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It is a process of printing on art paper using very high-quality pigment inks and printed in very high definition. Its level of conservation is exceptional (more than 100 years), its quality, depth, and richness of nuances exceeds the classic photo print on Argentic paper.
Apart from its exceptional thickness, the fiber paper is composed of an alpha-cellulose base without acid and it is covered with barium sulphate, and a microporous layer absorption enhancing pigments during printing. A pure white color, non-yellowing to light, this paper is especially designed for resistance and aging. It is used by major museums worldwide as it offers excellent resolution, rendering deep and dense colors.
Art Print "Fine Art" - Glossy finish on a fiber base paper 325 g.
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| 1500 px | ||
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1234 px |
| Dimensions of the file (px) | 1500x1234 |
| Use worldwide | Yes |
| Use on multi-support | Yes |
| Use on any type of media | Yes |
| Right of reselling | No |
| Max number of prints | 0 (Zero) |
| Products intended for sale | No |
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All images on ArtMajeur are original works of art created by artists, all rights are strictly reserved. The acquisition of a license gives the right to use or exploit the image under the terms of the license. It is possible to make minor modifications such as reframing, or refocusing the image so that it fits perfectly to a project, however, it is forbidden to make any modification that would be likely to harm the original work In its integrity (modification of shapes, distortions, cutting, change of colors, addition of elements etc ...), unless a written authorization is obtained beforehand from the artist.
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Art image bankI paint moments that make no noise.
Simple gestures, a turned gaze, a body waiting without posing. I'm not looking for the spectacular, or even to tell a story. What I'm pursuing is that zone of silence between two breaths, that moment when something surfaces, without bursting. A nothing, but charged. An almost nothing that weighs.
I work from photographs, yes. But photography, for me, is only a starting point. A way of freezing what escapes me. Then, I reconstruct. I choose, I discard, I reinvent. Painting begins where the image ends.
But my eye is undoubtedly more influenced by cinema than by painting, to tell the truth. I grew up with certain silences of Antonioni, the fixed shots of Kieslowski, the raking light of a film that explains nothing. I often look at things like a cameraman: the framing, the light, the off-screen are as important to me as the subject. A character sitting on a bus, a woman in an empty room, sometimes they speak louder than a loud scream.
More than imitation, what interests me is not claiming a lineage, it's finding my own voice within this realistic field. What attracts me to figuration is that it allows a direct approach, without discourse. It poses shapes, bodies, gestures, and leaves room for ambiguity. For suggestion. It's an immediate language, but one that can last a long time.
I don't have a manifesto. No program. I'm looking for a form of accuracy. Something tenuous, which resists effects. Realistic painting gives me this possibility: to slow down. To approach. To capture.
I've often been told about melancholy, in relation to my work. It's a word that suits me, as long as it's understood as listening—not as complaining. I paint characters who allow themselves an absence. Who aren't there to seduce you. They are elsewhere, in their own world. It's up to you to join them—or not.
I like it when you can get lost in a painting. When you don't understand everything. When you don't necessarily find what you came looking for. That's what I expect from art, too.
This site brings together years of work, fragments of this quest. Not a retrospective. More of a journey. Portraits, scenes, lights. Silences, above all.
Thank you for entering with your eyes open.