Claude Manoukian (1936) - Promenade en campagne

Claude Manoukian (1936- ) - Walk in the Countryside

Lithograph on vellum paper, 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 difficult 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. We 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 taken this exceptional step which leads him from a good painter that he was, to an artist whose work finds its own marks. Certainly, his paintings already bore his mark, by the use of colors that signed their author. Like Odilon Redon Claude MANOUKIAN knows very well how to combine tones which, handled in an unskillful way, would become dissonant, whereas through him they only magnify their brilliance. But now leaving the figurative Rigorous, Claude MANOUKIAN decomposes and recomposes forms, and integrates an additional dimension into his work. It is with audacity, but with the certainty of the technician, that he interprets the contours, embedding them one within the other. It is sometimes by starting from a path 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 can be from Verlaine or Rimbaud, although all write in verse, Claude MANOUKIAN will flirt with other modes of painting, and will extract new expressions from them. Exaltation of colors, skimming over reality that he integrates into the memory of the painting, but without being a slave to it, he composes for art and by art using reality only as a support, as a primitive state that he makes evolve. The look of what he sees is only the reflection of becoming. He uses his memory as a common thread, but composes in him his child born from the senses of his sight, and his mood then inscribes it on his canvas. As a newborn is never entirely similar to one of its parents, this canvas that he paints will find its source at the bottom of one of its elements, which sometimes can dominate, certainly, but which will always remain partly under the influence of the other. Each canvas will be the path towards the accomplishment of a whole and the expression of an aesthetic which differentiates each work while preserving a common meaning that we call style." Christian GERMAK