La peintre Christiane Broussard, au cours de ses déplacements dans les divers continents, à compris et senti que l'art et le monde ne font qu'un, sous quelque latitude que ce soit, pour elle aujourd'hui ressentir l'art d'un pays c'est en approcher encore mieux son âme, en intégrer l'essentiel. C'est le regard premier qui, avant tout, définit la réussite de l'oeuvre-d'art. La peinture, le tableau, pour cette artiste étonnante, est tout autant une ambiance, un moment éphémère à saisir, à capter...à capturer sous ses pinceaux. Une scène au détour d'une rue, un jeu d'ombre et lumière insolite sur une colline, lui suggèreront une œuvre forte qui figera dans le temps l'instant de poésie fugace, le paysage inédit...

Tout au long de ses voyages Christiane Broussard que beaucoup appellent Cri, se saisit ainsi de visions inattendues, d'ambiances, d'atmosphères étranges.... Une peintre vraie, au sens le plus authentique du métier. Elle reçoit des émotions et sait ensuite les restituer sur la toile avec une vérité intense. Sa peinture de la vie urbaine, du paysage urbain en devient parfois démarche sociologique, pour rapporter sur la toile les traits les plus caractéristiques d'une société, d'un groupe, d'une civilisation. Ainsi sa série « Sur la route de l'Inde »  est frappante de simplicité et d'exactitude de moments de vie sociale, en termes de ressentis profonds. La lumière y est souvent crue, dans les ocres et les jaunes. Son style d'impressionnisme aux limites de l' abstrait sait ne retenir que l'essentiel des formes des personnages ou des paysages, des scènes de vies, pour les porter au niveau de leur essentiel... Bien plus que ne pourrait le faire un reportage avec des mots ou des images... Ici, avec la peintre, c'est un retour sur l'existant incontournable, comme l'impact d'une onde de choc, que le tableau fixe. «Sur la route de l'Inde » nous renvoie sur une réalité qui traverse toutes les strates de nos consciences occidentales, pour aller nous frapper en plein cœur... nous montrer aussi que le bonheur peut être sans fards. Chaque tableau de Christiane Broussard est un temps-fort, qui véhicule un morceau de la vie du pays qu'elle traverse en Europe, Afrique, Amérique ou Asie.... Ces silhouettes de femmes aux allures évanescentes, dans les luminosités de l'Orient, se confondent au ciel et à la terre. L'artiste à conquis par sa palette toute cette immatérialité qui les enveloppe, qui nous séduit... Le spectateur face à ces toiles à la fois réelles et irréelles de la peintre, ne peut rester indifférent, il va accéder peu à peu à un univers de couleurs posées avec justesse par la force de l'expérience, le « savoir-voir » avec l'intelligence du cœur. Un matiérisme judicieux bien appliqué, brut et vrai, harmonieux, vient de temps à autre, densifier, contraster, les pigments dans leurs épaisseurs... laissant apparaître, ici ou là, un extrait imprimé, de petits signes de journaux étrangers qui se fraient un espace visuel, collés entre les formes peintes pour nous dire toute la traçabilité, la mémoire, le passage dans un pays lointain... Souvenirs de cette ville, de cette capitale, dans laquelle l'artiste fit halte. Des extraits linguistiques écrits, inclus dans la peinture comme des témoignages d'autres cultures... Ces pays sillonnés par le regard, aux alphabets complexes, mis sur la toile... un rappel du réel, dans l' univers de poésie et d'esthétique de l'oeuvre-d'art; Des mots pré-écrits faisant acte d'art et de vie avec l'artistique. La ville, la société, le monde... pour Christiane Broussard, l'idée primordiale du voyage est autant un trait d'union qu'elle met entre des lieux, au moyens de formes aux tonalités harmonieuses, de sensibilité; En traitant ses sujets, le motif ou le thème au-delà des apparences. Le regard et le voyage sont pour l'artiste, les clés de son style. Un style pictural direct, une touche sûre, qui savent réguler le visible pour laisser flotter les sentiments dans le tableau. Sa toile « la Foule » confirme cette capacité de Christiane Broussard a maîtriser ce que l'on peut nommer un « paysagisme sociologique »... En allant plus loin que le plan figuratif, l'artiste soulève dans son œuvre toute l'interface sensible, sensitive, l'aura, qui se dégagera de cet individu, de cette foule dans la ville... L'individu existe et vit lui aussi dans cette foule même, la compose, en fait partie, dans la société. Son tableau « Silhouette dans le métro » consacre définitivement la peintre comme une paysagiste de la vie urbaine, avec une intuition de ce qu'il peut y avoir d'extraordinairement esthétique, plastique, dans la vie de tous les jours, dans notre environnement quotidien... Que ce soit à Paris, ou au bout de ses périples les plus lointains autour du globe, la créatrice est toujours en éveil, en émoi, à la poursuite d'un nouveau "visible", d'un nouveau "lisible", qu'elle va ensuite traduire en oeuvre-d'art, pour le plus grand bonheur du public de tous les continents. C'est une peinture d'amour de l'autre, d'amour de la vie, car les tableaux de Christiane Broussard sont autant des rencontres avec le monde, les sociétés. Des tableaux qui  sont à chaque fois une rencontre unique,  rencontre avec l'autre... Le spectateur ne s'y trompe pas et apprécie, aime, au travers de ces scénographies variées, il peut se re-situer lui-même, comme un « spectateur-observateur » du monde actuel et vivant... C'est pour cela aussi, que la peinture de Christiane Broussard plait. Après avoir vu une de ses expositions on ne sera plus tout a fait le même. L'impact culturel de son travail artistique est puissant, il aide à voir plus loin que l'immédiat, sa forte portée significative aide à comprendre les autres pays, les autres peuples, les autres regards... Christiane Broussard, peintre-reporter ? Peut-être... Comme lorsque cette artiste, au moyen de son art, par ses pinceaux, ouvre les voies du partage et de la paix, quand sa peinture en arrive à relier les âmes au-delà des géographies. Paysagiste contemporaine accomplie Christiane Broussard, avec le « Lac Powel » fait également la démonstration de son talent stylistique d'abstraction paysagiste en synthèse de l'impressionnisme abstrait et fauve des années Matisse, en lien avec la grande lignée française foisonnante de paysagisme abstrait. Son tableau « Les  Rocheuses » nous montre la puissance du regard qu'elle sait poser sur les paysages pour nous dire sous la pleine lumière tous les secrets subtils, les équilibres mystérieux de ces géomorphies étranges. Oui, chez Christiane Broussard, le sensible rejoint le beau; Le visible, la spiritualité; L'intelligence, le réel, l'humain... son dénominateur reste toujours le même: le talent... un immense talent...

