Painting titled "Hotel Anchor.... Ap…" by Applestrophe, Original Artwork, Acrylic

Hotel Anchor.... Aprés l'amour (1993) Painting by Applestrophe

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Original Artwork Painting, Acrylic on Canvas

Artworks classification

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 29.9in, Width 39.8in
Categories Paintings under $5,000 Figurative

In the 1980s, many real estate ads offering apartments for rent in the Art Deco District of Miami Beach boasted in bold letters the presence of wooden floors: "HARD WOOD FLOOR".
So it seemed that apart from the termites, the torpid climate, and the noise from the neighbors, having this parquet floor was the ultra chic thing!
So on commission, I did a scene that reminds me of what it feels like to have sex in a hotel room in Miami Beach. The disintegrating wooden floor led me to paint the “Salvador Doilies” series.
Note that since then, some of the buildings that I painted in real life, in front, have been razed: The Anchor Hotel which is painted on the floor is now a parking lot for the Loews Hotel.

Here is a text in English, written by a famous New York theater writer about my painting:

Pierre Marcel paints the inner mind, the emotions that haunt us and reward us, the passions and fears we cannot live with and certainly cannot live without. His talent is to express emotion through the architectural vagaries and the coastal ambience of South Beach, with the semblance of conventional postcard transmuted through the alchemy of art into a riveting mystery, making us think: Wait a minute, what is going on here?!
He captures the sense of emptiness, and expectation, that follows a romantic interlude on a holiday afternoon. Seagulls circle idly as winds bend curtains to their command. The walls have disappeared, as have protagonists, yet the room is heavy with excitement and energy. Why, for example, is that floor warped-did the earth shake, in Hemingway's famous phrase?
Are these building bending for a better look, architectural voyeurs looking for the curved arch of a naked back? Are they envious of the fragility of humans? Or of our durability? Do they seek companionship among themselves, thinking yes, I will bond with that edifice?
And all in daylight, harsh, unforgiving. Not for Marcel the elongations of a Modigliani or the shadows of a deChirico. What is to be seen is to be seen clearly, and the buildings echo the reality of newly-acclaimed architecture, and the accompanying sand and shore of South Beach. But the reality is subtly changed, so that we are forced to enter this magical world and re-orient ourselves. And seek to understand, and see what we had not understood or seen before.
So the daylight is deceptive, deliberately, an illusionist's trick to entice us to lower our guard and be seduced into the Looking Glass, where things are not as they seem, where the pedestrian becomes exotic and the exotic commonplace.
And so I see here the ephemeral emotion which follows a romantic interlude on a holiday afternoon, the faint shadowy hint of mortality that brushes against our cheeks. Others may see- what others may see. For that is one of Pierre Marcel's strength's, that he captures a truth and shows it to us, but allows us to decide for ourselves the nature and shape of that truth.
1993 Jim Tommaney

About this artwork: Classification, Techniques & Styles

Acrylic

Paint using traditional pigments mixed with synthetic resins.

Figurative

Figurative and colorful painting having taken the liberty of including all forms of art without border of cultural genre and geographic origin, without hierarchy of values between high and subculture.

Technic Painting

Painting is an art form of painting on a surface by aesthetically applying colored fluids. Painters represent a very personal expression on supports such as paper, rock, canvas, wood, bark, glass, concrete and many other substrates. Work of representation or invention, painting can be naturalistic and figurative, or abstract. It can have narrative, descriptive, symbolic, spiritual, or philosophical content.

Automatically translated

Applestrophe

France

Pierre Marcel SCHMIDT, also known as Applestrophe, is an international painter specializing in ecological art. Born 35 years ago, he became an “ambassador of France” through his works focused on love and apples. His artistic journey took him to Miami Beach, Florida, where he left his mark in the heart of the historic Art-Deco district.

During his career, Pierre Marcel Schmidt has maintained a close link with three French regions, where he creates daily: Île de France, Normandy and Picardy. In addition, he devoted each summer to the study of the South of France, in particular Saint-Cyr-sur-Mer.

His professional career is rich in notable achievements. In the 1970s and 1980s, he began his career as a screen printer, then became a decorator, running a business with up to ten employees. His work consisted of beautifying Parisian restaurants and cinemas while promoting environmental protection.

From 1986 to 2005, Pierre Marcel Schmidt became an international decorator under the name Pierre Marcel, working in the United States, in Miami, Florida, with the company "Subject to Change". He contributed to the preservation and renovation of the Art-Deco area of Miami Beach, decorating stores, private and public spaces, as well as commissioned municipal murals. For seven years, from 1991 to 1998, he traveled to Moscow as an official American expert to create the scenery for the first tourist attractions and the new Moscow City Hall, while helping to train Russian students in trades of official decorators.

In 2001, Pierre Marcel Schmidt returned to France, this time as an ecological painter. He lives in Guerny, in Eure, where he works publicly to promote the Vexin Français Regional Natural Park. Since 2003, he has created daily artistic works in public art at the Salle du Prieuré in Saint-Clair-sur-Epte, a village linked to the history of the creation of Normandy during the peace treaty of 911 with the Vikings.

From 2013 to 2016, he also directed a workshop-gallery located in La Roche Guyon. Throughout his career, Pierre Marcel Schmidt, aka Applestrophe, has used art as a means of raising awareness of ecology and promoting French history and culture.