SOPHIE DUMONTgreen landscape, abstract countryside, fields, modern, contemporary, oil, french2023
2023
About the Item
- Creator:SOPHIE DUMONT (1964, French)
- Creation Year:2023
- Dimensions:Height: 14.97 in (38 cm)Width: 24.02 in (61 cm)Depth: 0.79 in (2 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:LANGRUNE-SUR-MER, FR
- Reference Number:1stDibs: LU2430211864972
SOPHIE DUMONT
Born in Paris on April 09, 1964. Lives and works in Langrune sur Mer (Normandy) Sophie Dumont moved away from the Metropolis to live a few years in the Antilles, Spain and finally in Morocco. On her return to France in 1991, she took the plunge and grabbed the brushes. From her earliest childhood, she was immersed in the world of painting, through the drawings of Henriette Dumont, her paternal grandmother who sketches at all times, children and grandchildren with a line that can recall that of Matisse . Sophie Dumont is interested in the history of art, works for several years, searches, discovers in order to fully realize herself around 2007. Its invoice becomes stronger, the layers multiply on the canvas, revealing a beach or cliffs to whoever wants to discover them. His work in oil takes on its full value in successive layers and transparencies in shades of gray and white. Sophie DUMONT extends her exploration of the Norman universe. The environment is familiar to her, but she stubbornly welds the slightest vibrations. The omnipresent landscape hides from view to reveal furtive appearances that drown in the pearly and translucent light. The subliminal vision of a horizon cut out by distant cliffs evokes a daily life punctuated by a constantly changing space. Nothing disturbs the tranquility of a space shaped by these diaphanous lights, a mixture of grays and shadows that subtly play with the fluidities of air and water. These landscapes imbued with a lyricism bordering on abstraction seem to move away from a reality that the heaviness of traditional painting wants to find in the recognizable. The representation is irreversibly detached from the motif to better reflect the emotion aroused by the total immersion in the painting. The image fades before the senses, giving the viewer his freedom of interpretation. Sophie DUMONT's abstract is not a concept, it is an approach where each canvas is built around graphics put into perspective by color. The drawing can recall the shape of a body or the meanders of a landscape. It is only the unpremeditated interpretation of a figurative idea, which takes other forms in space. The canvas is structured around a play of curves and lines filtering the lights. It is in this refined construction that the palette of often contrasting tones enters the scene. But the substance is never raw, drawing from its maturation lyrical effects which are the result of a fruitful work of the material. The knife shapes the material in successive layers that merge into a combination of shimmering colors. His perception is only the expression of his own emotions, submitted simply to the effect of modulations transcribed by the artist. Hence this permanent relationship between works with sometimes changing appearances and spirit, but which symbolize a coherent and sincere approach. Francois Laune
- ShippingRetrieving quote...Ships From: LANGRUNE-SUR-MER, France
- Return PolicyA return for this item may be initiated within 14 days of delivery.
- Cliffs, black and white abstract, oil on canvas, french artist, texturedBy SOPHIE DUMONTLocated in LANGRUNE-SUR-MER, FRhis abstract artwork, delving into the layers of the cliffs in Veules les Roses in Upper Normandy, transcends the mere geographical representation to delve into a purely emotional ex...Category
21st Century and Contemporary Abstract Abstract Paintings
MaterialsOil
- norman beach, blue seaside, abstract, oil on canvas, sky, expressionism, beachBy SOPHIE DUMONTLocated in LANGRUNE-SUR-MER, FRIn the evocative tableau of the "norman beach" the artist orchestrates a captivating dance between the elements, capturing the drama of a coastal landscape beneath an ominous sky. Th...Category
21st Century and Contemporary Abstract Impressionist Abstract Paintings
MaterialsOil
- countryside landscape, abstract, blue, expressionist, oil on canvas, texturedBy SOPHIE DUMONTLocated in LANGRUNE-SUR-MER, FRAbstract countryside landscape with colorful patches. The construction takes precedence over the pattern, the many superimposed layers give an interesting material and it is accentua...Category
21st Century and Contemporary Abstract Expressionist Landscape Paintings
MaterialsOil
- eclat printanier, abstract lanscape, oil, expressionism, multicolor, frenchBy SOPHIE DUMONTLocated in LANGRUNE-SUR-MER, FRSophie Dumont, with her work entitled "eclat printanier" offers us a captivating vision of a countryside reinterpreted through her unique artistic prism. Chhose your frame black or n...Category
21st Century and Contemporary Abstract Expressionist Landscape Paintings
