Le trèfle à quatre feuilles (2016) Painting by Emmanuelle Pellet

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Tribute to Pierrot by Antoine Watteau With his back to the sea, dressed in a strange costume and oversized shoes, borrowed from Pierrot by Antoine Watteau, a Harlequin (Charlot, or even Gorgon) disheveled by the wind stands on the edge of the 'a cliff ; in one hand he squeezes a lucky charm, the four-leaf clover. The deliberately minimalist composition[...]
Tribute to Pierrot by Antoine Watteau With his back to the sea, dressed in a strange costume and oversized shoes, borrowed from Pierrot by Antoine Watteau, a Harlequin (Charlot, or even Gorgon) disheveled by the wind stands on the edge of the 'a cliff ; in one hand he squeezes a lucky charm, the four-leaf clover. The deliberately minimalist composition suggests a universe far from any material comfort. Reduced to a simple cross formed by the body and the line of the horizon, it symbolically recalls the end of all human life, and confers an almost sacred climate on the staging. Slightly off-center, it opens the perspective on the right to the detail of a boat cruising offshore. Human fragility is a major theme in Emmanuelle's work: she tenderly sketches her slightly awkward and singular characters, caresses their features with her soft and fine brushes as if to repair their flaws, gives them a patina and luster comparable to those of heroes of the paintings of the great masters, as if they could slip by their side on the picture rails of museums and find a form of dignity in the gaze granted to them by the spectator.

Related themes

LibertéExpatriationAventure

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Painter, illustrator, author, art historian and associate professor of Plastic Arts, Emmanuelle Pellet studied at the Ecole du Louvre and at La Sorbonne in Paris. She taught from college to university before[...]

Painter, illustrator, author, art historian and associate professor of Plastic Arts, Emmanuelle Pellet studied at the Ecole du Louvre and at La Sorbonne in Paris. She taught from college to university before directing the educational action of the Louvre Museum for ten years.

She has lived in Luxembourg, Mauritius, Singapore, and is currently based in Aix-en-Provence where she devotes herself fully to painting.

The heroes of his paintings live without angelism in a disenchanted world. She sketches them tenderly, caresses their features with her soft, fine brushes, repairs their flaws by giving them a luster they could not have hoped for, as if to allow them to slip into the unreasoning catalog of a famous master, or on the picture rails of a museum. These smooth fictions like distorting mirrors invite the viewer, between laughter and tears, devotion and provocation, to reflect on the boundaries of taste, culture, reality, life.

Emmanuelle Pellet is a member of the Taylor Foundation, represented by several online galleries. She is regularly exhibited in art galleries and her paintings are present in private collections around the world.

See more from Emmanuelle Pellet

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