Claude Manoukian (1936) - Bouquet de fleurs

Claude Manoukian (1936- ) - Bouquet de fleurs.

Lithography on vellum paper of a size 65 x 48 cm.
The work is EA (artist's proof) and signed in pencil.

Work in good condition, never been framed.

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Claude MANOUKIAN is a painter born in 1936. "There are turning points in a painter's life that are explained little, if not that suddenly a good painting becomes an exceptional painting. It happens like a lightning strike, 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 a good painter that he was to an artist whose work finds marks that are his own. Indeed, already his paintings bore his imprint, through the use of colors that signed their author. Like Odilon Redon, Claude MANOUKIAN knows very well how to marry tones that, handled clumsily, would become discordant, whereas by him they only magnify their brilliance. But now, leaving rigorous figuration, Claude MANOUKIAN decomposes and reconstitutes forms, and integrates into his work an additional dimension. It is with audacity, but with the certainty of the technician, that he interprets the contours, nesting them into one another. It is starting from a path sometimes explored too superficially by Picasso, that Claude MANOUKIAN will introduce another type of forms, which has become a new poem under his brush. As different as Racine, Corneille, or Victor Hugo may be from Verlaine or Rimbaud, although all write in verse, Claude MANOUKIAN will flirt with other modes of painting, and will draw from them new expressions. Exaltation of colors, soaring above reality, which he integrates into the memory of the painting, but without being its slave, he composes for art and through art, using reality only as a support, as a primitive state that he evolves. The look at what he sees is only the reflection of becoming. He uses his memory as a guiding thread, but within him he composes his child born of the senses of his vision, and of his mood, then inscribes it on his canvas. Like a newborn is never entirely alike one of its parents, this canvas he paints will find its source in the depth of one of its elements, which can sometimes dominate, certainly, but which will always remain, in part, under the influence of the other. Each canvas will be the journey toward the fulfillment of a whole and the expression of an aesthetics that differentiates each work while preserving a common sense that is called style." Christian GERMAK