MaterialsOil
- lumiere de nacre, seascape, blue seaside, semi abstract, oil, expressionismBy SOPHIE DUMONTLocated in LANGRUNE-SUR-MER, FR"Sophie Dumont's 'Mother-of-Pearl Light' transports the viewer into a semi-abstract realm where the boundary between reality and emotion is deliciously blu...Category
21st Century and Contemporary Abstract Impressionist Abstract Paintings
MaterialsOil
- les dunes, oil on canvas board, abstract landscape, modern, expressionism, grayBy SOPHIE DUMONTLocated in LANGRUNE-SUR-MER, FRThrough the metamorphosis of pictorial matter, Sophie Dumont not only captures the physical reality of the landscape but also the intangible essence that brings it to life. Her arti...Category
21st Century and Contemporary Abstract Expressionist Landscape Paintings
MaterialsOil
- The Surf at NewportBy Warren W. SheppardLocated in Storrs, CTThe Surf at Newport (Rhode Island). c. 1906. Oil on canvas. 17 x 24 (framed 26 x 34). Lined; extensive craquelure; otherwise fine condition. Housed in an exceptional Louis XV (reviva...Category
Early 20th Century American Modern Landscape Paintings
MaterialsOil
- American Woman Artist Modernist Large Oil Painting Cubist Influenced LandscapeBy Lena GurrLocated in Surfside, FLA beautiful wooded landscape scene with houses and trees. Painted on a masonite board. hand signed lower right. with framers label verso. Framed to 40 X 55 inches. 33 X 48 without the frame and mat. It is not dated. Lena Gurr (1897–1992), was an American woman artist who made paintings, prints, and drawings During the course of her career Gurr's compositions retained emotional content as they evolved from a naturalistic to a semi-abstract cubist style. Born into a Russian-Jewish Yiddish speaking immigrant family, she was the wife of Joseph Biel, also Russian-Jewish and an artist of similar genre and sensibility. Gurr used Lena Gurr as her professional name. After marrying Joseph Biel she was sometimes referred to as Lena Gurr Biel. Biel had been born in Grodno, Poland (later absorbed into Russia) and had lived in England, France, and Australia before coming to New York. An artist, he specialized in landscape paintings and silkscreen printing as well as photography. He studied art at the Russian Academy in Paris. After immigrating to the United States, he studied under George Grosz at the Arts Students League. Gurr was born in Brooklyn and, apart from brief stays in Manhattan and in Paris, lived there her whole life. This painting bears the influence of Lyonel Feininger an influential German American artist. Gurr began studying art at a young age. In 1919 she studied painting and printmaking at the Educational Alliance Art School and between 1920 and 1922 she won a scholarship to attend the Art Students League where she took classes with John Sloan and Maurice Sterne. In 1926 and 1928 Gurr participated in group shows at the Whitney Studio Club in Greenwich Village and in 1928 she also participated in the 12th annual exhibition of the Society of Independent Artists at the Waldorf Roof in New York. (Reviewing this show, Helen Appleton Read, the critic for the Brooklyn Daily Eagle, said "I made three discoveries on my first visit, Thomas Nagel, Eugenie McEvoy and Lena Gurr with two figure compositions which have something of Marie Laurencin or Helene Perdriat quality of naive sophistication.") The Waldorf Roof was a set of rooms on the top floor of the Waldorf Astoria Hotel, one of which had glass sides and a glass roof. The rooms were used for concerts, dances, benefits, and exhibitions.From 1929 to 1931 Gurr took a leave of absence from her teaching position to travel in France with Joseph Biel, an artist whom she had met while studying at the Art Students League. They spent time in Nice and Mentone but mainly in Paris. During the early months of 1931, while she was still abroad, her work appeared in group exhibitions held at the R. H. Macy department store and the Opportunity Gallery (opened by Gifford Beal). In 1932 she participated in three shows: a solo exhibition at the Brooklyn Museum, an annual exhibition of the New York Society of Women Artists, ( Its first president was Marguerite Zorach. Founding members included Agnes Weinrich, Anne Goldthwaite...Category
Mid-20th Century American Modern Landscape Paintings
MaterialsOil, Panel
- Waterfall (Woodstock, New York)By Grace Hill TurnbullLocated in Concord, MAGRACE HILL TURNBULL (1880-1976) Waterfall (Woodstock, New York), c. 1925 Oil on canvas 14 x 20 inches Unsigned PROVENANCE The Maryland Historical Society The work of pai...Category
1920s American Modern Landscape Paintings
MaterialsCanvas, Oil
