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Patrick Rubinstein
La palette de l amour The palette of love

Name: La palette de l'amour The palette of love
Brand: Patrick Rubinstein

$23,159.93List Price

About the Item

La palette de l'amour The palette of love Mixed Media 54 3/4 x 54 3/4 in 139 x 139 cm Unique "I have always been fascinated by motion. What fascinates me with this craft is to capture the viewers attention. But he doesn't need any background knowledge to understand my work. He needs nothing but his eye and his sensibility." - Patrick Rubinstein Born in Paris in 1960, Patrick Rubinstein grew up in the shadow of artists such as Victor Vasarely, Bridget Riley, and Yaacov Agam; each of which where leading figures in the Op (optical) Art and Kinetic Art movements. It was Rubinstein's father who introduced him to the work of such artists, helping to birth his fascination with how they combined geometric lines and shapes with eye-popping colour to create the illusion of movement and play. Rubinstein was entranced at the way in which these artists played with the limits of the human eye's perception, and they became the primary influences on his own artistic evolution. However, while their artwork was subtle and abstract, Rubinstein's work is more attuned to Pop Art and the stories of the day, making his images more accessible and highly engaging to a contemporary audience; like Andy Warhol and Robert Indiana before him. Rubinstein believes that art should provoke a universal emotion, and works with the notion of Opt Art (or optical art), which is a genre that plays with our perception and moods. Through an innovative process, he hand paints his artworks in three dimensions, allowing the viewer to see several works in one; three different points of view become possible. Patrick's work is exhibited in leading galleries internationally and held in many prestigious collections all over the world. This includes King Mohamed IV of Morocco, a number of fashion designers, French football and tennis heroes Kylian Mbappé and Yannick Noah also own works. Polished and defined, yet sometimes using a playful subject matter, Patrick's work makes a strong but universally appealing statement in any interior space. His list of high profile collaborators includes world renowned architect and designer Philippe Starck.

Creator:
Patrick Rubinstein
Dimensions:
Height: 54.73 in (139 cm)Width: 54.73 in (139 cm)
More Editions Sizes:
UniquePrice: $23,160
Medium:
Mixed Media
Movement Style:
Op Art
Period:
2010-
Condition:
Gallery Location:
Belfast, GB
Reference Number:
Seller: A|pr|00341stDibs: LU2633213389772

Label from Obelisk Gallery verso. Henry C. Pearson (October 8, 1914 – December 3, 2006) was an American abstract and modernist painter. Pearson was born in Kinston, North Carolina, graduated from the University of North Carolina in 1938, and studied theatrical design at Yale University. He served in the U.S. Army Air Corps in the Second World War, designing maps for the Okinawa campaign, and then re-enlisted to serve in the US occupation of Japan, where he was influenced by Japanese art and theatre forms. Henry Pearson is perhaps best known for a mildly optical manner of painting, featuring a mutable labyrinth of undulating parallel lines, which somewhat inadvertently linked him to the Op Art movement of the 1960s. Although included in the Museum of Modern Art's landmark exhibition The Responsive Eye in 1965, his work displays an intuitive rhythm and poetic elegance that falls well outside of the calculated, often hard-edged quality normally associated with the Op group of artists. Pearson came late to the visual arts. His first career, in theatre design, was cut short by the Second World War. He entered the U.S. Army in 1942, and at war's end requested duty in occupied Japan, where a prolonged contact with Japanese culture nurtured a passion for painting. Upon his discharge from the army, in 1953, he enrolled in the Art Students League in New York City, where he studied with, among others, Reginald Marsh and Will Barnet. Inspired by Malevich, he turned to rectilinear abstraction, and employed it as the dominant means of expression in his painting between 1954 and 1961. As early as 1959, however, sensing an incipient decadence in his geometric canvases...

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