العودة

فرانسواز جيلوت

الفنان بيو الاستفسار
 
<div><font face=Calibri size=3 color=black>We remember Francoise Gilot for her indomitable spirit and resilience, the only woman with the courage and determination to leave Pablo Picasso. Yet, apart from her association with Picasso, her vision as an artist will ultimately place her work within a suitable twentieth-century art context. Her figurative treatments, embracing subtle tonal harmonies interlaced with an organic interplay of shapes, stand on their merits. “<em>My Children in Brittany II</em>,” a lithograph from 1974, is a charming portrait of her three children, Claude, Paloma, and Aurelia. It demonstrates her ability to synthesize yet transcend her influences and craft a narrative uniquely responsive to family, motherhood, and life.  </font></div>
<div><font face=Calibri size=3 color=black>We remember Francoise Gilot for her indomitable spirit and resilience, the only woman with the courage and determination to leave Pablo Picasso. Yet, apart from her association with Picasso, her vision as an artist will ultimately place her work within a suitable twentieth-century art context. Her figurative treatments, embracing subtle tonal harmonies interlaced with an organic interplay of shapes, stand on their merits. “<em>My Children in Brittany II</em>,” a lithograph from 1974, is a charming portrait of her three children, Claude, Paloma, and Aurelia. It demonstrates her ability to synthesize yet transcend her influences and craft a narrative uniquely responsive to family, motherhood, and life.  </font></div> <div><font face=Calibri size=3 color=black>We remember Francoise Gilot for her indomitable spirit and resilience, the only woman with the courage and determination to leave Pablo Picasso. Yet, apart from her association with Picasso, her vision as an artist will ultimately place her work within a suitable twentieth-century art context. Her figurative treatments, embracing subtle tonal harmonies interlaced with an organic interplay of shapes, stand on their merits. “<em>My Children in Brittany II</em>,” a lithograph from 1974, is a charming portrait of her three children, Claude, Paloma, and Aurelia. It demonstrates her ability to synthesize yet transcend her influences and craft a narrative uniquely responsive to family, motherhood, and life.  </font></div> <div><font face=Calibri size=3 color=black>We remember Francoise Gilot for her indomitable spirit and resilience, the only woman with the courage and determination to leave Pablo Picasso. Yet, apart from her association with Picasso, her vision as an artist will ultimately place her work within a suitable twentieth-century art context. Her figurative treatments, embracing subtle tonal harmonies interlaced with an organic interplay of shapes, stand on their merits. “<em>My Children in Brittany II</em>,” a lithograph from 1974, is a charming portrait of her three children, Claude, Paloma, and Aurelia. It demonstrates her ability to synthesize yet transcend her influences and craft a narrative uniquely responsive to family, motherhood, and life.  </font></div> <div><font face=Calibri size=3 color=black>We remember Francoise Gilot for her indomitable spirit and resilience, the only woman with the courage and determination to leave Pablo Picasso. Yet, apart from her association with Picasso, her vision as an artist will ultimately place her work within a suitable twentieth-century art context. Her figurative treatments, embracing subtle tonal harmonies interlaced with an organic interplay of shapes, stand on their merits. “<em>My Children in Brittany II</em>,” a lithograph from 1974, is a charming portrait of her three children, Claude, Paloma, and Aurelia. It demonstrates her ability to synthesize yet transcend her influences and craft a narrative uniquely responsive to family, motherhood, and life.  </font></div> <div><font face=Calibri size=3 color=black>We remember Francoise Gilot for her indomitable spirit and resilience, the only woman with the courage and determination to leave Pablo Picasso. Yet, apart from her association with Picasso, her vision as an artist will ultimately place her work within a suitable twentieth-century art context. Her figurative treatments, embracing subtle tonal harmonies interlaced with an organic interplay of shapes, stand on their merits. “<em>My Children in Brittany II</em>,” a lithograph from 1974, is a charming portrait of her three children, Claude, Paloma, and Aurelia. It demonstrates her ability to synthesize yet transcend her influences and craft a narrative uniquely responsive to family, motherhood, and life.  </font></div> <div><font face=Calibri size=3 color=black>We remember Francoise Gilot for her indomitable spirit and resilience, the only woman with the courage and determination to leave Pablo Picasso. Yet, apart from her association with Picasso, her vision as an artist will ultimately place her work within a suitable twentieth-century art context. Her figurative treatments, embracing subtle tonal harmonies interlaced with an organic interplay of shapes, stand on their merits. “<em>My Children in Brittany II</em>,” a lithograph from 1974, is a charming portrait of her three children, Claude, Paloma, and Aurelia. It demonstrates her ability to synthesize yet transcend her influences and craft a narrative uniquely responsive to family, motherhood, and life.  </font></div> <div><font face=Calibri size=3 color=black>We remember Francoise Gilot for her indomitable spirit and resilience, the only woman with the courage and determination to leave Pablo Picasso. Yet, apart from her association with Picasso, her vision as an artist will ultimately place her work within a suitable twentieth-century art context. Her figurative treatments, embracing subtle tonal harmonies interlaced with an organic interplay of shapes, stand on their merits. “<em>My Children in Brittany II</em>,” a lithograph from 1974, is a charming portrait of her three children, Claude, Paloma, and Aurelia. It demonstrates her ability to synthesize yet transcend her influences and craft a narrative uniquely responsive to family, motherhood, and life.  </font></div>
أولادي في بريتاني 21974حجم الصورة: 26 × 19 5/19/8 بوصة. حجم الطباعة: 29.75 × 21.75 بوصة(75.57 × 55.25 سم) طباعة حجرية ملونة
الاصل
مجموعة خاصة، تم اقتناؤها في مزاد علني

إننا نتذكر فرانسواز جيلوت لروحها التي لا تقهر وصمودها، فهي المرأة الوحيدة التي امتلكت الشجاعة والتصميم على ترك بابلو بيكاسو. ومع ذلك، وبصرف النظر عن ارتباطها ببيكاسو، فإن رؤيتها كفنانة ستضع أعمالها في نهاية المطاف ضمن سياق فني مناسب للقرن العشرين. إن معالجاتها التصويرية التي تتبنى تناغمات نغمية دقيقة متداخلة مع تفاعل عضوي للأشكال، تقف على أساس مزاياها. لوحة "أطفالي في بريتاني الثانية"، وهي مطبوعة حجرية من عام 1974، وهي لوحة ساحرة لأطفالها الثلاثة، كلود وبالوما وأوريليا. وهي تُظهر قدرتها على تجميع مؤثراتها وتجاوزها في الوقت نفسه وصياغة سرد يستجيب بشكل فريد للعائلة والأمومة والحياة.  
العودة
الاستفسار