Paintings of natural or urban landscapes

Landscape painting in oils or watercolor by Jean-Sylvain Lapouge, an invitation to contemplate the nature

The landscape widens to the dimension of the whole scene. A few maple leaves or a waterfall murmur suffices to create emotion. The mountains, the majestic oceans, the mineral, vegetal or animal worlds’ splendour, a stormy sky, everything is a pretext to the artist wonder. The light, the colour subtleties, the sparkles add to the magic. Traditional techniques of oil or watercolour paintings express our emotions before nature’s beauty which is all the more poignant since its survival is at stake.

INTERVIEW :

Why nature occupies such a central place in your paintings ?

JSL : In the last decades, our vision of nature – and of landscape – has dramatically evolved from a scientific as well as an artistic viewpoint. Scientific research has made us aware of the fact that nature, which seemed eternal and inexhaustible, is in fact extremely fragile. From an artistic viewpoint, the photographers have changed our way of looking at nature, especially with the use of new techniques such as aerial or macro photography. Their artistic framing of the landscape has modified our perception. Inspired by this contemporary way of looking at nature, I consider painting as the most appropriate media to express nature’s beauty and fragility. Like a landscape, a painting is unique. Its elaboration requires a long process of maturing. It cannot be reproduced and, within a few minutes, it can be destroyed.

Nature as a subject of contemplation and meditation

A painting is an invitation to an inner journey. Much like Guo Xi (the 11th century Chinese painter), who wanted his paintings to embark the viewer into an imaginary travel, to invite him to explore mounts and valleys while staying at home, my paintings aim at creating a moment of meditation and serenity.

From nature’s contemplation to salvation.

One can become conscious of our environment’s fragility and beauty through some scientific or political approach, but the emotion felt in front of an artistic masterpiece can also contribute to such awareness. An artist can help nature’s preservation by highlighting its beauties and making the public love it. And love is its best ambassador.

Through my paintings, which are hopefully advocating for love, respect and protection of nature, I try to share the emotion felt in front of its living and permanent spectacle.

The depiction of urban landscapes in oil or watercolour

Does the city figure also in your artistic depictions ?

JSL : Today, most of us are living in cities. Our environment is very urban. Like it or not, we are conditioned by town architecture. I am privileged to be living in Paris which, in terms of architectural wonders, is an outstanding city. I therefore take great delights in painting Parisian landscapes.

Watercolours are wonderfully adapted to treat urban scenes. Much in the old tradition of the 19th century watercolour artists, with their sketchbooks, I like to materialise on paper the memories of my journeys and wanderings. Everywhere I go, I always find something worthy of artistic interest. One just has to open the eyes to be seduced as beauty hides sometimes in unexpected places or in the most trivial object. A single ray of light can produce miracles.

Why buy paintings ?

JSL : In our consumerist world, everything is reproducible and disposable, without value. A painting tends more and more to be seen as something precious, unique, charged with the painter’s emotions, which then are transmitted to the buyer and those who follow. Once out of the artist’s studio, the painting gets a new life of his own. Some pieces end up being part of a family’s history, being transmitted from generation to generation. An original painting or drawing differs from a reproduction ; it is really unique ; the piece belongs to you only. It sometimes proves itself to have been an excellent investment.