David Michael Bowers

Competing For Adam

2022

This 2019 painting is from Patrick Faure’s Agnoiaphobia series. The painting is unframed, oil on canvas. About the Artwork: According to the Swiss psychiatrist, Carl Jung, kollektives Unbewusstes, or collective unconscious, refers to structures of the unconscious mind that are shared among beings of the same species. The human collective unconscious is populated by instincts and by universal symbols such as hell, water, the tree of life, or the concept of god. Jung states that the collective...

This painting is artwork of Patrick Faure, Creator of Faurism. The painting is unframed, oil on canvas. About the Artwork: Wings of Fascism is a perfect example of Faurism, a styl...

This 2019 painting is from Patrick Faure’s Agnoiaphobia series. The painting is unframed, oil on canvas. About the Artwork: “For ever and ever” is part of the doxology that falls...

This painting is artwork of Patrick Faure, Creator of Faurism. The painting is unframed, oil on canvas. About the Artwork: Wings of Fascism is a perfect example of Faurism, a styl...

This painting is artwork of Patrick Faure, Creator of Faurism. The painting is unframed, oil on paper. About the Artwork: ‘In this subtle instant when man looks back on his life, Sisyphus going back toward his rock, contemplates this chain of actions without links that has become his destiny’ Albert Camus tells us. Vir Absurdus captures this moment, when Sisyphus let the rock roll back down the hill and has the time to look at the Mediterranean shore. We can imagine that it is his love for the sea, for the world of the Mediterranean that he incurs the wrath of the gods. He looks on that shore that is forever forbidden to him and over which hand the clouds of Hades. He is turning into a rock himself. Having been so close to a rock for such a long time, one cannot but imagine that he is becoming rock himself, suggests Camus. The objects lose their meaning. The rock has turned into the five ball of a billiard set...

Natalya Nesterova has created her own enormous world and has found her own angle of vision in the reality that surrounds us. As an artist, she sees this world in a way that we cannot. The air of mystery permeates Nesterova's works; the surrealistic impulse is definitely present in her paintings. But neither it or any other terminologically defined influence predominates over the freedom and talent of the personality in choosing an independent style and organization of creative ideas. Natalya Nesterova is recognized as one of the most important and internationally acclaimed contemporary Russian artists.

Kristians Tonny (French, born Holland; 1907-1977) Circus Oil on prepared board, 16 1/2 x 13 inches Framed: 22 x 19 inches (approx.) Inscribed on reverse: (in pencil) "cadre noir/ave...

Philip Krevoruck (1919–1999), WPA Artist Surrealist oil on board, painted during the 1950s, in its original 1950s frame, signed in the lower right-hand corner. Philip Krevoruck was...

Alejandro Rubio Celebration, 2024 Oil on canvas 30 x 30 inches This one-of-a-kind oil painting on canvas is stretched across wooden stretcher bars.

Joséphine Beaudouin (1909-2005) Poetry of the Bird, surrealist painting, 1948 Oil on canvas Signed "Joséphine Beaudouin" and dated "1948" lower left 13,7 x 10,6 inch Born in Albi in 1909, Josephine Beaudouin (née Cals) showed an early interest in drawing. At the age of twelve, she moved to Paris where her mother, Jeanne Ramel-Cals, ran a literary salon that was frequented by art world figures such as Ambroise Vollard. In 1925, while her first drawings appeared in the magazine Crapouillot, the young artist entered the School of Decorative Arts where she studied fresco painting. She married the architect Eugène Beaudouin in 1928, with whom she traveled throughout Europe. Beaudouin, a member of the Académie des Beaux-Arts, designed a series of buildings that were precursors of modern architecture in France (Clichy, Maison du Peuple; Antony, Résidence universitaire Jean Zay). Josephine Beaudouin exhibited at the Salon des Indépendants, the Salon des Tuileries, the Salon d'Automne and the Salon des Artistes Décorateurs. The work of the one that Jean Cocteau described as "bewitching" is full of mystery. Her work bears the stamp of an extraordinary personality. Indeed, Josephine Beaudouin developed a penchant for dreams at a very early age and took refuge in the works illustrated by Gustave Doré. Her technical virtuosity and overflowing imagination were praised by the critics of her time who unanimously greeted her Marmorées (ill.1). Named by René Barotte, these are paintings made on marble slabs from 1955. The artist exploits the infinite resources of the veins of this support which inspires him poetic compositions with unusual subjects. Marked by surrealism, she returns to the fantastic by delivering a prodigious creation of the mind made of dreamed cities and trompe-l'oeil. The 1948 painting that we propose probably represents a red-billed chough. The bird is a recurring theme in the work of Josephine Beaudouin, as in her life. An avid ornithologist, she kept an aviary in her Parisian home where many island birds were kept. She also built up a collection of stuffed birds. Still on this theme, the writer Claude Aveline (1901-1992), author of the poem L'Oiseau-Qui-N'Existe-Pas, invited several visual artists to freely interpret what this bird could be. The first series of works was produced between 1956 and 1963. In 1957, Joséphine Beaudouin delivered a work with a pen of great finesse, now preserved at the Centre Pompidou (ill.2). Several renowned artists also responded to the invitation of the poet such as Jean Cocteau and Ossip Zadkine. The precision of the graphics of our painting testifies to an attentive observation of the anatomy of the birds. The artist paints with great delicacy: the technique is impeccable, the drawing is careful, the material is smooth, the details are represented with great finesse and mastery. Bibliography : Fernand Pouillon...