- Abstract Street (Untitled)By Hananiah HarariLocated in Los Angeles, CAThis painting is part of our exhibition America Coast to Coast: Artists of the 1930s Abstract Street (Untitled), 1939, oil on canvas, signed and dated lower right, 12 x 32 inches; provenance includes a private collection in Venice, California; presented in what is likely the artist's original handmade frame About the Painting The present work is the culmination of a series of mainly horizontal urban abstractions Harari completed between 1937 and 1939. Deeply influenced by Stuart Davis, Harari’s New York streetscapes began with clearly recognizable objects and landmarks as in Into New York (1937 - Collection of the Whitney Museum of American Art), New York Harbor (1937), Up and Downtown (1938), and his other mural proposals for the Nurses Home on Welfare Island (1937) and the Williamsburg Housing Project (1938). At the end of the series, Harari’s vistas became increasingly abstract with broad planes of color representing buildings and streets, the slightest cross-hatching forming a bridge or elevated train track and the vague suggestion of a streetlight looping in the right center of the composition. Figures, birds, and a street vendor’s cart are reduced to pictograms scratched into the surface of the canvas. Abstract Street (Untitled) is among Harari’s most spare works of the 1930s and 1940s and calls to mind the seemingly childlike, but deeply sophisticated works of Paul Klee from the 1920s. It serves as an excellent reminder of why Harari was heralded as one of the earliest members of the American Abstract Artists. About the Artist Hananiah Harari was an artistic polyglot who was equally at home working in styles as diverse as Cubism, Constructivism, Expressionism, Hard Edged Abstraction and trompe l’oeil Realism. A native of Rochester, New York, Harari initially studied as a child at the Memorial Art Gallery in his hometown and later as a scholarship student at the College of Fine Arts at Syracuse University. In 1932, Harari left for Paris where he befriended Nahum Tschacbasov, Benjamin Benno and John Graham and studied at the ateliers of Lhote, Leger and Gromaire. He also studied fresco painting at the Ecole de Fresque. By 1933, Harari had completed enough work and gained a sufficient reputation to have a solo exhibition at the American Club in Paris. The following year, Harari and his childhood friend and fellow artist Herzl Emanuel traveled to Palestine, where the artists worked hard in the orchards and fields of Kibbutz Deganiah, but produced little art. After returning to New York, Harari married Emanuel’s sister, Freda, and set out on the development of what noted scholar Gail Stavitsky has called an “original synthesis of the old and new." Harari became an early member of the American Abstract Artists (AAA), an organization formed to give modernists exhibition opportunities. Harari was also a member of the socially conscious Artist’s Union and the American Artist’s Congress. From 1936 through 1942, Harari worked on the Federal Art Project and assisted Marion Greenwood on a project as part of the Mural Division, but to his disappointment did not lead his own project. During the late 1930s and early 1940s, Harari completed a series of paired paintings with the same subject matter depicted in a Cubist manner and in trompe l’oeil Realism. Harari was acclaimed by Clement Greenberg and six of the artist’s works were selected for the Museum of Modern Art’s important 1943 exhibition American Realists and Magic Realists. During World War II, Harari served in the US Army Air Corps. Following the war, Harari continued to produce fine art while also producing commercial art. During the McCarthy Era, Harari’s progressive politics and leftist leaning art...Category
1930s American Modern Abstract Paintings
MaterialsOil
- Amish Farmscape #3By Edmund LewandowskiLocated in Los Angeles, CAAmish Farmscape #3, 1984, oil on canvas, 40 x 30 inches, signed and dated lower right; signed, dated, and titled verso About the Painting Amish Farmscape #3 is part of a multi-painting series of barns completed in the early 1980s for an exhibition at New York’s prestigious Sid Deutsch Gallery. Lewandowski painted this work at an important point in his career. It was the first major project undertaken by Lewandowski after his retirement from serving as the Chairman of Winthrop University’s Art Department, the last academic position he held after teaching for nearly thirty years. Lewandowski had been inspired to work on the series by a visit to Lancaster County, Pennsylvania. Like his friend and mentor, Charles Sheeler, Lewandowski had always been fascinated by vernacular architecture and the Amish barns of Pennsylvania brought back memories of rural scenes Lewandowski had painted in the Midwest much earlier in his career. Amish Farmscape #3 is a strong example of Lewandowski’s late precisionist work. The complexity of the composition and Lewandowski’s technical acumen are on full display. Being relieved of the burdens of teaching and administering a university art department likely allowed Lewandowski greater freedom and most importantly more time to complete the Amish Farmscape series. Although Lewandowski’s brand of precisionism changed throughout the years, he