Frank Bernarducci and Louis K. Meisel are pleased to announce the solo exhibition of new paintings by Hubert de Lartigue as well as the release of his latest book entitled Hubert de Lartigue: Paintings – 2004/2008.
In this series of exquisite nudes, de Lartigue’s unquestionable talent as a painter of the figure is exposed in a style evocative of his famous Pin-Up illustrations. While at once seeking a precise representation of the women he paints, de Lartigue is now endeavoring to reveal their inner spirit. Capturing the beauty of his models in its most simple and honest state is what makes these paintings so powerful yet elusive.
The women in these paintings are more than just attractive nudes. They exude a sense of spirit and character which de Lartigue captures with each brush stroke. Hommage a Bettie is a fine example of Hubert's rendering of the honest beauty his models possess. The juxtaposition of the model's striking blue eyes, gentle complexion, and richly colored hair with a subtle, yet suggestive pout of her lips, draws us in, revealing her charm and a sense of mystery. A similar appeal is seen in the portrait Le Retour, as the model gazes downward toward an unknown source, her lips slightly apart, and the hint of nudity with her shoulder edging into the frame. Such knowing glances from these models evoke not only their allure but their intellect and wit as well.
Some of his most powerful paintings are those in which de Lartigue chooses to examine only a fraction of his model’s physiques. Yet a compelling dynamic between the viewer and the figure is always apparent. In Three French Girls in New York, three women are intertwined together with three very distinct glances. A rococo like glare ebbing from the bottom of the canvas emphasizes the provocative pose of each woman. De Lartigue's search for an inner persona is not lost on these provocative features nor is his perception of beauty. The women's eyes confront the viewer with an undeniable confidence and candor.
Through the astonishing hand of the artist, the women in these paintings project the essence of beauty as well as a sense of style and intrigue. Brought together in this exhibition, it is impossible not to be drawn in by de Lartigue's innate understanding and fastidious rendering of the female form.
By combining these paintings with the photographic studies displayed in this exhibition, an exploration of the artist’s process and ultimate product is realized. In Caranicas' own words, On the Edge describes "not just the physical aspect of the paintings but also allude(s) to the term 'cutting edge,' i.e. pushing the envelope of traditional art techniques and introducing a new way of articulating them."
