François Speich et l’aquarelle, par Paul MAGENDIE

François Speich donne à l'aquarelle de paysage une contribution énergique où la touche concise sait dire avec simplicité l'espace et la lumière. Dans la facture visible, les tâches aqueuses de son expression, presque jetées nonchalamment, nous plongent dans une impression de réel, une atmosphère, une température, là où il était à instant de sa vision. 

 À ce style enlevé s'ajoute un plaisir patent de la composition : ici le pan de mur d'une église obscurcit une large part de la page pour que cette bande qui reste devienne lumière, là deux trois arbres se juxtaposent horizontalement si simplement qu’on n’ose pas demander pourquoi. 

Technique trop souvent délaissée pour sa connotation désuète, François Speich rend à l'aquarelle ses lettres de modernité. Il ne le fait pas explicitement ou de manière démonstrative par le choix des sujets, mais sensiblement dans une manière qui sent l'actuel, pas reporter ni provoquant, mais simplement d'aujourd'hui. 

Une œuvre qui vient du plaisir.

Avenir Light est une police épurée et élégante et appréciée des designers. Agréable à regarder, elle s'adapte parfaitement aux titres et paragraphes.

Avenir Light est une police épurée et élégante et appréciée des designers. Agréable à regarder, elle s'adapte parfaitement aux titres et paragraphes.

Who is he ?

François Speich was fascinated by drawing and painting at an early age and studied science (former student of the Ecole Polytechnique, Ecole Nationale des Ponts et Chaussées). 
In the context, he followed the drawing courses of Pierre Guyénot, Grand Prix of Rome and professor of drawing at the Ecole Polytechnique.
He then completed his artistic training by studying watercolour with François Oberfalcer, a painter aind engraver of Czech origin, the living model with sculptor Jean-Claude Athané at the Arts Décoratifs, and finally acrylic and oil with Belgian painter Joseph Ghin.

Figuration or abstraction ? 

His Works belong to both currents.

His conviction ?

 His conviction is that figuration, int the sense of a representation of a reality, is a decoy. Kandinsky explains that a form is only recognized by a child after his apprenticeship, which makes him say that he sees a chair, for example. The first time the child sees a chair, hi doesn’t know what it is, he learns it.
Abstraction or non-figuration, is the use of objects that are not identified a priori, and that the in-depth wiewer discovers and learns to know.

But figuration is also very often a set of objects, of spots, without relation to a reality ; but whose assembly makes us think of something known.

His paintings, figurative or not, have four points in common.

Three are formal, the composition that balances the image, the light and finally the search for harmonies of colors.
The fourth is that they are always the result of an encounter and an emotion. In figurative paintings, with a landscape or a model, always painted on the spot, in the moment, without a later recovery in order to preserve intact the emotion of the moment.

In non-figurative paintings, with one or more graphic objects that spontaneously form on the canvas, and become the subject of an inner encounter, more spiritual and reflective.

His works are present in private collections in France, Italy, Switzerland.

Paul Magendie est né à Paris en 1978. Initié à la pratique du trompe-l’œil de chevalet par Pierre GILOU, il poursuit sa formation à l'école des Beaux-Arts de Paris dans les ateliers de Pierre CARRON et Pat ANDREA. Ayant soutenu une thèse de doctorat en arts plastiques et sciences de l'art, il enseigne actuellement à Paris la philosophie esthétique ainsi que le dessin.

Paul Magendie peignant au Luxembourg – Aquarelle sur papier – 36 cm x 56 cm

Who is he ?

François Speich was fascinated by drawing and painting at an early age and studied science (former student of the Ecole Polytechnique, Ecole Nationale des Ponts et Chaussées). 
In the context, he followed the drawing courses of Pierre Guyénot, Grand Prix of Rome and professor of drawing at the Ecole Polytechnique.
He then completed his artistic training by studying watercolour with François Oberfalcer, a painter aind engraver of Czech origin, the living model with sculptor Jean-Claude Athané at the Arts Décoratifs, and finally acrylic and oil with Belgian painter Joseph Ghin.

Figuration or abstraction ? 

His Works belong to both currents.

His conviction ?

 His conviction is that figuration, int the sense of a representation of a reality, is a decoy. Kandinsky explains that a form is only recognized by a child after his apprenticeship, which makes him say that he sees a chair, for example. The first time the child sees a chair, hi doesn’t know what it is, he learns it.
Abstraction or non-figuration, is the use of objects that are not identified a priori, and that the in-depth wiewer discovers and learns to know.

But figuration is also very often a set of objects, of spots, without relation to a reality ; but whose assembly makes us think of something known.

His paintings, figurative or not, have four points in common.

Three are formal, the composition that balances the image, the light and finally the search for harmonies of colors.
The fourth is that they are always the result of an encounter and an emotion. In figurative paintings, with a landscape or a model, always painted on the spot, in the moment, without a later recovery in order to preserve intact the emotion of the moment.

In non-figurative paintings, with one or more graphic objects that spontaneously form on the canvas, and become the subject of an inner encounter, more spiritual and reflective.

