Farah ATASSI The painter - 2016 Oil and glycero on canvas Signed, titled and dated on the back 190 x 150 cm Oil and glycero on canvas ; signed, titled and dated on the reverse 74,80 x 59,05 in. Provenance: Galerie Xippas, Paris Acquired directly from the latter by the current owner Exhibitions : Paris, Galerie Xippas, Farah Atassi, solo exhibition, 11 June to 30 July 2016 "First of all, it's important to say that Farah Atassi unabashedly assumes her deep knowledge of and admiration for modernist painting, from Pablo Picasso and Fernand Léger to Georges Braque. As Atassi puts it, "the references and allusions in my paintings are not clues for the educated observer: they are formal propositions that must be understood in their claim to universality." / "First of all, it is important to mention that Farah Atassi openly embraces her deep knowledge and admiration for modernist painting, from Pablo Picasso and Fernand Léger to Georges Braque. As Atassi says, 'The references and allusions in my paintings are not clues for the educated observer; they are formal propositions that must be understood in their claim to universality.'" Eric Troncy FR Farah Atassi develops figurative painting from an abstract painter's vocabulary. Her paintings are full of thick matter and indentations that contrast with the rigour of her straight lines. Like collages, they meticulously combine anachronistic and seemingly contradictory forms borrowed from sculpture, painting and design. Through her absolute attachment to her medium, Farah Atassi invents a form of painting that is both conceptual and jubilant. In the series that includes The Painter, Atassi looks at the graphic aspect of Cubism, taking forms from it, revisiting them and integrating them into her pictorial universe. Drawing on the legacy of the great masters, she appropriates some of the classic themes of painting, such as the still life, the nude and the studio, and reactivates them by applying her own protocol to the displays. Elements from the masterpieces of painting are freely reinterpreted and translated into a graphic language. EN Farah Atassi develops figurative painting from an abstract painter's vocabulary. Her paintings are charged with thick matter and indentations that contrast with the rigor of her straight lines. Like collages, they meticulously combine anachronistic and seemingly contradictory forms borrowed from sculpture, painting and design. Farah Atassi's absolute dedication to her medium has led her to invent a form of painting that is both conceptual and jubilant. In the series that includes The Painter, Atassi delves into the graphic aspects of Cubism, taking forms from them, revisiting them and integrating them into her pictorial universe. Drawing on the legacy of the great masters, she appropriates some of the classic themes of painting, such as the still life, the nude and the studio, and reactivates them by applying her own protocol to the displays. Elements from painting's masterpieces are freely reinterpreted and translated into a graphic language. Farah ATASSI "First of all, it is important to say that Farah Atassi unabashedly assumes her deep knowledge of and admiration for modernist painting, from Pablo Picasso and Fernand Léger to Georges Braque. As Atassi puts it, "the references and allusions in my paintings are not clues for the educated observer: they are formal propositions that must be understood in their claim to universality." / "First of all, it is important to mention that Farah Atassi openly embraces her deep knowledge and admiration for modernist painting, from Pablo Picasso and Fernand Léger to Georges Braque. As Atassi says, 'The references and allusions in my paintings are not clues for the educated observer; they are formal propositions that must be understood in their claim to universality.'" Eric Troncy FR Farah Atassi develops figurative painting from an abstract painter's vocabulary. Her paintings are full of thick matter and indentations that contrast with the rigour of her straight lines. Like collages, they meticulously combine anachronistic and seemingly contradictory forms borrowed from sculpture, painting and design. Through her absolute attachment to her medium, Farah Atassi invents a form of painting that is both conceptual and jubilant. In the series that includes The Painter, Atassi looks at the graphic aspect of Cubism, taking forms from it, revisiting them and integrating them into her pictorial universe. Drawing on the legacy of the great masters, she appropriates some of the classic themes of painting, such as still life, the nude and the studio, and reactivates them by applying her own protocol to the displays. Elements from the masterpieces of painting are freely reinterpreted and translated into a graphic language. AT Farah Atassi develops figurative painting from an abstract painter's vocabulary. Her paintings are charged with thick matter and indentations that contrast with the rigor of her straight lines. Like collages, they meticulously combine anachronistic and seemingly contradictory forms borrowed from sculpture, painting and design. Farah Atassi's absolute dedication to her medium has led her to invent a form of painting that is both conceptual and jubilant. In the series that includes The Painter, Atassi delves into the graphic aspects of Cubism, taking forms from them, revisiting them and integrating them into her pictorial universe. Drawing on the legacy of the great masters, she appropriates some of the classic themes of painting, such as the still life, the nude and the studio, and reactivates them by applying her own protocol to the displays. Elements from painting's masterpieces are freely reinterpreted and translated into a graphic language.