Antoine Antolini

Direction Rédactionnelle EDMC 

Titre: "Chrtistiane Broussard : Des U.S.A à l'Afrique, de l'Europe à l'Asie, la peintre rapporte de ses voyages un peu d'âme de ces continents dans ses toiles d'une rare intensité: Une sensibilité hors du commun. "  © texte Antoine Antolini -Décembre 2011 - Direction rédactionnelle EDMC - Tel: 06 10 99 90 98  © Editions des musées et de la culture EDMC multimédias 2011 - Ce texte peut être utilisé librement en totalité ou en extraits par tout utilisateur, écrivains, étudiants, journalistes, galeries, audio-visuel, en citant titre, auteur, sources de publication

TOUS DROITS RESERVÉS POUR TOUS PAYS - LOI DU 11 MARS 1957 (France)

UNE ATMOSPHERE HARMONIEUSE, UNE PALETTE BIEN FIXÉE, UN ACTE DE PEINDRE QUI ARRACHE L'AUTHENTICITÉ AU SUJET POUR VENIR LA RESTITUER EN UNE AUTRE ESTHÉTIQUE, UNIVERSELLE, INTEMPORELLE, FACE AU REGARD EMERVEILLÉ DU SPECTATEUR... C'EST CELA QUI FAIT, ENTRE AUTRES QUALITÉS PERSONNELLES D'AMITIÉ ET D'HUMANISME, QUE LE PEINTRE-POETE JEAN-MARC LABEYRIE EST ENCORE LA AUJOURD'HUI, PARMI NOUS. CHACUN LE SAIT BIEN, LE TALENT JAMAIS NE MEURT...  SES TOILES EN TÉMOIGNENT, COMME AUTANT DE SENTINELLES DE L'INFINITUDE...  JEAN-MARC LABEYRIE A SU CRÉER AU COURS DES DÉCENNIES, SON VÉRITABLE MONDE, ORIGINAL, PICTURAL MAIS AUSSI POÉTIQUE. IL SAIT DANS SES TABLEAUX DÉCONSTRUIRE ET RECONSTRUIRE L'IMAGE A SOUHAIT, POUR NOUS EN DONNER L'ESSENCE MÊME. SA GRAMMAIRE DEVIENT ALORS INFAILLIBLE, FAITE DE SOUPLES CIRCULARITÉS, D'EQUILIBRES, DE LIGNES QUI NOUS ETOURDISSENT DE VASTITUDE ET DE PROFONDEUR, D'ELANS VERTIGINEUX, PUISSANTS DE GRACE...  JEAN-MARC LABEYRIE AIME LA VIE, LES GENS, SA PEINTURE EST COMME UNE RESPIRATION VIVIFIANTE. L'HOMME, LA FEMME, LES SCENES DU QUOTIDIEN, LES MARINES... LES MODELES OU LE MOTIF, SOUS SES PINCEAUX RAFFINÉS,  ENTRENT DANS UN AILLEURS TENDREMENT COLORÉ, AUX DOMINANTES DOUCES TURQUOISES, EN VERTS, EN BLEUS, EN OCRES, DANS UNE RONDE DE VIE COMME UNE ROUE DIAPHANE DE LA DESTINÉE. LE PEINTRE A SU PRENDRE AU FIL DES ANNÉES, TOUT LE RECUL NÉCESSAIRE SUR L'INSTANT QUI PASSE, SUR LE TEMPS QUI S'ÉCOULE, POUR APPORTER UNE AUTRE DIMENSION A L'OEUVRE-D'ART. IL PROJETTE SES SUJETS, SES MOTIFS, AU-DELA DE LEUR QUOTIDIEN. ILS EXISTENT AINSI DANS UNE AUTRE RÉALITÉ, QUE LE PEINTRE FAIT NAITRE, EMPLIE DE SPIRITUALITÉ. C'EST LE MESSAGE DE L'ART ET DE LA POESIE DE JEAN-MARC LABEYRIE, POUR NOUS DIRE QUE LE PEINTRE PEUT TRANSFIGURER LA VISION PREMIERE; QU'IL PEUT L'INSCRIRE DÉFINITIVEMENT DANS UN AUTRE EXISTANT, AU-DELA AUSSI D'UNE VIE. IL EN APPORTE LA PREUVE. SES POEMES VIENNENT ALORS ESCORTER SON ESTHETIQUE D'UNE BEAUTÉ IMMATÉRIELLE.  POINT BESOIN DE CODES, NI DE CLÉS, POUR VIVRE PLEINEMENT LES TABLEAUX DE JEAN-MARC LABEYRIE. ILS SE RESSENTENT DE L'INTERIEUR, EN SOI-MÊME. EN UNE COMMUNE UNION, ENTRE LE SPECTATEUR ET L'ARTISTE. JEAN-MARC LABEYRIE PAR LA QUALITÉ DE SON STYLE, DYNAMIQUE, ÉPURÉ, EXPLICITE, PARFOIS NARRATIF, A SU BOUSCULER TOUS LES TABOUS IDENTITAIRES DES FIGURATIFS, DES ACADEMISMES, DE L'IMPRESSIONNISME OU DU CUBISME, DE L'ABSTRAIT... IL MARQUE L'ART CONTEMPORAIN DE SA PARFAITE MAITRISE DE LA CONSTRUCTION DE L'OEUVRE-D'ART, AVEC UNE LOGIQUE ARTISTIQUE DE HAUT-NIVEAU, EN UNE SYNTHESE AISÉE ET ÉLÉGANTE DE TOUTES LES MODERNITÉS. UN MAITRE DE NOTRE ÉPOQUE, ACTUEL, SIMPLE, AUDACIEUX, DONT LE TALENT INCONTOURNABLE FERME DISCRETEMENT LE XXEME SIECLE... 

