This painting depicts an impressionistic scene of Brunch at Tartine in New York City. Figures are seated having Brunch with drinks in hand on this sunny day. We can feel the texture of the paint, as the artist uses thick brush strokes to capture the light and shadow. This piece exudes vibrance and picks up the energy of city life effortlessly.
This painting measures 24 x 36 inches
Inspired by whimsey and purity of the feminine form, Cindy Shaoul is known for her impressionistic and abstract style. She is best known for her series of Brides, Dripping Dots and Hearts, as well as her Plein air street scenes of quintessential New York spots. Shaoul’s works can be found in permanent collections of 100’s of Corporate and Private Collections around the world.
Since her first solo show at the Parsons School of Design in 2009, her work has been showcased internationally in Busan South Korea and has shown at Art Fairs in Miami, Palm Beach, Dallas, and New York. She has had numerous Solo exhibitions and this year has garnered the attention of Actress Lily J. Collins and the like.
Her love of painting began at the age of 18 when she was on Thanksgiving break from college. She painted a 9 foot colorful, abstract Mural in her Mothers' art studio and never stopped after that. She later traveled to Hungary and Budapest, picking up inspiration and studying abroad for 2 years, which has connected lifelong experiences that would influence her art today. Upon returning to New York City, she would continue her artistic education at the Art Students League, where she worked under the tutelage of Joseph Peller, Gregg Kreutz, and Tom Torak.
She learned techniques from the great masters of impressionism, but it wasn’t until she met renowned street artist Angel Ortiz who previously worked with Keith Haring, that her work would strongly become influenced by 1980s hip-hop and graffiti, propelling her reputation and pushing her into the city’s explosive urban art scene. The collection they worked on was an homage to New York’s streets, where Ortiz began when he first met Haring. This style of creation heavily impacted Shaoul’s technique, expanding her voice of discovery and moving her hand of impressionism not only to traditional subjects of New York City street scenes but to boundary-free expressions in the abstract world.
While Shaoul honed her skill at the Students League, in her studio the “Dripping Dots” began a whole new aesthetic. Started from the leftover paint on her pallet, she would clean the paint with her brushes onto a new canvas, not to waste the leftover oils, and soon, the motion of cleaning turned into dots on the canvas. She began connecting the dots with linseed oil and this is how the motif was imprinted. It would become a freeing moment of painting in an abstract way after going to school and learning the impressionist technique. The experience of discovery with color and emotional brushwork became very cathartic, and felt familiar from the times she would collaborate with Ortiz.
Shaoul would continue to explore new themes in her work. In 2018 she began the “Brides” series which balances her love for impressionism with an abstract hand. While exploring the purity of the feminine form and the drama of French haute couture, she would create a dialogue between the figurative and the abstract. The Brides would give a new meaning of expression to her practice, and allowed nuances to emerge, demonstrating a whimsical expression of femininity and formality adding a stunning display of understated grandeur to her work.
I have always had a strong connection with art and painting. As a child, I was surrounded by it daily. My Grandfather, Mother, Aunts, and Uncles were all artists and it was a common sight for me to watch one of my family members painting in real-time. For me though, I first felt a connection to painting when I was in High School, but it wasn’t until in college that my connection deepened further and I became inspired by my travels abroad. A fascination for colors grew into adulthood; I admire colorful scenes of everyday life in the city, or at the beach. For many years before going to the Art Students League, I tended to embrace the beauty of nature, a characteristic that has brought a nurturing and spiritual effect to my work. I was attracted to bright, bold colors and the excitement of adventure. I had fun exploring and finding who I was as an artist during my travels, but once settling back home in New York, I felt the urge to study and acquire guidance. Joseph Peller was my first teacher, he taught me the use of shadow and light, which is a tremendous tool that I use in my painting practice. Gregg Kreutz taught me to be courageous in New York, to take my supplies, and set up and paint a street scene from life. Gregg is the reason I started Plein-air painting. Tom Torak taught me how to implement movement into the initial sketch of a painting, a great tool that adds impressions of a classical tradition: the linchpin of his class. It was at the Art Students League that I acquired many skills that propelled my art career.
Today I favor subjects that have meaning for me personally. The Brides, Dripping Dots, and Plein-air scenes have become a part of my daily practice, among the Hearts and other impressionist scenes.
With the Brides series, I aim to create exotic forms with expressive and highly textural brushstrokes that are full of intense color, loosely inspired by artists of the French Impressionist movement such as Renoir, Degas, and Mary Cassatt. All impressionists whose works blend traditional academic art with the radical movements that went on to dominate the art world in the 20th century.
I try to capture impressions of “The Ballerinas” which are found in many of Degas works where he has captured movement like never before. With the music I listen to, my brush lands on the canvas with immediate rhythm and style. I want the Bride to have a dazzling explosion of variable life to symbolize the future that lies ahead for her. The surprise of the rhythm is what excites me while creating these pieces, and I aspire to bridge what I’ve learned in school with my passion for exuberant abstraction and depth of color into the essence of her figure and spirit.
While I focus on a variable of subjects, they have remained consistent over the last decade, today, I continue to use new techniques to create joy and surprises for the viewer.
PROVENANCE: Lilac Gallery Collection. Signed lower left. This original artwork includes a Certificate of Authenticity issued by the Gallery. The piece will be stamped from Lilac Gallery on its verso.