Claude Manoukian (1936) - Lot de 2 lithographies: Les champs

Claude Manoukian (1936- ) - Set of 2 lithographs: The Fields

2 lithographs on-calendered vellum paper measuring 50 x 65 cm.
The works are numbered and signed in pencil by the artist.

Works in good condition, never framed.

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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 arrives like a bolt from the blue, or like the Holy Spirit on Pentecost Day. One can also say, more modestly, that it happens like the transformation of Van Gogh, who, from a modest draftsman, became an art genius. Claude MANOUKIAN has just crossed this exceptional threshold that leads him from being a good painter to an artist whose work bears marks that are his own. Certainly, his paintings already 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 mishandled, would become dissonant, whereas for him they merely magnify their brilliance. But now, leaving strict figurative realism, Claude MANOUKIAN decomposes and recomposes forms, and integrates into his work an additional dimension. With audacity, yet with the technician's certainty, he interprets contours, interlocks them together. Beginning sometimes from a path explored too superficially by Picasso, Claude MANOUKIAN will introduce another type of forms, becoming a new poem under his brush. As different as Racine, Corneille, or Victor Hugo may be from Verlaine or Rimbaud, though all write in verse, Claude MANOUKIAN will flirt with other painting modes, and draw from them new expressions. Exaltation of colors, soaring above reality which he integrates into the memory of the painting, yet not enslaved by it, he composes for art and by art, using reality only as a support, as a primitive state that he makes evolve. The eye of what he sees is only the reflection of what is to come. 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, then inscribes it on his canvas. Just as a newborn is never exactly like either parent, this canvas he paints will find its source in the depths of one of its elements, which may dominate, certainly, but will always remain partly under the influence of the other. Each canvas will be the path toward the completion of a whole and the expression of an aesthetics that differentiates each work while preserving a common sense we call style." Christian GERMAK