"Jean-Marc LABEYRIE, peintre. Un talent qui a su faire évoluer la modernité picturale. Un artiste de niveau européen qui ferme le siècle écoulé avec un univers cosmique et poétique de référence". (C) Antoine Antolini - Direction rédactionnelle - Centre de recherche en art et en conservation du patrimoine CRACP- Europe ( Fevrier 2011) Tous droits réservés.

ANNIE D'HERPIN A MAITRISÉ PAR SON EXPÉRIENCE ET SA DEXTÉRITÉ SURPRENANTE TOUTES LES SUBTILITÉS DE L'AQUARELLE... ARTISTE DE PASSION AUTANT QUE DE RAISON POUR ELLE LES DIFFICULTÉS DE CETTE DISCIPLINE PICTURALE EN FONT TOUTE SA SPÉCIFICITÉ, SON EXCÉPTION... ANNIE D'HERPIN, DANS SA PRATIQUE DE L'AQUARELLE, A SURPASSÉ TOUS LES OBSTACLES; ELLE SAIT OBTENIR PARFAITEMENT LA FINESSE DES INTENSITÉS COLORIQUES, LES JEUX ET LES EFFETS ENTRE PIGMENTS ET SUPPORTS, ELLE CONNAIT BIEN LA STRICTE IMPORTANCE DES LIGNES ET DU DESSIN, QUE TOUT AUTANT APPLIQUER, DILUER, DIFFUSER, SES TONALITÉS, POUR PRODUIRE LES RÉSULTATS DE HAUT-NIVEAU QUI SONT LES SIENS; SURETÉ DU GESTE, JUSTESSE DE TOUCHES, PERCEPTION DES LUMINOSITÉS LES PLUS AIGUES, RETRANSPOSITION DU DÉTAIL, LA PEINTRE AQUARELLISTE ANNIE D'HERPIN, A TRAVERS CHACUNE DE SES OEUVRES NOUS FAIT, A CHAQUE FOIS, LA DÉMONSTRATION D'UN ABOUTISSEMENT ULTIME, D'UN DÉPASSEMENT ARTISTIQUE DANS SA CONSTANCE A LA FIDÉLITÉ AU SUJET; L'ARTISTE DÉTIENT LE SECRET D'UNE STYLISTIQUE ÉPURÉE; SON SENS ESTHÉTIQUE, LUI FAIT RÉVÉLER AVEC EXACTITUDE, L'ESSENTIEL D'UNE FLEUR, LA FORCE ET LE POTENTIEL PROFOND DES PLUS FRAGILES TRÉSORS DE LA NATURE ; SES OEUVRES SONT AINSI REPRÉSENTATIONS DE LA BEAUTE DE LA VIE... ANNIE D'HERPIN EST UNE ARTISTE DONT LA DÉLICATESSE PICTURALE, L'AISANCE ACADÉMIQUE, VIENNENT RAPPELER QUE L'ART, LA PEINTURE, ONT AUSSI UNE DIMENSION DE SPIRITUALITÉ, POUVANT PARFOIS TÉMOIGNER DE L'UNIVERSEL...   (c) Texte septembre 2010 Antoine Antolini - Direction rédactionnelle - Centre de recherche en art CRACP

