Claude Manoukian (1936) - Promenade en campagne

Claude Manoukian (1936- ) - Promenade en campagne

Lithography on Japanese paper of a size 37.5 x 53 cm.
The work is numbered and signed in pencil by the artist

Work in good condition, never framed.

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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 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 he was to an artist whose work finds marks that are his own. Certainly, already his paintings bore his imprint, through the use of colors that signed his authorship. Like Odilon Redon, Claude MANOUKIAN knows very well how to marry tones that, if used awkwardly, would become dissonant, whereas by him they merely magnify their brilliance. But now, leaving the rigid figurative, 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 within one another. Starting sometimes from a pathway explored too superficially by Picasso, Claude MANOUKIAN will introduce another type of shapes, 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. An exaltation of colors, soaring above reality which he integrates into the memory of the painting, but not as a slave to it, he composes for art and through art, using reality only as a support, as a primitive state from which he evolves. The gaze of what he sees is only a reflection of becoming. He uses his memory as a guiding thread, but composes within himself his child born of the senses of his sight, and of his mood, and then inscribes it on his canvas. Just as a newborn is never completely similar to either parent, this painting he paints will find its source at the bottom of one of its elements, which may sometimes dominate, certainly, but will always remain, to some extent, under the influence of the other. Each canvas will be the journey toward the achievement of a whole and the expression of an aesthetic that differentiates each work while maintaining a common sense that we call style." Christian GERMAK