Adeline Dupuy - La Revellata





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Acrylverfschilderij op doek van Adeline Dupuy getiteld La Revellata (2024), een origineel landschapswerk in 76 x 96 cm, ca. 2 kg, handtekening en datum op de achterzijde, echtheidscertificaat, klaar om op te hangen, gemaakt in Frankrijk en rechtstreeks van de kunstenaar verkocht.
Beschrijving van de verkoper
Acrylic on canvas
Ready to hang
The edges of the canvas are the continuation of the motif
The canvas is signed and dated by hand on the back
Certificate of authenticity
Carefully protected during shipping
Adeline started painting classes in 2011 in Australia, inspired by the colors and the layering she finds in street art, very present in the streets of Melbourne.
Back in France, a geology graduate, color remains a common thread in her life as it often reveals the history of the landscape.
It is in 2022 that she begins training at the École des Beaux-Arts in Bordeaux, and the work with color and large formats gives her painting another dimension.
Her approach is to work with acrylic by building up glazes, a very diluted layer of color to reveal transparency, depth, lightness, evanescence, and vulnerability attributed to the subject.
What interests her is semi-figuration where the subject remains identifiable but the rest can be inferred, leaving room for the spectator’s projection and imagination. It is precisely when the painting escapes us that the invisible glows.
Acrylic on canvas
Ready to hang
The edges of the canvas are the continuation of the motif
The canvas is signed and dated by hand on the back
Certificate of authenticity
Carefully protected during shipping
Adeline started painting classes in 2011 in Australia, inspired by the colors and the layering she finds in street art, very present in the streets of Melbourne.
Back in France, a geology graduate, color remains a common thread in her life as it often reveals the history of the landscape.
It is in 2022 that she begins training at the École des Beaux-Arts in Bordeaux, and the work with color and large formats gives her painting another dimension.
Her approach is to work with acrylic by building up glazes, a very diluted layer of color to reveal transparency, depth, lightness, evanescence, and vulnerability attributed to the subject.
What interests her is semi-figuration where the subject remains identifiable but the rest can be inferred, leaving room for the spectator’s projection and imagination. It is precisely when the painting escapes us that the invisible glows.

