Shinning US Bomber
Lisbeth Buonanno
Painting - 40 x 40 x 1.8 cm Painting - 15.7 x 15.7 x 0.7 inch
$1,153
Les couleurs de l'été,
2023
by Lisbeth Buonanno
Painting : paper, tempera, natural pigment
15 x 10 x 1 cm 5.9 x 3.9 x 0.4 inch
$461
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About the artwork
Type
Unique work
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Medium
Painting: paper, tempera, natural pigment
Dimensions cm • inch
15 x 10 x 1 cm 5.9 x 3.9 x 0.4 inch Height x Width x Depth
Support
Framing
Brown frame with glass
Artwork dimensions including frame
19 x 16 x 3 cm 7.5 x 6.3 x 1.2 inch
Tags
Artwork sold in perfect condition
Artwork location: France
"Summer Hours" is part of a minimalist collection, a collection that can be placed everywhere, by its format, its ergonomics. The work can be placed in a window, on a pedestal table, or even in your pocket if you can't do without it. This collection of nude men and women represents naked bodies, with an economy of means in the palette, to focus just on the gesture, the precision of the line. The composition is deliberately stripped to highlight the object of all our attention. Erotic, sensual but without bad taste, the painter wants to make this collection intimate and precious works.
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About the seller
Professional art gallery • France
Artsper seller since 2021
Vetted Seller
This seller rewards your purchases of multiple artworks
Collector’s Guide
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Presentation
Painting is about emotions and sharing. It must evoke a story that is told. It must not leave the viewer's gaze impassive. "Capturing a moment of life" is for me, being able to touch the emotion, the gaze of the one who takes the time to stop and enter the work. This is partly what my creation is intended for: the evocation of particular, intimate, offbeat, timeless images, but also timeless because they are part of our collective imagination. No beautiful phrases or grand theories, but simple sensations, snapshots in which we find ourselves.
These narrative snapshots allow everyone to draw their own story, or interpretation, we tell it to ourselves and each time it takes on a different color, a singular resonance specific to each person. The characters in my paintings evolve in small, confidential pocket theaters, it is a reality that I feel: expectation, hope, drama, vanity, lost innocence… This reality comes to life in the “darkness of the souls" of my characters, with the charm and the old-fashioned mixture of genres and contradictory references as a backdrop. I want to remain free in my choices regarding the themes that I address as well as in my production process. I admit that my creations have a part of mystery, they are born from several emotional factors that are not always defined or conscious, hence the eclecticism of the subjects. However, this part of mystery suits me: is it necessary to explain everything, to give a meaning to each thing, to reduce a work to an explicable purpose? Remaining authentic, faithful to my ideas, at the risk of being refused at certain art fairs, is my life's journey as an artist.
Inspirations:
I move through all the universes that attract me, they are plural and disparate: big machines, industrial curves, delicacy, intimacy... My sources of inspiration come to life with the 7th art, American realism, the Internet, advertisements, painters over the centuries, photographs, you, others, current events... Everything that touches me.
Techniques:
Over time and under the valuable teaching of Mr. de Pracontal, my gaze has sharpened, my vision enriched. I have learned to enter into the subject and "let it speak to me" as Mr. by Pracontal. A common thread connects all my paintings together: the sayable dimension of reality, with light as the primary factor in my creative process. I no longer seek beauty at all costs or condescending aesthetics, but rather to be true, to paint without artifice or technical processes, to get closer to reality. The finer use of mediums and varnishes concocted according to the recipes of the ancients, have made the texture and touch on my paintings richer. I contrast covering registers with transparent registers: light on less light, blurry with a precise line… I tend more and more towards an economy of means, the process coming after the technique. I avoid “writing" a painting, but on the contrary, I strive to construct it to devote myself exclusively to the power relations present, hierarchy of contrasts, half-tones… which is a particularly delicate process and grace is not always there. However, my clumsiness and my successes testify to my authenticity.
Teachers:
Malcolm de Chazal, naive painter and writer from Mauritius. I was his only student.
Xu Ren Long, calligrapher and painter from Popular China.
Patrice de Pracontal author of Light, Matter and Pigments.
Private Collections:
Bank of France
Bnp Paribas Private-Bank commissioned me to highlight French know-how and heritage by creating historical court costumes and holding a painting exhibition for a year at the Bank (Boulevard Malesherbes).
Awards:
UNIVERSDESARTS Prize (Espace Landowski)
Second Prize (Espace Landowski) at the Salon of the Society of Fine Arts of Boulogne Billancourt
Public Prize, 15th arrondissement Town Hall
Guest artist at the 15th arrondissement town hall
2nd Stanley Chartered Bank Prize
Auctions:
Light Horses
Drouot
Curial Art
Galleries:
DDG Ile-Saint-Louis, Paris
Fawaziah Art Gallery, Singapore
Opera Gallery, Singapore
Art Fairs:
Affordable Salon, GMAC, Arthome, Metamorphosis, Guangdong International Art Fair, PRC. Metropolitan Ho ChiMinh, Vietnam, Guest Artist Planet Oxygen, Ferrières en Gâtinais…
Novel covers:
"Farewells and Women" by Joaquin Scalbert
"The Obelisk of the Caliph" by Mohammed Ennaji
Scenographies:
XXL canvases for the Alizés Musical Spring and the Haouz Cultural Spring Festival organized by the Rhamna Benguérir Foundation, Morocco
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