Jean Rouppert

Jean Rouppert, Et après ?, 1913, drawing on paper, gouache and watercolor

1913

Victor PROUVÉ (1858-1943) Study of a cat Charcoal on paper 13,5 × 13 cm Provenance : Marianne Prouvé-Georges (1905-1994)’s collection, artist’s daughter Frame : 25,5 × 25,5 cm (high ...

André DERAIN (1880-1954) Study of a hen Red chalk on paper Stamp of the Knaublich sale 19 x 15 cm (view) frame : 36 x 33 cm Provenance: collection André Charlemagne Derain said Boby,...

Michel BRON (1938-2010) said VALENTIN Valie, dream tent, 1966 Black stone and white gouache, black ink on cardboard Signed lower left Poem entitled “Valie!” written in pen on verso, ...

Marie-Thérèse BOURRAT (née en 1938) The Hat, 1970 Pencil, black ink and watercolor on paper Signed and dated “1970” lower center 17 x 25 cm frame : 30 x 40 cm Self-taught, Marie-Thé...

Signed lower right, “Ch. Henrida” for Charles Henrida (French, 1854-1924) and painted circa 1900. Unframed and displayed in a beveled, ivory mat with gilt inner slip. Matted dimens...

This series was inspired by a 1950’s era instruction manual found while clearing out my father’s basement workshop. The How To Light A Model manual employed voluptuous female models to teach lighting techniques to amateur photographers such as my father. Diagrams plot the prescribed direction of the lights. The nude women hold the pose, their lips bright red and their feet dirty from the studio floor. As naked props for the authoritarian photographer, their vulnerability seems palpable. This work visualizes the human condition as a balance between feral and fabricated worlds. Vivid, oversized creatures embody instinctual energy. Wax seals, gold spheres and text-like marks signify rational structures. One speaks in a whisper, the other in a hiss. Winifred McNeill...

The Remains, A series of 10 works An insect approaches a crumpled paper doily to eat what remains of a party. This series explores the moment when the trimmings become debris and presumptions of human control are upended. The text-like marks on white vertical rectangles are deliberate, but indecipherable. They appear as if a poem, written in an ancient language, that honors this eternal cycle of destruction and regeneration. Winifred McNeill...

This series was inspired by a 1950’s era instruction manual found while clearing out my father’s basement workshop. The How To Light A Model manual employed voluptuous female models to teach lighting techniques to amateur photographers such as my father. Diagrams plot the prescribed direction of the lights. The nude women hold the pose, their lips bright red and their feet dirty from the studio floor. As naked props for the authoritarian photographer, their vulnerability seems palpable. This work visualizes the human condition as a balance between feral and fabricated worlds. Vivid, oversized creatures embody instinctual energy. Wax seals, gold spheres and text-like marks signify rational structures. One speaks in a whisper, the other in a hiss. Winifred McNeill...