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Structurellism of the Beaudier Painter



The Beaudier Painter : Revelation. (2011).  Sructurellism.



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The Beaudier Painter. Revelation. (2011).

6th Structurellist picture of the Painter Beaudier Revelation could be a synthesis between Timeless gleams and Eternal Vibrations. Multiple details are found from one work to another what of course is logical. However of new prospects seem to open and the picture contains a paradox which seems desired by the artist. Behind this tree in the foreground something radiates intensely and the spectator can think immediately that it is the sun. However this interpretation does not resist an attentive examination of work and this for several reasons. The star would be too low compared to the foreground. It would be necessary that the point of view is then very high and in the other tables of the artist it is never the case. With the background a horizon seems to be detached and the sun would be in lower part and in front of it what is impossible. It is thus about another thing. 
Probably the symbol of a force, of an energy which nature contains and which it is necessary to see when it is revealed to us. 

The point of view of the spectator is appreciably higher than in the preceding fabrics compared to the center. 
The prospect remains central because all the perpendicular lines go towards a single break point, located at the center of the composition. The propagation of the various colors is done especially according to the diagonals. The artist splits his key in multiple segments, the same key can contain several colors and with final there is on the work of the hundreds of different colors. 
There are zones or certain colors dominate, especially blue and the orange or gilded yellow. These same colors also dominate in 
the Starlight night of Van Gogh.
The symbolism of the colors is identical. Blue is a spiritual color which symbolizes the force of the spirit it is a cold color but higher which indicates serenity and temperance, the yellow is a hot color, clear merry and soft it contains a vivifying and penetrating solar heat. 
The center is this time very slightly shifted compared to the source of the colors which flood pictorial space. The 2 diagonals always delimit 4 different spaces, the colors with dominant reds and green are especially present work on the left. Blue and yellow in top and on the right. Symbolically if one wants to make speak the colors the picture would express a passage of reality and the sensual one with the spiritual one and in the world of the ideas and thought. To some extent a call…. 
Here the point located at the center of work where the colors spout out. Those are projected towards the spectator. 
On the left part of the fabric, bellow, multiple multicoloured keys are projected, the red dominates. One would say, to employ an expression of Derain and fawn-coloured painters of multiple sticks of dynamite which explode the color. 
En bas sur la droite c’est le bleu qui domine. Le bleu sacré et spirituel du manteau de la Vierge. Sa signification est céleste mais pas formellement divine. 
Light : By projecting colors the center expels also light, with hot colors, yellow, orange, gilded, red, purple and cold colors with the tonalities lights, blue and green.
Colors : Contrasts between complementary colors.
The carryforward of the colors used to work out the fabric on the chromatic circle indicates a contrast between complementary colors.
Blue and orange, red and green are complementary colors.
Similar pictures :
The Baudier Painter. Eternal Vibrations. November 2010. 
This pictures of the same artist is close to revelation but the colors are much more sharp and more “fawn-coloured”. On the other hand construction is less rigorous, the presence of several trees ahead plane make a less accessible picture of it although the manner and the technique are the same one. 
The Beaudier Painter. Timeless Gleams. (2010).
Work is similar but the colors fewer and more contrasted.
One finds same construction, a central prospect and the propagation of the colors since the geometrical center of the fabric. 
Vincent Van Gogh. La Nuit Étoilée. ((1889).
Vincent sent lui aussi la force qui réside dans la nature mais il veut aspirer le spectateur dans l’œuvre. Le but est le même partager l’émotion ressentie face à la nature mais lorsque Van Gogh aspire Le Peintre Beaudier projette. Le but est le même mais les moyens sont différents et même inversés.