Saint-Jean-de-Luz - Paysage maritime des Pyrénées Atlantique
Yvon Lambure
Painting - 46 x 55 x 2 cm Painting - 18.1 x 21.7 x 0.8 inch
$1,599
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Pêche aux thons-St Jean de Luz - Paysage marin et scène de vie de pêcheurs,
2001
by Yvon Lambure
Painting : oil
81 x 100 x 2 cm 31.9 x 39.4 x 0.8 inch
$5,234
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About the artwork
Type
Unique work
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Medium
Painting: oil
Dimensions cm • inch
81 x 100 x 2 cm 31.9 x 39.4 x 0.8 inch Height x Width x Depth
Support
Framing
Not framed
Tags
About the seller
Concept Store Gallery • France
Artsper seller since 2018
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Top Seller
Imagine it at home
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Painting - 81 x 100 x 2 cm Painting - 31.9 x 39.4 x 0.8 inch
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Presentation
Yvon Gilles Lambure (Anglet, France) did not decide to become a painter. This passion imposed itself on him, in him, from an early age. He comes from Anglet, a village wedged between Biarritz and Bayonne where peppers grow, not far from the purple of the Basque mountains and the waves of the ocean.
Color has always been its richness, matter its expression.
The man is generous, sincere, upright. He devotes himself entirely to his art, the figurative of expression, which he claims. His mentors, Honoré Daumier, Chaïm Soutine, Georges Rouault increased his sensitivity. Their way of applying matter overwhelms him.
All his authenticity and his temperament make him a captivating being. Very early sensitized by the visual arts and music - his neighbor is a piano teacher, he decorates the poems of his class notebooks at the municipal school of Anglet. On the way back, the satchel slung over his shoulder, he stops in front of the studio of an advertiser, Kremmer, moved by the simplicity of this painted advertisement, like the movie posters glued to the La Féria cinema in Bayonne. As a young apprentice, he thinks more of painting than of a "career", to the great displeasure of his father.
His sensitive sensibility, his attraction for color lead him to work blindly, as an autodidact. At thirty, he painted regularly at home, in the few hours he had left after long days of work. We are in the 80s. Yvon Lambure explores galleries and is passionate about exhibitions in the region. He draws little, so much the desire for expressive and material painting grows in him. He saw this period as a struggle, frustrated at not being able to devote more time to his art. Then he paints in his head. And when the blow has to pass, like the fist of a boxer, it instinctively covers its webs, with its guts.
The technique, he will obtain it later or rather, will be revealed to him thanks to a man, an encounter which will upset his way of painting: Louis-Frédéric Dupuis, one of the last disciples of this famous school of Bayonne who forged generations of painters. The master finds his work interesting and offers him to take painting lessons in Bayonne. The professor will launch it: first exhibition at the Salon d'Automne of the Grand Palais in Paris in 1991. Then, the same year, he won the 1st prize at the Boucau salon. Dupuis reinforces this way: “you have to draw, but not too much" he constantly repeats to his students. His way of painting will change.
His friendship with Dupuis, the meeting with Maurice Verdier then Raymond Thialier in Paris pushed him to become truly himself, to exacerbate his sensitivity. He devoted himself entirely to his art, set out to discover Parisian painting, went up to Montmartre where he met one of the last authentic painters on the hill.
Freed from his creativity, he can let his gift express itself through the material that gives life to his paintings. The sea will always be very present in his work, that of the Basque Country obviously but also that of Brittany.
His work is uncompromising. His painting is without artifice. A painting without artifice, but what an explosion of colors!
Because color is in his heart... His passion and gestures are reflected in his works. And like Daumier's "Don Quixote", Yvon Lambure, dreamer and idealist, humble and modest, is that other that we cannot be. That's why we love it.
“Painting should make you dream, not cry," he explains. I savor my paintings as “I savor my children".
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