Adeline Dupuy - Forêt bleue 2






Studied art history at Ecole du Louvre and specialised in contemporary art for over 25 years.
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Adeline Dupuy’s Forêt bleue 2 is an original 60 × 95 cm acrylic on canvas, hand-signed with date on the back, ready to hang with edges painted in continuation of the motif, and includes a certificate of authenticity.
Description from the seller
Acrylic on canvas
Ready to hang
The canvas is signed and dated by hand on the back
The edges are painted in continuation of the motif
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, very present in the streets of Melbourne.
Back in France, trained as a geologist, color remains a throughline in her life as it often reveals the history of the landscape.
In 2022 she began training at the School of Fine Arts in Bordeaux, and the work with color and large formats gives another dimension to her painting.
Her approach is to work with acrylic by accumulating glazes, a very diluted layer of color to reveal transparency, depth, lightness, evanescence, and the vulnerability attributed to the subject.
What interests her is semi-figuration where the subject remains identifiable but the rest is suggested, leaving 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 canvas is signed and dated by hand on the back
The edges are painted in continuation of the motif
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, very present in the streets of Melbourne.
Back in France, trained as a geologist, color remains a throughline in her life as it often reveals the history of the landscape.
In 2022 she began training at the School of Fine Arts in Bordeaux, and the work with color and large formats gives another dimension to her painting.
Her approach is to work with acrylic by accumulating glazes, a very diluted layer of color to reveal transparency, depth, lightness, evanescence, and the vulnerability attributed to the subject.
What interests her is semi-figuration where the subject remains identifiable but the rest is suggested, leaving room for the viewer’s projection and imagination.
It is precisely when the painting escapes us that the invisible shines.
