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Mono Rose - Serie Juillet 01
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Description
Guillaume Moschini
Mono Rose - Serie Juillet 01
Painting
Year: 2012
Edition: Unique
Technique: Acrylic and ink on canvas
Size: 162 x 114x 2.5cm
Framed: No
£7,100
About this Artwork
This artwork will be shipped rolled in a dent-resistant tube.
This method is especially safe for large works, and provides lower shipping costs as well.
Rolled works can be easily stretched (for canvas works, i.e. placed onto wooden stretcher bars) and/or framed by a local framer upon arrival.
Guillaume Moschini is a French abstract artist mentored by the internationally recognized Supports/Surfaces artists Claude Viallat, Patrick Saytour, and Vincent Bioules.
Much like Helen Frankenthaler, Moschini’s work depends on process: unprimed, raw canvas, a diluted pigment (mixed inks, acrylics, and paint thinners), and the unconscious phenomenon that occurs through the process of art making.
About the Artist
The abstract artist Guillaume Moschini balances an art practice in Nîmes and a professorship of drawing at the ESMA school in Montpellier, France.
Moschini infuses his research of the masters of color field painting with his own contemporary methodologies and transparent properties.
Education
Learning from the artists known for the Supports/Surfaces Movement, at the School of Beaux-Arts in Nîmes, Moschini was mentored by the internationally recognized Claude Viallat, Patrick Saytour, and Vincent Bioules.
Technique
In 1964, the art critic, Clement Greenberg at the Los Angeles County Museum of Art, titled color field painting as Post-Painterly Abstraction.
The focus for these artists in the 60s was a departure from an association with feelings, spirituality or expressive brushwork.
Much like Helen Frankenthaler, Moschini’s work depends on process: unprimed, raw canvas, a diluted pigment (mixed inks, acrylics, and paint thinners), and the unconscious phenomenon that occurs through the process of art making.
He explains this obsession:
“When I work, the question of what I am going to paint no longer arises. I only think about new colors, overlays, and transparency effects. »
In his organized studio, he constructs compositions of color, transparent tints, overlays and shapes. Liquid pigments melt into the raw canvas with precarious intention. Meditation on the proper tools, balance of color, form and the flow of material is his strategy. Moschini’s palette is reinvented per series, sometimes vibrant and sometimes muted.
Inspiration
Helen Frankenthaler’s Mauve District, 1966, at the MOMA provides specific historical reference for Moschini’s research of color and composition.
SANS TITRE PP 024, from 2014, juxtaposed with Mauve District, contains a mauve form as an underlay rather than a dominant square-shaped form and mixes ink with acrylic, adding a medium to the method.
His mentors from the Supports/Surfaces Movement passed down their radical deconstruction of painting with more emphasis on liberating the surface or support from previously traditional constraints.
Conceptually, Moschini’s work echoes Kenneth Noland’s minimalism without the restraint of flatness. His transparency variations within the color field and transparent overlays reinvent a contemporary and unique approach. Moschini reflects on a time in the history of painting that questioned its definition.
Exhibitions
Moschini's work has been extensively exhibited in galleries and art fairs in France.
Galleries
See Galerie, Paris, France
Galerie Éric Linard, La Garde Adhémar, France
Galerie Oniris, Rennes, France
Galerie Jean-Paul Barrès, Toulouse, France
Galerie From Point to Point, Nimes, France
Galerie Alma, Montpellier, France
Photo credit: Jean-Pierre Loubat -
More Information
Documentation: Signed Period: New Condition: New. Styles / Movements: Contemporary Incollect Reference #: 749233 -
Dimensions
W. 44.88 in; H. 63.78 in; D. 0.98 in; W. 114 cm; H. 162 cm; D. 2.5 cm;
Shipping Information:
Free worldwide shipping - 30 days return policy
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