Claude Manoukian (1936) - Promenade en campagne

Claude Manoukian (1936- ) - Promenade in the Countryside

Lithograph on Japanese paper, measuring 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, all at once, a good painting becomes an exceptional painting. It happens like lightning, or like the Holy Spirit on Pentecost Day. One can also say, more modestly, that it happens like Van Gogh’s transformation, who, from a modest draftsman, became a genius of art. Claude MANOUKIAN has just crossed this exceptional threshold that leads him from the good painter he was to an artist whose work bears marks that are his own. Indeed, his paintings already bore his imprint, through the use of colors that signed his author. Like Odilon Redon, Claude MANOUKIAN knows how to marry tones that, handled awkwardly, would become discordant, whereas with him they merely magnify their radiance. But now, leaving the rigorous figuration, Claude MANOUKIAN decomposes and recomposes forms, and integrates into his work an additional dimension. It is with boldness, but with the certainty of a technician, that he interprets the contours, interlocking them with one another. Beginning from a path sometimes explored too superficially by Picasso, Claude MANOUKIAN will introduce another type of forms, become 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 derive from them new expressions. Exaltation of colors, soaring over reality which he integrates into the memory of the painting, but not enslaved by it, he composes for art and through art, using the real only as support, as a primitive state that he evolves. The gaze of 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 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 sometimes dominate, for sure, but will always remain in part under the influence of the other. Each canvas will be the path toward the achievement of a whole and the expression of an aesthetics that differentiates each work while preserving a common sense that we call style." Christian GERMAK