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Eugène Leroy's Nudes at Michael Werner

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Author Topic: Eugène Leroy's Nudes at Michael Werner  (Read 353 times)
Danielle Gorree
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« on: December 19, 2012, 06:28:37 pm »

From the late 1980s onwards, to achieve this, Leroy used brush loads, directly from the tube, and palette knife strokes. He often scratched the paint in order to apply a different layer or color. The paintings are very well constructed and the oil paint is used for its light intensity rather than for its thickness. Ironically, Leroy always said he wanted to put as little material as possible on the canvas. Often, we find ourselves in front of a sort of low-relief polychrome sculpture where the paint is sometimes more than an inch thick.

When speaking about the thickness of the paint, the artist said 'the painting should gain depth until it reaches the eye'. Paint, the actual material, is thus used for its light intensity, not simply for its thickness. The material brings something to the drawing and also provides the structure of the painting and its light. The drawing and the material both structure works that would otherwise seem to exist on the edge of abstraction.
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