Alain SIRABELLA, French painter, aged 55, lives and paints in Provence.
Technique: acrylics and gouaches, collages, paper and paperboard timber

SIRABELLA, AN ABSTRACTION IN WICH THE GRAOPHICS ARE THE SIGN in which the graphics are the sign
Characteristic of Search: Through his work Alain Sirabella, renovates the use of sign in the abstract art by making it a versatile expression of lyrical abstraction, informal and non-figurative.
Stylistics, visual artist and graphic approach - Grammar: Signs - writing - Expression: Compositions and without titles. The painting Sirabella applies the concepts of abstraction in a new logic. The sign is abstract in nature expressed in dominant and strong graphics, supplemented by an echo context of use of writing in aesthetic and non-point meaningful.

The period of abstract lyrical approach Sirabella:
Artworks ref.2001 2004
Bright lights, balances complex shapes echoes, resonances of colors, games and graphic signs or vice versa, art-writing ... Sirabella has mastered a language, an abstract pictorial phrasing, which is clean and it develops in the love of art. The Colorist intervenes to animate the artistic structure. In several cases, the painter created a tightening of his palette to let dominate the graphic signs, notes standing out brightly colored background to give life to an original proposal and advanced. In compliance with the basic principles of abstraction, Sirabella converges freedom in contortions of grammar forms with stylistic latched properly, which is found in each of his works, the fruit of several years of research. Today the results of this work shows a mastery of the expressive dimension of lyricism in abstraction. Lyricism framed in the vocabulary of lines, curves, circles, allowing the artist to "work" work in a territory or meeting with the poetics can be sometimes. The visual signal shapes, colors, black circles, gray, multicolored, proliferating in number and rare, may become as the painter's intention, messages of inner states. The poetic lyrical dimension, expressed soft curves, rings anthology struck highlights bright colors, can see through compositions. In these graphics context, aesthetic writing, reinforces, channel, service interpretative abstract topics or feelings ...

Sirabella: an abstraction of signs, visions mastered the informal, non-figurative, to produce a new aesthetic:
Artworks ref.2005 2008
In his stylistic development Sirabella, joined and goes well with the informal, with a non-figuration will not want to convey then ignore "interpretative" but rather, with its series of "No Subtitles" The painter will then address a mainly at the artist, the aesthetic depth graphics. It utilisere this logic writing under abstraction. His research has led Alain abstract Sirabella to participate naturally artistic movement "Art significant" emerged in Toulon (Var) in the 90s. With continuous innovation, sober and technician, marks an artistic presence Sirabella accomplished in art research.
Note to lecteur. this text is translated with the support of a translation software, thank you kindly let us know of any other grammatical meaning or nuance to change. The management thanked the reader. e-mail: editions_edmc@yahoo.fr - Tel: 336 10 99 90 98

In the life of Colette Justet Peyrot, classical music and painting merge to form an inseparable whole. The artist reflected in his paintings his emotions, his feelings, his experiences. It appears from the incomparable atmosphere. The painter using the pictorial expression, we shall then collect all the spirituality, interior elevation, which emerges from the musical expression.

The painting of Colette Justet Peyrot, is a visual language of emotion, just tell us the feelings of the invisible. It depicts the harmony of sounds, such as color harmonies. The artist will interpret the elevation of the heart and mind, in other minds of the sensible, as with his "Violinist" (oil on canvas 55x46 cm hst). Looking at "Quintet" (92x73 cm hst), one appreciates the sheer light from windows, which alights on the orchestral, and we understand the art of Colette Justet Peyrot. (Table to the poster of the exhibition "Memory of the arts today". Toulon 2009). How this can be clearly allegorical, for the spectators, of all the spirituality that emerges from the content melodic, instrumental, which emanates from the true fellowship of musicians. Musical art, pictorial art is above all an awareness of a universe that gives us an exceptional artist. Music is a profession, his passion, with all the talent of musicians, composers, performers, conductors, creating reality, the existence of the partition audible. The artist makes a vibrant and exciting "Homage to Debussy" (81x60cm) by combining aesthetics and memory of the past. Her stylistic rules in his paintings carry a range of sensitivities, it can adapt according to what she wants to convey the message said it wants to offer the viewer. For us to understand, decode, these symbolic images, like those painted in his "Firebird" Stravinsky - (hst 100x73 cm). Colette Justet Peyrot this landscape painting, in a set design aesthetic, which condenses the bulk of this Russian tale, in a sublime architecture of meanings, colors ... Painter completed, she knows how to accomplish and use when desired, the dimensions of Impressionism, to describe the cohesion, the environment, a high point, to translate the plural and homogenous movement, the consciousness of all these bands she knows so well. It takes us sometimes, it captures the synergy from his brush, to the intangible aspect of music. His "Symphonia" (65x46 cm hst), leads us immediately into a crescendo of a fascinating colourism strange and timeless, at the height of the color intensity. Colette Justet Peyrot and returns painting captures the truth of the orchestral performance, its unity, its essential symbiosis. His style, a real chemistry between music and painting, brings together the thousands of sounds, notes, touches of color, feelings, to recreate a brand of beauty and spirituality. The artist poses well with "Iberia" (61x50 cm hst), Impressionism as an additional means to achieve the absolute expressive in painting orchestral.
In these new pictorial dimensions, Colette Justet Peyrot, fluently mediating the aesthetic image evocative. She owns her professional life, all the visuals of the orchestra, with deep sensitivity. The artist understands how to extract and represent in her paintings, the collective balance, subtle movements, swaying, linearity, carry sensations of sound, melodies. His paintings are like elements of the partition image, giving an aesthetic synthesis and lyrical, painting and classical music.
The painter Colette Justet Peyrot succeeded by his love of music to conjure the time scheduled by the brush instrumental ensemble, each musician and his instrument, a timeless way. Through his art, the artist makes a living beauty of classical music, through concert pictorial that will never end.

