Carla (2001) Drawing by Bernard Moutin

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Original Artwork

Original Artwork refers to any work that is considered authentic and not a copy or imitation of the original works of an artist. Original artwork can be any type of painting, sculpture, performance, or other media. There are many types of original media. Mixed media includes oil, acrylic, and watercolor paintings. For workshop paintings that bear evidence of master craftsmanship, this attribution must be further qualified. While they may be less valuable for different reasons, reproductions and copies have had a tremendous impact on our experience. They reach a greater audience than originals and act as a tonic against commodification. Original Artwork could also refer to the first work, which is always preceding all others. It could also refer to a prototype or a model from which other works can be made. Each work bears great similarities to the original.
Dimensions Height 11.8in, Width 16.5in

Nu de dos About this artwork: Classification, Techniques & Styles Technic Drawing Drawing is a technique of visual representation[...]

Bernard Moutin

France

Bernard Moutin, a contemporary French artist, has seamlessly blended a 30-year career as an architect consultant with a lifelong passion for drawing and painting. His artistic journey[...]

Bernard Moutin, a contemporary French artist, has seamlessly blended a 30-year career as an architect consultant with a lifelong passion for drawing and painting. His artistic journey began with a decade-long immersion in the intricacies of drawing at Les Beaux, and he has since transitioned wholeheartedly into the realm of painting.

When queried about his artistic approach, Moutin often responds with a touch of provocation, describing his style as 'Engaged Pseudo-figurative.' This label, though provocative, encapsulates a significant aspect of his artistic intent.

Moutin firmly believes that the essence of painting, shaped by the painter's sensitivity, should be rooted in the societal context and the observer's perception of its evolution. He contends that even if a painting possesses enduring qualities, it must be firmly anchored in the contemporary world. Unlike purely abstract art, which he views as limited in expressive potential when confined to formal elements, colors, and materials, Moutin's works transcend mere abstraction. They eschew precise realism, utilizing figuration as a supportive element to convey meaning—a representation and interpretation of reality, narrating one or more stories.

His artistic endeavors often manifest in thematic series, resembling a visual narrative akin to a comic strip. These series not only tell stories but also reflect a process of distillation and simplification of evolving ideas.

Moutin rejects the notion of a singular, fixed, or repetitive artistic trajectory. His paintings mirror the diversity and instability of his personality, symbolizing a rejection of routine and a continuous exploration of varied artistic realms.

Splitting his time between Lyon and Tangier, Moutin draws inspiration from both locales. His admiration for feminine curves finds expression in a series of nudes—a testament to his extended periods spent in the company of live models in the studio.

In essence, Bernard Moutin's artistic odyssey is characterized by a dynamic fusion of architectural expertise, a passion for drawing and painting, and a commitment to engaging, pseudo-figurative storytelling that transcends the boundaries between abstraction and realism.