Claude Manoukian (1936) - Promenade en campagne

Claude Manoukian (1936- ) - Promenade en campagne

Litografi på japansk papir i formatet 37,5 x 53 cm.
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Claude MANOUKIAN er en maler født i 1936. " There are turning points in a painter's life that are hardly explained, except that suddenly a good painting becomes an exceptional painting. It happens like a thunderbolt, or like the Holy Spirit on the Day of Pentecost. One can also say, more modestly, that it happens like the transformation of Van Gogh who, from a modest draftsman, became a genius of art. Claude MANOUKIAN has just crossed this exceptional threshold that leads him from being a good painter to an artist whose work bears marks that are his own. Certainly, his canvases already bore his imprint, through the use of colors that signed his authorship. Like Odilon Redon, Claude MANOUKIAN knows very well how to marry tones that, if mishandled, would become dissonant, whereas for him they only magnify their brilliance. But now, leaving the rigid figurative, Claude MANOUKIAN decomposes and recomposes forms, and integrates into his work an additional dimension. It is with audacity, but with the certainty of the technician, that he interprets the outlines, nestles them into each other. It is starting from a path of exploration that Picasso explored too superficially, that Claude MANOUKIAN will introduce another type of shapes, becoming a new poem under his brush. Although different from how Racine, Corneille or Victor Hugo can be from Verlaine or Rimbaud, although all write in verse, Claude MANOUKIAN will flirt with other modes of painting, and derive from them new expressions. Exaltation of colors, soaring above reality which he integrates into the memory of the painting, but not enslaved by it, he composes for art and through art, using the real only as a support, as a primitive state that he develops. The look of what he sees is only the reflection of what is to come. He uses his memory as a guiding thread, but within himself he composes his child born of the senses of his sight and his mood and then inscribes it on his canvas. Like a newborn is never exactly like one of its parents, this canvas he paints will find its source in the depths of one of its elements, which sometimes can dominate, certainly, but which will always remain, in part, under the influence of the other. Each canvas will be the path toward the fulfillment of a whole and the expression of an aesthetics that differentiates each work while preserving a common sense that is called the style." Christian GERMAK