Anthony Antolini, October 2009
Centre for Research in Art and Heritage Conservation (CRACP)

Painting exhibition by the arts today - Paintings by Colette Justet PEYROT " Exhibition Centre and Research - Toulon (Var) October 2009 - Catalogue of Colette Justet PEYROT painter - title "Creating a painting orchestral" sub - title "A partition painted in harmony with the figurative impressionism. © text and photos Anthony Antolini CRACP / EDMC - Editorial Director - Centre for Research in Art and Heritage Conservation - 2009 E - mail: centre.cracp @ yahoo.fr Tel: 336 10 99 90 98 - Broadcast International, Internet, audio-visual media and all supports.© Editions museums and culture EDMC 2009 Note to the reader. This text is translated with the support of a machine translation software, thank you kindly let us know of any other grammatical meaning or nuance to change. The management thanked the reader. e-mail: centre.cracp@yahoo.fr

"The style of A. Bielen "by Anthony Antolini
"... Bielen, painter of abstract landscapes and synthesis of a new contemporary symbolism ... "

Introduction

Andrew Bielen us into a universe which alone holds the keys. Each work offers a "vision-shock", a powerful and always different facet of the universe Bielen. The painter is part of the new generation of abstract landscape.
His painting today is the result of hard work and daily life, years of reflection on the possibilities of abstraction, on the most appropriate expression to his deep feelings. Having spent all filters pictorial experiments, the creator, born in 1956, arrived today at maturity remaining on the right trajectory of his style. A dynamic, personal perseverance, and a result which is now among the best painter in the family of landscape artists "abstractisé" with its own language, in the context of European art.