never deviated from the core tenets of the Immaculate School artists. In this work, we see simplified and flattened forms, the use of ray-lines to define light and space, the elimination of extraneous details, a polished almost machine-like finish, and the complete lack of visible brushstrokes, all hallmarks of the precisionist painters. Lewandowski was the last of the 20th century precisionists and in Amish Farmscape #3, we see just how successfully he continued to work in this style until his death in 1998. About the Artist Edmund Lewandowski was among the best of the second-generation precisionist painters. He was born and raised in Milwaukee, Wisconsin and studied at the Layton School of Art with Garrett Sinclair. Lewandowski achieved early success when in 1936 two of his watercolors were shown at the Phillips Collection as part of a Federal Art Project exhibition. Then, in 1937, his work was first exhibited at Edith Halpert’s Downtown Gallery which represented Lewandowski into the 1950s. Under Halpert’s guidance, Lewandowski continued to explore watercolor as his main medium during the 1930s and 1940s, since the gallery already represented Charles Sheeler, who worked primarily in oils. Sheeler became Lewandowski’s major influence as the primary leader of the ill-defined, but very recognizable Immaculate School artists, which included other Downtown Gallery painters, Niles Spencer, George Ault, and Ralston Crawford, as well as Charles Demuth and Preston Dickinson, both of whom died at a young age and had been represented by the Charles Daniel Gallery. Sheeler is credited with giving Lewandowski technical advice on how to make his paintings more precise and tightly rendered and by all accounts, Sheeler was a fan of Lewandowski’s work. Through the Downtown Gallery, Lewandowski’s paintings were accepted into major national and international exhibitions and purchased by significant museums and collectors. Franklin and Eleanor Roosevelt and Nelson Rockefeller acquired works by Lewandowski. He was included in the Museum of Modern Art’s important 1943 exhibition, American Realists and Magic Realists as well as juried exhibitions at the Whitney Museum of American Art, the Pennsylvania Academy of Fine Arts, and the Art Institute of Chicago. Lewandowski also completed commissions for magazines during the 1940s and 1950s, including several covers for Fortune. Throughout his career, Lewandowski explored urban and rural architecture, industry, machinery, and nautical themes. Looking back on his career, Lewandowski wrote, “My overwhelming desire as an artist through the years has been to record the beauty of man-made objects and energy of American industry on canvas. For as far back as I can recall, the cityscapes, farms and depictions of industrial power and technological efficiency has had a great attraction for me. I try to treat these observations with personal honesty and distill these impressions to a visual order.” Lewandowski is credited with extending precisionism to the Midwest and successfully continuing the style into the 1990s, three decades after Sheeler’s death and six decades after Demuth’s passing. Late in his career, Lewandowski enjoyed a resurgence of popularity as he was represented during the 1980s by New York’s Sid Deutsch and Allison Galleries...Category
Mid-20th Century American Modern Landscape Paintings
MaterialsCanvas, Oil
- "Colorado Landscape, " Western Precisionist Regionalism American Scene PaintingBy William SandersonLocated in New York, NYReminiscent of an Edward Hopper or Andrew Wyeth scene, or even Charles Demuth with its cubist elements. William Sanderson (1905 - 1990) Colorado Landscape Oil on canvas 23 1/2 x 31 1/2 inches Signed lower right: Sanderson Born in Dubbeln, near Riga, Latvia in 1905, his personal journey from Czarist Russia, to New York City, and finally to Colorado, is one of remarkable courage and perseverance. Sanderson exhibited in numerous solo and group exhibitions throughout Colorado and the West between 1945 and 1985, and he was voted one of Colorado's influential artists of the 20th Century. Sanderson's paintings are represented in many museums and are sought after by collectors who appreciate his composition and precise use of color. The year 2005 marked the Centennial of Sanderson's birth, and he is now recognized as a major contributor to the development of modern art in Colorado. As a student at the National Academy of Design in 1927, Sanderson exemplifies an individual dedicated to creativity and the life-long passion for art. Known primarily as a Colorado artist, Sanderson first developed his skills as a graphic illustrator in New York City, and his work has appeared in numerous magazines, including New Yorker and New Masses. Notable book illustrations include The Jumping Off Place - 1929, by Marion Hurd McNeely, Jews Without Money - 1930, by Michael Gold...Category
Mid-20th Century American Modern Landscape Paintings
MaterialsCanvas, Oil