About me

Chomobscur by Alain Rousseau.

What’s chromobscur ?

This is the name I gave to my painting because it refers to the chiaroscuro technique well known by the painters of the 17th century in Europe but also to bright and rich colors that flood my paintings and so the light without resorting to chromatic techniques of impressionism.

Where does the word chromobscur come from?

Two roots: a Greek one khroma means color and the other one latin obscurus which means dark, obscure or black. Let us now reference the picture some examples of chiaroscuro 17th century also called Luminism, Caravaggism, tenebrism … and look at some typical works of some great painters: Italian, Spanish, Dutch and French, which influenced each other because Empires have put these
countries under their domination alternatives and thus influenced their art and marked their times, they are found in all the great museums of the world. Caravaggio Batistello, Titien, Van der Hamen, José Ribeira Van Honthorst, Ribalta, Zurbaran, Rembrandt, Da Vinci, Georges de la Tour.

I would like to dwell for a moment on the latest because it’s my neighbor in Alsace Lorraine, my home region in France and I often visited the museum dedicated to him in Vic-sur Seille and dissected his paintings. So you will not be surprised to find in my painting obscure funds or very dark. Indeed the darkness is where light is not, and it faces full and impenetrable colored shapes, warm, in which it does not dissolve as did some masters of the 17th century and thus guide the eye toward the basics. Contrast caused by the colors may even be violent, reliefs and depth is suggested rather than defined. Generally the space is not cluttered with unnecessary architectural effects, faces just behind the picture plane and are on the same scale as the viewer to communicate directly with him. The brush or the knife work is apparent to mean that it is an interpretation of reality by the artist and not a reproduction. The materiality of paint brushes is in a figurative value and vision sensory act as well as touch, and not simply receive images, this painting can move away from social conventions such as the small boat of the student near the one of the master go away from this big boat! Comparison with Chinese paintings. That’s the rule, I was told it does for Chinese paintings, leave clear areas to allow the viewer to enter the picture and imagine. The chromobscur does not allow the viewer to escape from the center of the painting and instead look only on the subject. However, the eye is treated as it is the gateway to communicate or interact with the character, which follows him everywhere in any angle it looks, until the obsessed. My painting looks you straight in the eyes. As in the white point of the Yang and the black point in the Yin, it is an opening that allows to relativize everything that appears opposite and actually contains some of its opposite. Like yin and yang I also systematically add a little touch of white in my black to make it brighter.

Why have differentiated chiaroscuro by color and not by the light as did the masters of the 17th century?

The first reason is since the time of the invention of photography the painting has been revolutionized for me. Before this, the painters were the witnesses of their time and were often on orders; making faithful representative works with the greatest possible authenticity of the characters they depicted their descendants. Today the picture holds this segment with great efficiency. I therefore consider that no painter has this mission and can represent characters such as he feels rather than as they are.

The second reason is the end of the canons of academic painting and the beginning of the disintegration of the images was carried out by Picasso, Chagall and other cubist, pointillist, expressionist influences me in my choice. I am part of this trend and freed me conventions. I also resort to the warm and bright colors that are not melted, but juxtaposed to recreate the relief and light but does not take the complementary colors of the impressionists. I have my favorite colors that I cannot find in China and I’ll get in France (such as for carmine alizane or blue hoggar for example).

To conclude, we can say that my colors can shock the second reading when you approach the painting, my will is, however, that first reading, remote calls as if my picture was not in the traditional way while you have not seen the colors were separated and favored impressionism.