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Lot Essay
Within his expansive range of captivating paintings, Modern master Paul Guiragossian shares his ultimate personal journey combined with his creative vision to leave the viewer with a vocabulary that represents an authentic human reality, stretching in the wide spectrum between the pain shared by people and the struggle for unity, goodness and love. Transcending from his eternal longing for his own mother and a reflection of his upbringing, one of the most recurring themes in Guiragossian's oeuvre is groups of women. Within his compositions the figure of the woman has become the symbol of hope, of continuity and of freedom paying homage to women and more specifically to the maternal figure and motherhood.
With a compulsive obsession to capture the human form as an expression of life and beauty, Femmes en Conversation offers a magical glimpse into the artist's attempt to capture the infinite manifestations of the human condition.
In the intimate composition of this seminal example by the artist, a central figure holding what could be interpreted as a newborn is surrounded by four figures, two on either side that in turn also seem to be holding something in their hands. Emerging as a Mary-like figure and as the bright green paint used to depict her child radiates from the dark and sumptuous canvas, it is clear she is the woman who commands the most respect and attention, a leader of some sorts. Appearing to be in animated conversation, the two figures on the left meanwhile seem to be having a discussion about the women on the right who appear silent with their heads bowed down before their centrally seated mother figure.
In an extremely rare example by the artist in which the majority of the painting is dominated by black, Guiragossian uses a palette of this rich and dark colour to depict his figures which are sumptuously wrapped by a surrounding yellow space; a frame-like window that defines the edges of this group of women, bringing them even closer together. The composition offers a sense of intimacy in the artwork that is reflective of Middle Eastern culture as a sense of warmth radiates from the canvas. The use of this border works to serve the artist in two ways; firstly it appears to offer a window into the inner-workings of the female society that is often reserved behind closed doors. Secondly it signifies the strength of family, which must resist any outside harm. A poignant reminder of Guiragossian's own family history, which was plagued with exile, despair, abandonment and war, the artist uses this composition to build on the group as a whole that extracts strength from each other, an idealism that he often found comfort in.
In Femmes en Conversation, as in many of the artist's paintings, Guiragossian creates a tangible sense of depth manifested in thick brushstrokes that create intricate and dense layers of colour. Although Guiragossian's oeuvre is often characterised by vibrant warm colours, he uses a darker palette as a sign of underlying human misery, evocative of a stifling sorrow. Although his obsession with the human form is evident in his work, it is interesting to note the lack of facial features imparted to his characters. Woman and child become faceless imprints delineated by a wide and skilfully applied brushstroke, their psychological loneliness and corporeal isolation becomes portrayed through patches of colour that are adjacent but ironically never overlap; although they sit united, they remain clearly separate. This theme of tainted or illusory freedom and happiness infuses Guiragossian's paintings. As Guiragossian celebrates a happy event such as birth, there will always be an element of darkness and of sorrow which intends to give the impression that death is always near; as the bride puts on her white bridal veil, a shadowy acquaintance becomes bound to her. If he paints friendship, peace, or tenderness, he must highlight this by demonstrating their fragility and cost. When evoking them he conjures up their inevitable end. In this sense, it is an important aspect of Femmes en Conversation that Guiragossian has chosen to completely capture his figures in a veil of black.
Clearly structured and composed, the impulsive and powerful brushstrokes create dynamism and a delightful musical rhythm that offer an underlying sense of optimism. Alternating between thick and thin layers of colour, it becomes apparent that Guiragossian has added the last layer of black to enable him to carve into the painting a succession of lines, curves and loops that reveal and expose a hidden beauty shining through each of the characters, particularly the central figure. In this sense, even in its darkness, the composition emanates a feeling of luminosity and radiating inner light.
It is important to note that Guiragossian's deep appreciation for religious iconography remained an integral part of his oeuvre and is particularly prominent in the present work. Much like the icons of the Greek and Russian schools, the yellow contour of the painting references the gold leaf borders present in icons of the past. The references to the central figure as holy become more prominent when considered in this aspect. Consequently the dazzling stained-glass colours in his painting, along with a considerable amount of black, give the impression that the family unit is holy and untouchable, even in the face of darkness. This distinguishing element, offers a sense of hope and comfort in finding protection and intimacy from a group in the midst of isolation, offering a shimmer of optimism that renders Femmes en Conversation simultaneously challenging and endearing.
