Adeline Dupuy - La Revellata






Holds a master's degree in film and visual arts; experienced curator, writer, and researcher.
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Original acrylic painting by Adeline Dupuy, La Revellata, 2024, a landscape on canvas measuring 76 by 96 cm, signed and in excellent condition, original edition from France, ready to hang with certificate of authenticity.
Description from the seller
Acrylic on canvas
Ready to hang
The edges of the canvas are the continuation of the motif.
The canvas is signed and dated by hand on the back.
Certificate of authenticity
Shipped well protected
Adeline began painting classes in 2011 in Australia, inspired by the colors and layering she finds in street art, which is very prevalent in the streets of Melbourne.
Back in France, a geologist by training, color remains a through-line in his life because it often reveals the history of the landscape.
It is in 2022 that she begins training at the École des Beaux-Arts de Bordeaux, and the work with color and large formats gives her painting a new dimension.
Their approach is to work with acrylic by building up glazes—a layer of very diluted color to reveal transparency, depth, lightness, evanescence, and the vulnerability attributed to the subject.
What interests him is semi-figuration, where the subject remains identifiable, but the rest is suggested and leaves room for the viewer’s projection and imagination. It is precisely when the painting escapes us that the invisible shines.
Acrylic on canvas
Ready to hang
The edges of the canvas are the continuation of the motif.
The canvas is signed and dated by hand on the back.
Certificate of authenticity
Shipped well protected
Adeline began painting classes in 2011 in Australia, inspired by the colors and layering she finds in street art, which is very prevalent in the streets of Melbourne.
Back in France, a geologist by training, color remains a through-line in his life because it often reveals the history of the landscape.
It is in 2022 that she begins training at the École des Beaux-Arts de Bordeaux, and the work with color and large formats gives her painting a new dimension.
Their approach is to work with acrylic by building up glazes—a layer of very diluted color to reveal transparency, depth, lightness, evanescence, and the vulnerability attributed to the subject.
What interests him is semi-figuration, where the subject remains identifiable, but the rest is suggested and leaves room for the viewer’s projection and imagination. It is precisely when the painting escapes us that the invisible shines.
