a French abstract artist mentored by the internationally recognized Supports/Surfaces artists Claude Viallat, Patrick Saytour, and Vincent Bioules.
Much like Helen Frankenthaler, Moschini’s work depends on process: unprimed, raw canvas, a diluted pigment (mixed inks, acrylics, and paint thinners), and the unconscious phenomenon that occurs through the process of art making.
In his organized studio, he constructs compositions of color, transparent tints, overlays and shapes.
Liquid pigments melt into the raw canvas with precarious intention.
Meditation on the proper tools, balance of color, form and the flow of material is his strategy.
Moschini’s palette is reinvented per series, sometimes vibrant and sometimes muted.
Conceptually, Moschini’s work echoes Kenneth Noland’s minimalism without the restraint of flatness. His transparency variations within the color field and transparent overlays reinvent a contemporary and unique approach. Moschini reflects on a time in the history of painting that questioned its definition.
About the seller
IdeelArt • United Kingdom
Artsper seller since 2015
Vetted Seller
Top Seller
This seller rewards your purchases of multiple artworks
Imagine it at home
Discover more by the artist
Presentation
very liquid matter. In his paintings, he incessantly mingles inks with acrylic and
methylated spirits. Interested in the limits of the colour field, he paints by combining
rectangular shapes which are not tint areas but traces of a single brushstroke.
For a long time, the artist preferred using rather small-sized frames, making it easier
for him to paint that trace, whose width is strictly determined by the width of the
brush, in a vision which is quite close to Nick Toroni’s. By successive corrections of
“accidental” drips, these shapes sometimes invaded the canvas to turn into a quasi-
monochrome. This practice, which was felt like an obsession, stood for a crucial
change in the artist’s recent apprehension of large-sized frames. Moreover, it had
already characterized his first works, the ones painted with brooms on canvas sheets
up to six metres long and mainly inspired by American abstract paintings. These
resulted from an initial search of vast expanses of colour along with a desire to
penetrate the canvas.
In order to adapt his work to larger dimensions, Moschini started out by assembling
two frames. From that moment on, he designed his paintings in terms of length and
not of height, their various possibilities of arrangement creating new relations
between colour, composition and even scale. Within his quasi-monochromes, shapes
reappeared in the unpainted spaces of the canvas. An emergence accompanied by a
conversion of Moschini’s paintings into drawings, which offers many a variations he
played around with.
Having reached a certain degree of skill in the art of converting a trace into a shape,
he could reproduce his technique on any kind of format and medium. Guillaume
Moschini pays great attention to the selection of the right tool and considers the
choice of the method very carefully. On the one hand, the absolute clarity of his work
requires the use of wider and wider industrial brushes so as to avoid repeated
strokes of paintbrush. On the other hand, in order to be less litteral, the artist willingly
breaks the continuity of the strokes by still using smaller brushes. Thus, he draws
and redraws the story of a shape by changing the way to produce it. The position of
the trace is determined to the naked eye and not according to a specific design or
drawing. It traverses the canvas, no matter where. The only rule to follow is to try to
find a balance between the traces without them having necessarily the same
dimensions.
Choosing large formats compelled Guillaume Moschini to lay his canvasses down on
a table and work the four sides of the frames, which required a real physical
commitment. Paradoxically, for the very exacting professional he is, working on
large-sized frames allows greater control than on smaller ones. He just needs to
stand on little bench to apply the brush most delicately. If his approach is based on
gesture, it refers to no expressionist style.
Furthermore, the artist protects the first trace from the various splutters. However,
some of them are preserved insofar as they pertain to the stability of the painting.
Then, they function as a writing style, a wash tint, a “circumstance” which might be
obsessively controlled and might even be the starting point of a painting. As regards
the artist, he plays with the dichotomy between heaviness and weightlessness.
In this demanding approach, unconsciousness is at work : “My paintings are organic,”
Moschini says. The artist works in series. Each painting remains independent from
the others and is not necessarily intended to be displayed within a predetermined set.
Pieces can function in three, their association or separation depending on their
relation to space and colour.
If Moschini’s work on shape is fundamental, it is a pretext to colour, which stands for
a real project to him. The object, the motive of his approach is the communication
between two colours and even the invention or the discovery of a new colour,
including the one that is not perceptible at first glance, resulting from infinitely
variable combinations… In order for two colours to match, there needs to be a fair
balance between shapes, on the assumption that what is not painted is as important
as what is. Afterwards, the logical harmony between sometimes clashing colours
depends on the evolution of this or that series.
Fascinated by repetitive painting, Moschini develops a more and more distinctive
taste for minimalism and radicalism. In order to show his longing to go straight to the
point by being as light as possible, Moschini does not apply any primer coat to his
canvasses. Instead, he even applies a very transparent coat of diluted colour – a
“jus” –, in direct continuation of Marc Devalde’s experiments. If there are fewer and
fewer hues, colour becomes brighter and brighter.
