Adeline Dupuy - La Revellata





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Acrylic on canvas by Adeline Dupuy titled La Revellata (2024), an original landscape in a 76 x 96 cm format, weighing 2 kg, signed and dated on the back, with a certificate of authenticity, ready to hang, made in France and sold directly by the artist.
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 the 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 École des Beaux-Arts in Bordeaux, and working with color and large formats gives a different dimension to her painting.
Her approach is to work with acrylic by building up glazes, a very diluted layer of color to reveal transparency, depth, lightness, evanescence, and vulnerability attributed to the subject.
What interests her is semi-figuration, where the subject remains identifiable but the rest is suggested, leaving room for projection and the spectator’s imagination. It is precisely when the painting escapes us that the invisible glows.
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 the 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 École des Beaux-Arts in Bordeaux, and working with color and large formats gives a different dimension to her painting.
Her approach is to work with acrylic by building up glazes, a very diluted layer of color to reveal transparency, depth, lightness, evanescence, and vulnerability attributed to the subject.
What interests her is semi-figuration, where the subject remains identifiable but the rest is suggested, leaving room for projection and the spectator’s imagination. It is precisely when the painting escapes us that the invisible glows.