I Part I - Approaches to the deeper meanings of the work of Bielen

Semantic content of the work;
1 - The confrontation between-Matter Universe and Nature
In the territory of abstraction Bielen operates today, with its cosmogonies landscape at the tip of the lineage of the great European landscape tradition. He successfully bridging the abstract landscape with the expression of a neo-symbolism.
"Between two worlds" hst 80x65cm 2008 - "Under the wing of the dragon" hst.40x80cm 2008
We will highlight in particular, throughout this aesthetic analysis of his work, the process that led to the painter Bielen this breakthrough in the art. With a unique pictorial interpretation of the landscape, Bielen addresses both the distortion of the sign, shape or color. It explores the term schematic analytical elements of the plant, to stage a formulation of Nature, in contrast with other cosmic. The painter has defined a new coherence and makes sense for other visions of the landscape in its treatment abstraits.Bielen modernist and avant-garde landscape is pioneering a new encounter with nature. In an original approach he was able to unite, combine the vegan items closest to us and the most distant cosmic dimensions to bring them into relationship, dialogue, and contradictions of meaning and sign, with the idea of tackling the sense of origin on the one hand and the "finite" other. It marks out extreme creative curriculum landscape. As can be seen on the same painting a vision and a micro-macro-vision of Nature, when the floral wreath between contrast, in turbulent convergence, with the colors of light energy in the astral tumult. Layouts sometimes becoming finely painted graphic lines, to dishes, put into games distances and perspectives, Bielen transports us to the heart of a narrative that "transforms" the real to the abstract.
2 For the extremes of nature gesture landscaper Bielen has become abstract.
Bielen helps us to see, but also to understand what we see does not know that you can not see, and yet built the foundations of our distant past of consciousness. His work is a painting that would act back on space or time. He revisits the present. His act of painting before it caught, conquered, dominated, shapes and impressions from the confines of nature, to come and present it in an aestheticized vision. Reasons abound geometrized harmoniously, in a direction of jets soaring in openwork schematized in thin linearities in stems. Ribbed plots, leaf shapes, simplified, divided, grouped into assemblies, animate the foreground of the painting and make ground. Meticulously both constructed and deconstructed, such ambiguities raised in nearby raw, leafy these are a culmination of the earthly, the ultimate limits of naturalistic evolution in cosmological paradox of deep layers of the table.
In this dialogue between proximity and distance signs and meaning, between fusion generic initial magma and finishes the most fragile of Nature that Bielen us his research. His creative field investigates the dualism of absolute limits of the existing landscape, puts them into tonal resonances in thesis and antithesis narrative to produce an entirely abstract. He then exhales his paintings, these ambivalent, all feelings, all previous questions most of our humanity, we see the dawn of the mystery out of mind, to reach a strength of symbolism, spirituality.
"The spirit of Basil" 2009 hst. 54x65cm - "suprema lex" 2008 hst.46x33cm (with black frame 69x81cm) - "D'jinn" 2005 hst. 38x46cm (73x81cm with black frame) -
I - 1 - The Abstraction of Landscape Bielen. Intuition of Nature, poetry and spirituality.
1 - Paint the tub and the synergy of the material universe-state landscape.
Permanent fusion and color of the material in its original state, until the highest form of links in Nature, the artist questions us, by evoking an allegorical elements of the floral kingdom fragmented. In contrast to the meaning expressed, contrasting signs, contrast of eras, but the continuum, since time immemorial, Bielen painted the timeless path of evolution in fusion, combustion, to the accomplished nature, dipped in light plentiful hot and cold of the origins of the world.
"Suprema lex" 2008 hst.46x33cm (with black frame 69x81cm) - "D'jinn" 2005 hst. 38x46cm (73x81cm with black frame)
His profoundly European abstraction in the landscape reached an osmosis between "cosmicity" and spirituality in a positive translation. The artist has realized a formulation of alpha and omega, the genesis of the universe molten heading up a vegetable nature at our feet under our gaze of men. The tables Bielen date and then take note in the system of technical progress in the pictorial. They position the work in the course Bielen competing schools of abstract landscape other continents such as Asia or the United States. Semantic and semiotic constructions works Bielen, place it at the end of a diachronic which he reveals the news today.
2 - The Land lively and colorful Bielen.
It is apprehended by sensation and emotional impacts. By being able to make us accept a new terra incognita, following his intuition, Bielen has generated innovative mapping and marked the sign-meaning color-a different territory. Celeste, mineral, vegetable, cosmic mergers and high light. Each table brings the proposal of a balanced, or emulsion techniques colorists call a powerful grammar-color signs .... Arc-en-ciel, visions of ghosts, astral and stellar rotate and convulse in scenographies the luminous space. Out of all modes and at all times, the tables are Bielen status of this memory, the memory alive. "Materializing works both archaeological and avant-garde in the heart of our society to progress, technology, one of the essential bases of spirituality is non-cognition of the future ...
"Between two worlds" 2008 hst 80x65cm
In turn the plots and graphs delicate sheaves and branches, knots free strokes, lines, superimposed animated as signs of nature land, plant geometrical forms, which sometimes allegorical meaning other morphisms. Nature constructed and deconstructed, and then developed in bundles of rods radiating and managed by groups of fleeting shapes and furtive. Bielen marks the high point of a present, a "right here" before our eyes and give us hope, the ultimate vision of all beginnings and all ends with a new look.
"The Bonfire of the Vanities" in 2008 hst. 73x60cm (110x120 cm with black frame)
I - 2 - Bielen painted felt generic cosmic mystery in a new symbolism.
1 - New contemporary symbolism
For his work, which takes us to the feel of a hidden mystery of nature, through new territories to logical cosmogonic Bielen opens an additional field research in symbolism.
Andrew Bielen has inwardly felt, consciousness, intuition of a transcendent mystery, buried deep within him, whose expression seems to come from the cosmic dawn of time. It expresses a resurgence in his paintings. Convinced of the correct leadership of his way, he travels in an otherwise unknown to us, but familiar to him. He was able to decipher the codes and riddles sensitive visible. He offers his works in various aspects of this perception shamanic practically belongs to him. His aesthetic is expressed from the depths of the historical art of our continent, in a glance turned towards the ultimate limits, in harmony with the sublime "with" spirituality "with the" timelessness "as if It was originally included in its notions of painting, painting in his destiny. Bielen "amalgam" then in a sense "alchemical" anticipation and the future, existing and non-being, good and evil, lightness and strength, energy and nothingness, to confront the magma timeless and the ephemeral vegetation in a paradoxical coexistence, which expresses all the vagaries of mankind. Perpetual torment original symbolic fire, pride and humility branches of leaves of all sacred.
"The Bonfire of the Vanities" in 2008 hst. 73x60cm (110x120 cm with black frame)
"The spirit of Basil" 2009 hst. 54x65cm
We can not remain indifferent, neutral, doubtful, facing work Bielen, it is logically leads to accede to the fact that artistic product. Manufactured aesthetic osmosis Nature and spirituality, landscape and abstract symbolism. Bielen's painting does not need to win because it is there, omnipresent itself. This exceeds prior to the tastes or modes. The painting becomes culture: "cultural".
Innovative approach in its intentionality, became permanently indispensable today in contemporary art. The work of the artist, is a logical perceptual set on the canvas to reveal further, touching the mystery by his brush invisible, the impalpable essence of nature, to come by revealing that his paintings abstract landscape and Symbolism can join together in the same speech. That their language is a higher poetic fusion.
2 - In the existing being, of matter to mind.
This imaginary anecdote and color, the borders of a fantastic vision, remains a process of abstraction, a sensible representation dating from the deepest unconscious of the artist. An abstraction even stronger than an interpretation of reality, for here the expression, vision, speech, image, feeling of a real generic substrates anthology from our memory of humanity. Painter foremost, Bielen, has succeeded in phasing set with the fundamental techniques of painting. This for us unveil the secrets of authentic and pure expression of the perfect performance on the canvas. It arises as an extension of the great tradition of pictorial exercise in order to bring a new term today, the synthesis of landscape, abstraction and symbolism classic.
"The spirit of Basil" 2009 hst. 54x65cm
I - 3 Sense Bielen's work as a social interface.
1 - Reality cultural work and the reference value in society.
Reason-image from the passion, reason, truth that emanates from the love of art. Pictures, paintings, balance due, from a "truth" unavoidable aesthetic, which is demonstrated through an actual pictorial style. Not only works of art existing in the reality of a man, painter Bielen, but his painting is as essential to aesthetic and cultural reality. Reality of the work of art that is born into society and becomes part referring to the company. We may admit the European and international approach of this type of art, in the context of our European cultural heritage, to be positive and advance the art of abstract landscape. The painter of society to an existing design, it highlights a real culture by his act of painting. The viewer in turn, must learn to discern in this painting, in turn, its own references, those who also belong to our cultural birthplace in Europe in terms of abstract landscape. The tables show a progression Bielen, the expression of new criteria for defining artistic landscape.
"Fates" triptych hst.100x20x3 (triptych - with black frame 120x150cm)
"Suprema lex" 2008 hst.46x33cm (with black frame 69x81cm)
2 - Viewers meet the theoretical scope of the work of Bielen. The individual, society.
Leading up to the mysterious glowing in which infinities Bielen invites us into interpretations of flow and energy troubling undertow, viewers can see as many fears arise, fear, anxiety, quickly ousted in favor of a wonder reassuring. The Colorist of Bielen then transmits a dynamic and vitalizing energy which includes the light. The oil painting, in its strength and sensuality allows Bielen, language and the means to broadcast publicly the most internalized felt deep in the unconscious of the artist. Unaware of the painter-medium that expresses the feelings of the collective unconscious. It produces images as much for re-situate the place of the spectator as an individual alone against the infinite. to feel that society and civilization their real contexts.
A contemporary civilization faces through messages Bielen, at its own history, its future generations in the mirror with a future issue of the meaning of life.
"Fates" 2009 triptych hst.100x20x3 (triptych - with black frame 120x150cm)
"Suprema lex" 2008 hst.46x33cm (with black frame 69x81cm)
"The Bonfire of the Vanities" in 2008 hst. 73x60cm (110x120 cm with black frame)