Moschini’s gesture conveys an emotion, a tension which only arises from playing on
equilibrium and disequilibrium between shapes and colours, excluding any kind of
systematic approach. If this work mostly deals with aesthetics, no aestheticism can
be detected : indeed, Guillaume Moschini’s attention is not focussed on the beauty of
colours, but on their unsteady balance, depending on the exposure conditions and
the viewer who never stops capturing and recreating their values.
Aurélie Barnier, June 2014
More works from IdeelArt
This seller offers discount when you purchase multiple artworks!
Protect your purchase
We’re here to help you collect art securely. When you browse and buy on Artsper, you benefit from our guaranteed protections.
Buy works from the best galleries
We partner with the best art galleries. All sellers on Artsper have been carefully reviewed and approved by our team. All of our partner galleries respect our code of ethics.
Know what you’re getting
Each work on Artsper is studied and validated by our team before appearing online. Get personalized support Contemporary art specialists are available by phone and email to answer all of your questions about our works of art. Get personalized advice and curated suggestions for your collection.
Resell your artworks
As a private individual, you have the possibility to resell on Artsper your works acquired on Artsper. For more information click here.
Make an offer with Artsper
Negotiate prices
Price negotiation is possible. Like in a gallery, this allows you to open a discussion and purchase your works at your preferred price.
Get our help negotiating
Let our team handle the negotiations and get back to you once the best deal is made.
Order safely
Artsper’s satisfaction guarantee
With Artsper, you have the opportunity to return a work free of charge within 14 days of receipt if it does not suit you, for whatever reason. You will then receive a full refund for your order.
Protect your purchase with Artsper’s payment partners
All credit card payments are processed by Paybox, the trusted leader in payment processing for international businesses. Paybox ensures the highest level of security.
Get specialized support from Artsper in the event of a problem
On the rare occasion that a work of art arrives in a different condition than described, we will work to administer a return, refund, restoration or exchange for you. Our team will always keep you informed on the progress of your request and will go above and beyond to offer you personalized solutions.
To benefit from Artsper’s protections you must:
-
Place your order using one of Artsper's payment methods.
-
Report any issues to Artsper within one week of receiving your work.
-
Provide all requested photographic evidence of the problem (including the original artwork and packaging).
Artsper’s guarantee covers the following problems:
-
You receive a work that’s missing a described characteristic (such as a signature or a frame)
-
You receive a work with different characteristics than those described at the time of purchase
-
You receive a damaged piece of work
-
Your purchase is declared lost or damaged during transit
-
You receive a work that is a different in color than what you ordered
-
Your purchase is delayed
Artsper gives you access to the largest catalog of contemporary artworks, from the best galleries (200,000 works, 25,000 artists, 2,000 partner galleries).
We select the galleries with which we collaborate. This demanding selection, operated by our team of experts, offers you several guarantees:
- Double expertise regarding the quality and originality of the works. On the one hand by professional galleries that select their artists and works. On the other hand by Artsper which selects its partner galleries according to the quality of their catalog and their reputation.
- Access to the entire catalog of works from our partner galleries, sold at the same price as in the gallery.
- The possibility of returning purchased works (within 14 days) if they do not suit you, wherever you are in the world. Which is not the case outside Artsper.
- The possibility of easily reselling the work you purchased on Artsper.
We also facilitate the search for works according to your preferences thanks to our intelligent features such as:
- Your custom selection, created based on your tastes;
- Your custom universe, choose from our different universes the one that suits you and access selections of works!
Or simply thanks to our filters on the catalog allowing you to refine your searches.
Our customer service is also at your service and responds within the shortest time!
For some artworks, you can negotiate the price. If the price of the work is negotiable, you have a “Make an offer” button under the “Buy this work” one.
To submit your offer, you must make a payment of the desired amount. Your offer will then be forwarded to the gallery, which reserves the right to accept or reject it. If your offer is accepted, it means that your order is confirmed by the gallery and they will prepare the artwork for shipment. If your offer is rejected, you will be refunded the total amount paid automatically. The gallery can also propose a counter-offer for the acquisition of the artwork.
If you have any questions, please feel free to contact us: [email protected].
Artsper delivers worldwide!
However, please note that once your order reaches its destination, it may be subject to VAT or other customs fees. These charges are beyond our control and you will be responsible for paying them (this is indicated at the ‘checkout’ first step).
Select the delivery address of your choice. Please make sure that someone is present to receive your order.
If your billing address is different to your delivery address you can specify this at the checkout.
You can return the artwork without needing to provide a reason or pay a penalty fee up to 14 days after receiving your order.
In the case that the right of withdrawal is exercised in the aforementioned time frame, the price of the artwork(s) purchased and the shipping costs will be reimbursed by us as soon as the gallery has received the artwork and notified us.
Artsper will manage the return of the work and will bear the cost of returns (which will either be paid by you and refunded by Artsper or directly paid by Artsper).
The artwork must be returned in perfect condition and in its original packaging (or equivalent).
The buyer exercises his right of withdrawal directly from MUMART, by sending an email to the address: [email protected].
If you have bought a painting, a sculpture or a work on paper, find expert advice on its conservation and how to best enhace it: