Make a difference

Make a difference by supporting the projects of artists involved with education, environment, or social issues, by following their process.

©Mircea Oarda

Marie Lhomet/Société Nationale des Beaux-Arts

Marie Lhomet - Artiste mains 1

The Société Nationale des Beaux Arts is an artist association created by Théophile Gautier in 1861, in breaking with the official Salon. The idea was and still is « to make art independent and teach to artists how to make their own business », words of Gautier himself. It had among its members Eugène Delacroix, Édouard Manet, Jean-Auguste-Dominique Ingres, or even Suzanne Valadon: she was indeed the first to accept women under their own name. Recognized in the public interest since 1909, it works every year to promote french and foreign artists by enabling them to make themselves known to the public and professionals.

2020’s exhibition, postponed three times because of pandemic, will be held since May to July in three different times, places, historic and central districts of the capital. 

Paper, papers, Photography and Painting sections will be welcomed at 7 rue Froissart in the heart of one of the most popular district of Paris, the Marais. Naturalist section will be shown at the Maison Deyrolle. At last, Ceramic sculpture, Painting, Sculpture ans Engraving will be presented at the Maison de la Culture du Japon.

Our artist Marie Lhomet is President of the Paper, Papers section to discover from May 27 to 30, 2021 at 7 rue Froissart, 75003 Paris

The association’s website: http://www.salondesbeauxarts.com/snba/

Marie Lhomet/Société Nationale des Beaux-Arts

The Société Nationale des Beaux Arts is an artist association created by Théophile Gautier in 1861, in breaking with the official Salon. The idea was and still is « to make art independent and teach to artists how to make their own business », words of Gautier himself. It had among its members Eugène Delacroix, Édouard Manet, Jean-Auguste-Dominique Ingres, or even Suzanne Valadon: she was indeed the first to accept women under their own name. Recognized in the public interest since 1909, it works every year to promote french and foreign artists by enabling them to make themselves known to the public and professionals.

2020’s exhibition, postponed three times because of pandemic, will be held since May to July in three different times, places, historic and central districts of the capital. 

Paper, papers, Photography and Painting sections will be welcomed at 7 rue Froissart in the heart of one of the most popular district of Paris, the Marais. Naturalist section will be shown at the Maison Deyrolle. At last, Ceramic sculpture, Painting, Sculpture ans Engraving will be presented at the Maison de la Culture du Japon.

Our artist Marie Lhomet is President of the Paper, Papers section to discover from May 27 to 30, 2021 at 7 rue Froissart, 75003 Paris

The association’s website: http://www.salondesbeauxarts.com/snba/

Claire Fanjul / La Source

In the words of its creator, the artist Gérard Garouste, La Source is “a place of liberation and creation to give underprivileged children the keys to move forward: tolerance, discovery in contact with artists and curiosity, [… ] an ability to carry out projects and thus regain self-confidence. “In 30 years of existence, with the objective of social action supported by artistic practice, it has supported no less than 90,000 children with the help of 1,750 professional artists.

For the association’s 30th anniversary, Claire Fanjul will intervene with children and help them reinterpret the Source logo with a pen, ballpoint pen, marker or linocut.

This project, entitled “Tell us about The Source! “, will take place in three stages: first a week-long workshop, then a show to highlight child’s production, and finally, a selection of thirty works will be made. These will be displayed in the form of posters and a catalog.

The association’s website: https://www.associationlasource.fr/

Claire Fanjul / La Source

In the words of its creator, the artist Gérard Garouste, La Source is “a place of liberation and creation to give underprivileged children the keys to move forward: tolerance, discovery in contact with artists and curiosity, [… ] an ability to carry out projects and thus regain self-confidence. “In 30 years of existence, with the objective of social action supported by artistic practice, it has supported no less than 90,000 children with the help of 1,750 professional artists.

For the association’s 30th anniversary, Claire Fanjul will intervene with children and help them reinterpret the Source logo with a pen, ballpoint pen, marker or linocut.