II nd part - Semiotic Approach.

Content of the work in terms of signs and messages.
Please, see Part II nd and full text of the analysis of the work of BIELEN european artist, on this web-site in page  "TEXT OF RESEARCH" 

Conclusion

Its grammar confrontation plans, semantic contrasts and oppositions, its ability to modulate levels of readability, the differentials in the possible meanings of the visible based paint in high-level strata of European art. Andrew Bielen This poses today as the indisputable emergence of innovative talent in the contemporary life of art, in memory of this our existing European culture. The pictorial work can be considered belonging Bielen full title to the building construction of the new contemporary painting. Their personality makes them recognize the changing news landscape of our culture, in relation to our own European heritage, as in the case of paintings from other continents, Asia, USA, Africa ...
Bielen is mature neither too fast nor too slow, it has gradually drain composite elements of his universe and paradoxical language, for we offer them simultaneously with a consistent talent. This means that Andrew Bielen able to bring its research and work in a high-level control. It can have certainty about the validity and quality of his painting for the future, on the stabilization of his art and an evolution carrier. Realists, impressionists to the symbolists, expressionists through, over the decades and centuries, landscapers have the reputation of our European continent. Bielen dug a deep furrow current and avant-garde abstract painting landscape today. Her pictorial is specifically with the potential to become a powerful model in the international art world.

EDMC Editions Antoine Antolini, 2009

A presentation of works by Andre Bielen was made public in June and July 2009, at the exhibition of his paintings, medium and large sizes, Pole Exposure "Art and Culture Publishing museums and culture (EDMC) to Toulon (Var) held from June 15 to July 11, 2009. Exposure to Toulon (Var) June-July 2009 - "The Stylistics Bielen, Catalogue of the painter Andre Bielen © 2009 EDMC Editions - text: Anthony Antolini, Editorial Director Publishing for museums and culture EDMC - L. Association 1901 for the promotion and development of museum and art - Founded in 1993 - Note to the reader. This text is translated with the support of a translation software, thank you kindly give us any other meaning or grammatical nuance to change. The managment thanked the reader. e-mail: editions_edmc@yahoo.fr

