Abstract Oil Painting Encaustic Texture Large Canvas Ship Blue Martine LEtoile
When you click on links to various merchants on this site and make a purchase, this can result in this site earning a commission. Affiliate programs and affiliations include, but are not limited to, the eBay Partner Network.
Abstract Oil Painting Encaustic Texture Large Canvas Ship Blue Martine LEtoile:
$4000.00
Title: \"Detachment\"
Size: 60\" x 40\"A lone ship leaves the pier as the sun goes down in the horizon. Painted in Oils and wax, this piece is rich in texture and blue hues such as Azure Blue and Aquamarine. The sky is painted in shades of Lemon Yellow and Ocher. This is a reflective piece, capturing a calm tone of peaceful imagery.
This is a one of a kind piece of art that is beingdiscovered as new, modern, fine art. Painted on acrylic, cotton primed canvas.The canvas is stapled to the back of heavy duty, pine stretcher bars. Sides arepainted. Signed and dated on back, comes with a Letter of Authenticity.
Martine L\'Etoile is a master encaustic artist. She likes to convey an emotional work of artthat is still and silent and yet filled with ‘static’, as she calls it; lots ofpieces of wax that cloud the objects in the painting and give it movement. Somehow,this ‘static’ makes the intent feel more vulnerable and at the same time heavyand solid. She has been painting in this style for eighteen years and has beenpublished in several books and magazines. Her original studies were in FiberArts at The School of the Art Institute of Chicago. At SAIC, she focused on FabricSurface Design of both Japanese and Indonesian methods. Batik, being her favorite,uses wax, which is such an integral theme of all her work. Martine L\'Etoilecreates a very tactile experience the viewer can enjoy on large and small scalework. Her greatest influence and inspiration is mixed media artist, RussellMills and stop motion animators, Stephen and Timothy Quay. You can visit her domain on the web todiscover more work in this encaustic and oil style.The Encaustic Style
One of the first things that come to mind when using wax asa medium is that it brings multiple perspectives to the imagery. Layers of waxare like pieces of energy that are piled on top of the core image, which is thesketch itself. The very first movement on the canvas is the sketch, painted inblack oil thinned with turpentine. The sketch is lucid, free flowing and bold,it defines the concept, the direction of the intent. Because the dark lines ofthe sketch are painted over and over with thick white gesso and layers ofmelted wax, a series of concepts arise, giving way to new perspectives.
The first concept is that the image wants to know more aboutitself. Layers of wax that are brushed on the canvas are unpredictable texture-wise. This spontaneous creation is the idea of random perfection. The artisthere does not control exactly how the wax will cover the canvas. In thebeginning, the wax is in liquid form, allowing it to adhere to the cottonfibers of the canvas in multiple ways, sometimes with air pockets of bubbles,other times with deep crevices where the pigment of the oils concentrates andsometimes it accumulates in lumps, dense and hardened. With all thesevariables, the image then takes on a story of its own, enriching the firstintent the artist hand in mind. Whenever a medium is not controlled, it iswilling and free to create itself, lending to the depth of emotion the viewercan cognize. Layer over layer of information is directed towards the overallintent. What happens is a moving or stirring of feelings, igniting the viewer’simagination to something relative or completely new.
The second concept is vulnerability. Wax is then scrapedaway allowing the raw canvas to show through, called ‘abstract deconstruction.’This creates a vulnerability that is powerful. Since the medium is then takenaway in parts and left in other parts, certain information can be conveyed,leaving the viewer with a sense of a time line. The process, another words, canbe seen clearly. When we see how something has been worn away or sliced away ordiscarded, we are allowed to feel the vulnerability. The image is beingauthentic, creating itself in front of the viewer’s eyes, showing how it cameinto being and is constantly becoming itself.
Texture of the painting is what brings the third concept tolife; texture equals movement. Even though this is two dimensional art,movement can be felt. Layers of emotion are the tones of pigment used alongwith wax, together creating texture. These deconstructive, encaustic paintingsare meant to be touched causing another dimension of the image. Through thetactile sense, these paintings feel smooth and rough in parts. The paintingsthemselves are static, but to be static in the first place there has to befriction, here, being layers of energized wax. The painting’s surface can befelt with the fingertips, going over the crevices and bumps, sending apalatable experience to the brain. Inside this experience of feeling, textureis movement. Also, the random scraping away of wax and oils is adeconstructive process. It too is spontaneous, not completely controlled by thehands of the artist. ‘Abstract deconstruction’ has been compared to being‘static’, as in electricity being built up by friction and then releasing ashock. All at once, the image appears still and silent, static if you will,from raw canvas to scraped away particles, to texture build up and finallyrelease of intent, making the piece of art move as a whole.
Encaustic art has been around for many years in of thehistory of art and it has been developed creatively in countless ways. In thisparticular style, ‘abstract deconstruction’, the artist finds the subtractionof the wax alongside the layering of wax to speak volumes. The emotionalcontent arrives first, as abstract in form and leaves the viewer with a senseof knowingness.
Abstract Oil Painting Encaustic Texture Large Canvas Ship Blue Martine LEtoile:
$4000.00