This project, entitled “Tell us about The Source! “, will take place in three stages: first a week-long workshop, then a show to highlight child’s production, and finally, a selection of thirty works will be made. These will be displayed in the form of posters and a catalog.

The association’s website: https://www.associationlasource.fr/

Camille Oarda/ The Great Mountain

The Great Mountain. This engraved piece is a vast mountain (390 × 450 cm) on medium composed of 18 panels (130 × 75 cm) I was able in my own way, to climb it gradually to the top with my gouge as a guide without moving of my 15m2. During this motionless ascent, my view gradually settled on the link between the rock and the water. It is this close relationship between the mountain, the sky and the clouds in particular that has formed the broad outlines.

Some landscapes leave a deeper mark than others. My perception of the landscape draws its source from memory, from a memorial journey that lies somewhere between the stories of my childhood and my travels. From there, spaces and forms emerge that I let come on the different mediums that I use.

This permanent journey, now motionless, is my primary source of inspiration.

Like traces of retinal persistence, reminiscences in the form of pieces of land and sea, these new landscapes emerge from my memory and become elements of exploration that I fragment and assemble to try to express their essence.

I like to consider this landscape where we do not see the trace of the passage of any man.

These unknown and desired landscapes. Finally seen and felt. It all depends on how you look. Is it about the wandering of a solitary voyeur or the exile of the visionary contemplator? Does the horizon separate more than it connects? Lines or masses? Full or empty?

Very often gaunt, desert and winding, sometimes without straight lines or paths, my landscape opens onto a space from which fluid masses emerge.

These series that I develop in engraving, are most often enlarged images of reality, synthesized by the characteristic lines of the engraving and taken out of their context, they allow to give a new perception to things.

Through this poetic research work based on observation, I try to show what one does not necessarily see at first glance. The invisible links that unite a fragment of sea to a mountain, a desert to a face, reinvent bodies in landscapes that merge, overlap and respond to each other. And like a traveler who finds himself in a huge space, I move forward with my luggage and each time discover new horizons.

Camille Oarda/ The Great Mountain

The Great Mountain. This engraved piece is a vast mountain (390 × 450 cm) on medium composed of 18 panels (130 × 75 cm) I was able in my own way, to climb it gradually to the top with my gouge as a guide without moving of my 15m2. During this motionless ascent, my view gradually settled on the link between the rock and the water. It is this close relationship between the mountain, the sky and the clouds in particular that has formed the broad outlines.

Some landscapes leave a deeper mark than others. My perception of the landscape draws its source from memory, from a memorial journey that lies somewhere between the stories of my childhood and my travels. From there, spaces and forms emerge that I let come on the different mediums that I use.

This permanent journey, now motionless, is my primary source of inspiration.

Like traces of retinal persistence, reminiscences in the form of pieces of land and sea, these new landscapes emerge from my memory and become elements of exploration that I fragment and assemble to try to express their essence.

I like to consider this landscape where we do not see the trace of the passage of any man.

These unknown and desired landscapes. Finally seen and felt. It all depends on how you look. Is it about the wandering of a solitary voyeur or the exile of the visionary contemplator? Does the horizon separate more than it connects? Lines or masses? Full or empty?

Very often gaunt, desert and winding, sometimes without straight lines or paths, my landscape opens onto a space from which fluid masses emerge.

These series that I develop in engraving, are most often enlarged images of reality, synthesized by the characteristic lines of the engraving and taken out of their context, they allow to give a new perception to things.

Through this poetic research work based on observation, I try to show what one does not necessarily see at first glance. The invisible links that unite a fragment of sea to a mountain, a desert to a face, reinvent bodies in landscapes that merge, overlap and respond to each other. And like a traveler who finds himself in a huge space, I move forward with my luggage and each time discover new horizons.

"Art is the highest form of hope"

Gerhard Richter

CONTACT US

Artist?

Contact us to be part of our next collection!

Collector?

Contact us to share your needs and ideas​