The stool

$1,181
Painting
One of a kind work
45 x 60 cm
Recipient of the dedication:

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Delivered with a certificate of authenticity

Technique
Mixed media
Type
One of a kind work
Material
Canvas
Dimensions
45 x 60 cm
Framing
Yes (51 x 66 cm)
Quality Guarantee
Sold with a certificate of authenticity

"The Stool" is one of a series of 17 paintings dedicated to dance. Here, the ballerina is dressed in a modern way, she adopts a pose that combines balance and tension, in a duo with the high stool that serves as her partner and gives her title to the painting. The latter is made in a mixed technique on canvas and combines photography, digital art and acrylic painting (glossy lacquered glazes and relief squares); it is a unique piece and is accompanied by a certificate of authenticity. It is framed in a black American box (see photos 2, 3 and 4) The last photo shows the work as it was exhibited at the Biennale ParisArtistes# in October 2019

artist avatar

Georges DUMAS

Renowned Artist Renowned Artist
Best seller Best seller

53 fans

AUBERVILLIERS (93), FRANCE

87 works

For about ten years now, I have been creating paintographies. As its name suggests, a paintography is a mixture of painting and photography.

From photography, I keep the initial shot, an essential and unavoidable basis for the work to come. I also retain, despite all the successive manipulations carried out afterwards on the computer, the precision, finesse and plastic quality that certainly distinguish it from painting other than hyper-realistic. However, a paintography is not a photograph, it is a plastic construction that raises doubts in the eyes, that raises the question of the nature of the image that is offered to the eyes of the spectators. What part of the work was captured by the objective, what part recreated by the software work, what part brought by the acrylic glazes?

Layers, layers, stacks: despite its extreme readability, a paintography is a complex construction, based on a succession of screens. The fabric or skin never appears naked, they are always covered by a material that is as much a screen as it is a body with them. This matter is itself obscured by squares that seem either to detach from it or to deepen within it; by evoking the pixels at the base of any digital image, these squares remind us that this matter is a decoy, that it is virtual. And yet, in the works in mixed technique, it is precisely these squares that appear in relief on the surface of the canvas, in a strange transparent materiality...

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