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

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

2 Lithographs on velin paper of sizes 50 x 65 and 56 x 76 cm.
The works are numbered and signed in pencil by the artist.

Works in good condition, never framed. Minor defects on the sheets (tearing and signs of aging).

We ensure meticulous packaging, international tracking, insurance, and express shipping for all our deliveries.

The numbering may differ from the photos.

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 thunderbolt, or like the Holy Spirit on Pentecost. One could 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 he was 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 which, if handled awkwardly, would become discordant, whereas with him they merely magnify their radiance. But now, leaving rigorous figuration, Claude MANOUKIAN decomposes and recomposes forms, and integrates into his work an additional dimension. It is with audacity, but with the technician's certainty, that he interprets the contours, nests them into one another. Beginning sometimes from an exploration path that Picasso too superficially explored, Claude MANOUKIAN will introduce another type of forms, 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 will derive 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 by art, using the real only as a support, as a primitive state from which he evolves it. The look of what he sees is but the reflection of what is to come. He uses his memory as a guiding thread, but composes within himself his child born from the senses of sight and mood, and then inscribes it on his canvas. Like a newborn is never entirely like 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 will always remain in part 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 meaning we call style." Christian GERMAK