His works are present in private collections in France, Italy, Switzerland.

Who is he ?

François Speich was fascinated by drawing and painting at an early age and studied science (former student of the Ecole Polytechnique, Ecole Nationale des Ponts et Chaussées). 
In the context, he followed the drawing courses of Pierre Guyénot, Grand Prix of Rome and professor of drawing at the Ecole Polytechnique.
He then completed his artistic training by studying watercolour with François Oberfalcer, a painter aind engraver of Czech origin, the living model with sculptor Jean-Claude Athané at the Arts Décoratifs, and finally acrylic and oil with Belgian painter Joseph Ghin.

Figuration or abstraction ? 

His Works belong to both currents.

His conviction ?

 His conviction is that figuration, int the sense of a representation of a reality, is a decoy. Kandinsky explains that a form is only recognized by a child after his apprenticeship, which makes him say that he sees a chair, for example. The first time the child sees a chair, hi doesn’t know what it is, he learns it.
Abstraction or non-figuration, is the use of objects that are not identified a priori, and that the in-depth wiewer discovers and learns to know.

But figuration is also very often a set of objects, of spots, without relation to a reality ; but whose assembly makes us think of something known.

His paintings, figurative or not, have four points in common.

Three are formal, the composition that balances the image, the light and finally the search for harmonies of colors.
The fourth is that they are always the result of an encounter and an emotion. In figurative paintings, with a landscape or a model, always painted on the spot, in the moment, without a later recovery in order to preserve intact the emotion of the moment.

In non-figurative paintings, with one or more graphic objects that spontaneously form on the canvas, and become the subject of an inner encounter, more spiritual and reflective.

His works are present in private collections in France, Italy, Switzerland.

Paul Magendie est né à Paris en 1978. Initié à la pratique du trompe-l’œil de chevalet par Pierre GILOU, il poursuit sa formation à l'école des Beaux-Arts de Paris dans les ateliers de Pierre CARRON et Pat ANDREA. Ayant soutenu une thèse de doctorat en arts plastiques et sciences de l'art, il enseigne actuellement à Paris la philosophie esthétique ainsi que le dessin.

Paul Magendie peignant au Luxembourg – Aquarelle sur papier – 36 cm x 56 cm

Who is he ?

François Speich was fascinated by drawing and painting at an early age and studied science (former student of the Ecole Polytechnique, Ecole Nationale des Ponts et Chaussées). 
In the context, he followed the drawing courses of Pierre Guyénot, Grand Prix of Rome and professor of drawing at the Ecole Polytechnique.
He then completed his artistic training by studying watercolour with François Oberfalcer, a painter aind engraver of Czech origin, the living model with sculptor Jean-Claude Athané at the Arts Décoratifs, and finally acrylic and oil with Belgian painter Joseph Ghin.

Figuration or abstraction ? 

His Works belong to both currents.

His conviction ?

 His conviction is that figuration, int the sense of a representation of a reality, is a decoy. Kandinsky explains that a form is only recognized by a child after his apprenticeship, which makes him say that he sees a chair, for example. The first time the child sees a chair, hi doesn’t know what it is, he learns it.
Abstraction or non-figuration, is the use of objects that are not identified a priori, and that the in-depth wiewer discovers and learns to know.

But figuration is also very often a set of objects, of spots, without relation to a reality ; but whose assembly makes us think of something known.

His paintings, figurative or not, have four points in common.

Three are formal, the composition that balances the image, the light and finally the search for harmonies of colors.
The fourth is that they are always the result of an encounter and an emotion. In figurative paintings, with a landscape or a model, always painted on the spot, in the moment, without a later recovery in order to preserve intact the emotion of the moment.

In non-figurative paintings, with one or more graphic objects that spontaneously form on the canvas, and become the subject of an inner encounter, more spiritual and reflective.

His works are present in private collections in France, Italy, Switzerland.

François Speich et l’aquarelle, par Paul MAGENDIE

François Speich donne à l'aquarelle de paysage une contribution énergique où la touche concise sait dire avec simplicité l'espace et la lumière. Dans la facture visible, les tâches aqueuses de son expression, presque jetées nonchalamment, nous plongent dans une impression de réel, une atmosphère, une température, là où il était à instant de sa vision. 

 À ce style enlevé s'ajoute un plaisir patent de la composition : ici le pan de mur d'une église obscurcit une large part de la page pour que cette bande qui reste devienne lumière, là deux trois arbres se juxtaposent horizontalement si simplement qu’on n’ose pas demander pourquoi. 

Technique trop souvent délaissée pour sa connotation désuète, François Speich rend à l'aquarelle ses lettres de modernité. Il ne le fait pas explicitement ou de manière démonstrative par le choix des sujets, mais sensiblement dans une manière qui sent l'actuel, pas reporter ni provoquant, mais simplement d'aujourd'hui. 

Une œuvre qui vient du plaisir.

Mentions légales

© François Speich - 2014-2019 - all rights reserved