With a compulsive obsession to capture the human form as an expression of life and beauty, Femmes en Conversation offers a magical glimpse into the artist's attempt to capture the infinite manifestations of the human condition.
In the intimate composition of this seminal example by the artist, a central figure holding what could be interpreted as a newborn is surrounded by four figures, two on either side that in turn also seem to be holding something in their hands. Emerging as a Mary-like figure and as the bright green paint used to depict her child radiates from the dark and sumptuous canvas, it is clear she is the woman who commands the most respect and attention, a leader of some sorts. Appearing to be in animated conversation, the two figures on the left meanwhile seem to be having a discussion about the women on the right who appear silent with their heads bowed down before their centrally seated mother figure.
In an extremely rare example by the artist in which the majority of the painting is dominated by black, Guiragossian uses a palette of this rich and dark colour to depict his figures which are sumptuously wrapped by a surrounding yellow space; a frame-like window that defines the edges of this group of women, bringing them even closer together. The composition offers a sense of intimacy in the artwork that is reflective of Middle Eastern culture as a sense of warmth radiates from the canvas. The use of this border works to serve the artist in two ways; firstly it appears to offer a window into the inner-workings of the female society that is often reserved behind closed doors. Secondly it signifies the strength of family, which must resist any outside harm. A poignant reminder of Guiragossian's own family history, which was plagued with exile, despair, abandonment and war, the artist uses this composition to build on the group as a whole that extracts strength from each other, an idealism that he often found comfort in.
In Femmes en Conversation, as in many of the artist's paintings, Guiragossian creates a tangible sense of depth manifested in thick brushstrokes that create intricate and dense layers of colour. Although Guiragossian's oeuvre is often characterised by vibrant warm colours, he uses a darker palette as a sign of underlying human misery, evocative of a stifling sorrow. Although his obsession with the human form is evident in his work, it is interesting to note the lack of facial features imparted to his characters. Woman and child become faceless imprints delineated by a wide and skilfully applied brushstroke, their psychological loneliness and corporeal isolation becomes portrayed through patches of colour that are adjacent but ironically never overlap; although they sit united, they remain clearly separate. This theme of tainted or illusory freedom and happiness infuses Guiragossian's paintings. As Guiragossian celebrates a happy event such as birth, there will always be an element of darkness and of sorrow which intends to give the impression that death is always near; as the bride puts on her white bridal veil, a shadowy acquaintance becomes bound to her. If he paints friendship, peace, or tenderness, he must highlight this by demonstrating their fragility and cost. When evoking them he conjures up their inevitable end. In this sense, it is an important aspect of Femmes en Conversation that Guiragossian has chosen to completely capture his figures in a veil of black.
Clearly structured and composed, the impulsive and powerful brushstrokes create dynamism and a delightful musical rhythm that offer an underlying sense of optimism. Alternating between thick and thin layers of colour, it becomes apparent that Guiragossian has added the last layer of black to enable him to carve into the painting a succession of lines, curves and loops that reveal and expose a hidden beauty shining through each of the characters, particularly the central figure. In this sense, even in its darkness, the composition emanates a feeling of luminosity and radiating inner light.
It is important to note that Guiragossian's deep appreciation for religious iconography remained an integral part of his oeuvre and is particularly prominent in the present work. Much like the icons of the Greek and Russian schools, the yellow contour of the painting references the gold leaf borders present in icons of the past. The references to the central figure as holy become more prominent when considered in this aspect. Consequently the dazzling stained-glass colours in his painting, along with a considerable amount of black, give the impression that the family unit is holy and untouchable, even in the face of darkness. This distinguishing element, offers a sense of hope and comfort in finding protection and intimacy from a group in the midst of isolation, offering a shimmer of optimism that renders Femmes en Conversation simultaneously challenging and endearing.