"Grandin: stabilization in contemporary art of a referent Fauvism" "
Period painting until December 2008
I - Grandin Patricia - Introduction and analytical context of his work.
Fauvism Matisse, which opens a color revolution in the early twentieth century, like the German Expressionists, we have used a different painting visually, built around breaks conventions colorists, upsetting the logic of chromatic landscapes subjects. The French Fauvism, which surpassed all the a-priori academic harmony of colors, for decades been a preferred area of work of many modern artists of color and form of expressionist, across Europe. Patricia Grandin able to take today, the necessary distance from this dynamic. Mobilities among the painting of the late twentieth century saw among the painters in search of another figuration. Patricia Grandin included in this space between Fauvism and Expressionism. Participant figuration renovated it delights to converge, to associate, the "dissonance" Colour and power lines "formal" (forms) into a new pictorial language ... Unlike a traditional Colorist fawn, pure from sea to sky in orange or bright yellow, separated from reality, the range Grandin remains sober. Unlike violent gestural, expressionism of a thick black lines, plots brittle, thick lines, curves, black, dark circles, of hilighting heavy .... The modality fawn Grandin scored the landscape in materiality, enriching it further internal forces of extra energy, the animating impulse of a trend without losing sight of a rigorous design vis a vis the reason even in its most daring imagery.
II - can be regarded as a painter Patricia Grandin synthesis of Fauvism and Expressionism modern
The style of the artist gives us an osmosis of beasts and expressionist tendencies in these early years of the twenty-first century in France, in a sense "integral" to know-through the economy from an overload crayon, with a limited palette. It reveals a "Fauvism, Expressionism" controlled, unfettered, in tones often dominant red, white. In his painting, also known Grandin gently out of the shadows and conventions drawn strong black, to go towards hilighting with reds, blacks, regulated, which carry a vision of the essential formal grounds. It saves the power of landscape, the strength of the initial borrowing and colors. The painter works on the essence of the landscape, the image that nature happening in space. In his works on the South, the Alpilles, the landscapes of Provence, Patricia Grandin takes us back to our viewers as a result, powerful paintings. She captures, through its choice of designs, colors, lines, all cosmicity nature. It shows the echo volume, the spirituality of the place and made us share his moments in the heart of massive, discover the games of gray and blue, bright shades, the immanence of a mountain, a plain of a grove, a few trees ...
Her style is painterly technique in oil, on large and medium format, readily materialists and figurative. A touch in thickness with a spatula to plates of gestural controlled simultaneously serve its intentions regarding the visual pattern and expressed his narrative. His aesthetic discourse is mature and produces a balancing of French Fauvism. Grandin was able to "tie" Fauvism in its new dimensions and evolutionary expressionist successfully restored a basic grammar. In this sense we can say that Patricia Grandin is a painter of reference for understanding the progress of Fauvism today in the French painting and contemporary art in general. By defining basic essential for colorists Fauvism, by summarizing and reconciling changes expressionist graphics, and the new formula Grandin current characteristics of Fauvism in the landscape and served with rigor and precision stabilization style.
A presentation of this work was made public in December 2008 during the exhibition of his paintings, medium and large sizes, Pole Exposure "Art and Culture Publishing Museum and Culture (EDMC) to Toulon (Var) in the framework of the exhibition "Art of Memory" from November 27 to December 22, 2008.
Exhibition "Art of Memory" Toulon (Var) December 2008
"The Stylistics Grandin Grandin catalog of artist Patricia Editions © 2008 EDMC
Anthony Antolini, Editorial Director Publishing museums and culture EDMC
EDITIONS OF MUSEUMS AND CULTURE (EDMC)
RESEARCH DEPARTMENT
Note to the reader. This text is translated with the support of a translation software, thank you kindly give us any other meaning or grammatical nuance to change. The Executive thanked the reader. e-mail: centre.cracp@ yahoo.fr

A stylistic bridge between realism and impressionism
Characteristic of Search:

Through his work Roger Amarger, seeks to translate a universal landscape. Stylistic issues, grammar, Colorist, poetic. Roger Amarger French painter, aged 54 years living and painting in Provence.
Technique: watercolor on wet paper - oil on canvas - charcoal - pastels

The painting of Amarger, figurative, vehicle strength, energy, which is what the painter feels, understands, from the heart of emotions from the landscape, but it filters its own aesthetic language, in choice Dominance shapes and colors (works 1 to 8). As reflected in the School of Barbizon, Amarger belongs to landscapers who have made a pact with nature to honor him with talent, present in an inescapable authenticity. Amarger not yet painted only after impreigné visions, felt. His memory was broken in to a game colourism he mastered to become a true language of poetry ... a "poetic" often strong, hard, sad, or violent ... Amarger has seized a grammar-specific landscape to speak the language of Nature ... He became a master has the force of belief, unity of light, ease of painting for us to understand how the image may vary and, therefore, the speech of Nature ...

This Nature, the painter Roger Amarger fact is shimmering, sometimes to look itself is reflecting in the lakes and rivers ... It sometimes creates the ambivalence of reality and image ... Amarger continues about the pictorial nature forest, plains, he meets with the theme of "water in the land, common research framework to the greatest landscape painters, from Turner to Monet .. For his work, research Amarger a universality in the expression of the landscape. He has found in the attitude of a tree, the flight of a flock of birds, the pride of a branch, the sweetness of a hill, the torment of a trunk, deep ties with our feelings ... Its blend felt in joining the Arts, around the existing, state of nature that goes beyond the time and place, our time ... Amarger Nature frees all it would mean to man, tell us, we cry, we breathe, the painter we translated the vibrations, the characters, the emotions of the landscape. He deals with a sensitive evocations colourism charge associated with the staging of a panorama to take us further than this ... The artist speaks with his brushes and colors of nature with a new language, evolved from our cultural birthplace. An innovative approach to contemporary quality that remains true, in modernity, with the French tradition of representational landscape.
Note to the reader. This text is translated with the support of a machine translation software, thank you kindly give us any other meaning or grammatical nuance to change. The management thanked the reader. e-mail: centre.cracp@yahoo.fr