Description

What I like

I like the large size of these watercolors forming a large diptych, a rare format for works on paper. Suddenly, we feel entirely in the dreamlike universe of Charles Piquois, surrounded by the color, extremely mastered by the artist.

“Invocation”, the most colorful carries a multitude of pink, green, blue signs, which occupy the entire space of the paper, using the all-over technique; “L’eau et les songes” takes up this same multitude of signatures, but in less strong hues, ranging from pink and yellow to ocher brown: as the title says, the first watercolor is filtered by the dream, is more ethereal.

I like the fact that it is a work of lyrical abstraction; the use of small motifs close to hieroglyphs can recall certain works by Bernard Quentin or Henri Michaux. Our man offers us a path through the dream, towards another reality.

The fact that Piquois was a writer may have influenced his pictorial practice, where one discerns the characters of a personal writing.

Technical description

Charles Piquois (1914-2005)

Diptych: “Invocation” and “Water and Dreams”

Pair of watercolors on paper mounted on panel, each signed lower right, and titled on the back.

Each framed in white wooden sticks.

Dimensions and weight

Each part:

Height: 118  cm – Width: 78 cm – Depth: 2,5 cm

Weight:  kg

Mix & Match

This work imposes its presence, both by its size and by its very personal universe. In fact, he needs quite imposing works and furniture as partners, which can echo him.

Of course, we think of a contemporary universe, fairly neutral, with other large paintings, even photographic prints, with a preference for non-figurative works.

But you can choose to combine it with a large blackened wooden bookcase in the neo-Renaissance style, or a large mahogany piece of furniture, or even a large console table in gilded wood, from the Louis XIV period or style.

We can continue the hushed atmosphere of the diptych by combining it with the pair of Adirondack armchairs by Philippe Parent, in very fine green, why not around the square Italian table forming a bar with a very colorful geometric decor from the 1980s.

This work will be as intellectual as the design of the pair of Grass Hopper armchairs by Sonja Wasseur, and their use of the triangle pattern associated with leather and black wood. But if we add the pair of low armchairs in white lacquered metal with large orange cushions, from the 1970s, we will energize the entire room.

In front of this diptych, the coffee table by Julien de Covemaeker with its enigmatic decor in bronze tones will carry the Pyramid lamp by High Society in Milan whose twist will diffract the hieroglyphs!