Claude Manoukian (1936) - Bouquet de fleurs

Claude Manoukian (1936- ) - Bouquet of Flowers.

Lithograph on vellum paper measuring 65 x 48 cm.
The work is EA-labeled (artist's proof) and signed in pencil.

Work in good condition, never reframed.

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Claude MANOUKIAN is a painter born in 1936. "There are turning points in a painter's life that are hard to explain, except that suddenly a good painting becomes an exceptional painting. It happens like a lightning bolt, or like the Holy Spirit on Pentecost Day. One can also say, more modestly, that it happens like Van Gogh's transformation, who, from a modest draftsman, became a genius of art. Claude MANOUKIAN has just crossed this step of exception that leads him from a good painter he was to an artist whose work bears marks that are his own. Certainly, already his paintings bore his imprint, through the use of colors that signed his author. Like Odilon Redon, Claude MANOUKIAN knows very well how to marry tones that, if handled clumsily, would become dissonant, whereas by him they only magnify their brilliance. But now, leaving the rigorous figuration, Claude MANOUKIAN decomposes and recomposes forms, and integrates into his work an additional dimension. It is with audacity, but with the certainty of a technician, that he interprets the contours, nests them within one another. It is, starting from a path sometimes explored too superficially by Picasso, that Claude MANOUKIAN will introduce another type of forms, which becomes a new poem under his brush. As different as Racine, Corneille or Victor Hugo can be from Verlaine or Rimbaud, though all write in verse, Claude MANOUKIAN will flirt with other modes of painting, and will derive from them new expressions. Exaltation of colors, hovering above reality that he integrates into the memory of the painting, but without being its slave, he composes for art and by art, using reality only as support, as a primitive state that he makes evolve. The gaze of what he sees is only the reflection of becoming. He uses his memory as a guiding thread, but he composes within himself his child born of the senses of his sight, and of his mood, and then inscribes it on his canvas. Just as a newborn is never entirely like one of its parents, this canvas he paints will find its source deep in one of its elements, which sometimes may dominate, certainly, but will always for some part remain 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 we call style." Christian GERMAK