Rayures et Léopard #02 (2019) Painting by Aurélie Quentin

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  • Original Artwork (One Of A Kind) Painting, Oil on Linen Canvas
  • Dimensions Height 24in, Width 18.1in
  • Framing This artwork is framed (Floating Frame)
  • Categories Paintings under $5,000 Figurative
Figurative portrait of a girl, in a red bodysuit and striped negligee, basking, sitting on her sofa with a leopard pattern. A Painting - A Sound: Jimmy Hyacinthe - Yatchiminou Figurative Portrait of a girl, in red body and striped, lizard, seated on her couch with leopard motif. One Painting - One Song: Jimmy Hyacinthe - Yatchiminou [...]
Figurative portrait of a girl, in a red bodysuit and striped negligee, basking, sitting on her sofa with a leopard pattern. A Painting - A Sound: Jimmy Hyacinthe - Yatchiminou Figurative Portrait of a girl, in red body and striped, lizard, seated on her couch with leopard motif. One Painting - One Song: Jimmy Hyacinthe - Yatchiminou

Related themes

RougePoseLazyBleuDark

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Aurélie Quentin, a French artist with Italian and Russian roots, was born in 1984 and spent her formative years on the tropical island of La Réunion, near South Africa.[...]

Aurélie Quentin, a French artist with Italian and Russian roots, was born in 1984 and spent her formative years on the tropical island of La Réunion, near South Africa. After obtaining a degree in Architecture in Paris, she redirected her creative expression towards painting, particularly using large figurative portraits as her canvas. Aurélie Quentin's chosen medium, oil painting, becomes a conduit for portraying a rebellious and diverse youth set against urban and often tropical backdrops.

Her work is enriched by the vibrant kaleidoscope of tropical colors, the raw intensity of light, and the delicate nuances it brings forth. Quentin's art captures the essence of everyday life, showcasing moments of leisure that are elevated and immortalized on canvas. Within her compositions, there is a subtle incongruity—a critical commentary on the standardization of taste.

Aurélie Quentin deliberately selects models that embody multiracialism, considering it the epitome of human beauty, a characteristic abundantly present in Reunion Island. Her subjects, set in "everyday life" scenes, emanate a sense of self-awareness, engaging in a dialogue with the observer. Their attitudes exude a hint of disdain and irreverence, conveying a sense of living in the moment, free from societal expectations. The nonchalant poses, though potentially perceived as provocative, serve as an homage to the comfort of the present moment, challenging outdated norms of decency.

In Quentin's artistic narrative, her characters embrace the art of doing nothing—a concept once celebrated by philosophers throughout history but now taboo in a world dominated by productivity. Her paintings serve as an allegory of unapologetic leisure, portraying a youth that defies societal pressures and embraces the simplicity of happiness. Through the strokes of her brushes, Quentin immortalizes a "state of being" that reclaims nobility for moments of idleness—the very time that births activity, innovation, and creation, allowing individuals to break free from the constraints of a productivist societal dogma.

Contemplating Aurélie Quentin's work invites viewers to reflect on the right to leisure, the right to lightness, and the value of "lost time" in a world consumed by constant motion and productivity. Her art becomes a visual manifesto, encouraging a reconsideration of the importance of embracing moments of repose and reflection in the pursuit of a more fulfilling existence.

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