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Pierre Peyrolle


Paint

Pierre Peyrolle is an unusual contemporary painter. His singular artistic process is based on a revival of myths through accurate representations set in a universe where symbols and metaphysics, Freud as well as Nietzche lead the way.

A lover of baroque music, his works as a painter are those of masters of the seventeenth century combined with the melancholy of a romantic author.

His playful painting is violent as well as dramatic, even surrealist in the atmosphere. It could be said to confine to photography thus to hyperrealism and to expressionism by the way it unsettles the viewer.


Publications

Les Fastes Privés de Pierre Peyrolle

Les Fastes Privés de Pierre Peyrolle
Pierre Peyrolle ou la profondeur de l'artifice

Pierre Peyrolle ou la profondeur de l’artifice
Il Museo Archeologico Nazionale Di Napoli

Il Museo Archeologico Nazionale Di Napoli
Pierre Peyrolle Le théâtre de la mémoire

Pierre Peyrolle Le théâtre de la mémoire
  • Hommage à L’Île des Morts d’Arnold Böcklin
    • Huile sur toile 150 x 225 cm, 1991
  • Autoportrait Espagnol
    • Huile sur toile 96 x 147 cm, 1974
  • Tramonto
    • Huile sur toile 150 x 225 cm, 1991
  • Le combat
    • Huile sur toile 130 x 162 cm, 1995
  • Gloire
    • Huile sur toile 150 x 200 cm, 1994
  • Andromède
    • Huile sur toile 150 x 225 cm, 1997
  • Le tombeau de Béatrice
    • Huile sur toile 100 x 150 cm, 1997
  • Orlando Furioso
    • Huile sur toile 150 x 225 cm, 1996
  • Nulla in mondo pax sincera
    • Huile sur toile 125 x 190 cm, 1998
  • Marcus Manilius précipité du capitole
    • Huile sur toile 130 x 195 cm, 1999
  • Peintre de l’âge d’or et son modèle
    • Huile sur toile 125 x 190 cm, 1999
  • Basileus e principessa
    • Huile sur toile 110 x 165 cm, 2001
  • La tombe d’Esmeralda
    • Huile sur toile 120 x 180 cm, 2000
  • Conte oriental n°3. L’oiseau bleu
    • Huile sur toile 97,5 x 137,5 cm, 2004
  • Le théâtre de la sagesse
    • Huile sur toile 150 x 225 cm, 2005
  • La maison de Salvator Rosa
    • Huile sur toile 65 x 105 cm, 2005
  • L’Apothéose de Saturne
    • Huile sur toile 150 x 225 cm, 2006
  • L’oracle
    • Huile sur toile 120 x 180 cm, 2009
  • Consolatio
    • Huile sur toile 120 x 180 cm, 2009
  • Offrande
    • Huile sur toile 74,5 x 105,5 cm, 2010

Hommage à L'Île des Morts d'Arnold Böcklin
• Huile sur toile 150 x 225 cm, 1991

Autoportrait Espagnol
• Huile sur toile 96 x 147 cm, 1974

Tramonto
• Huile sur toile 150 x 225 cm, 1991

Le combat
• Huile sur toile 130 x 162 cm, 1995

Gloire
• Huile sur toile 150 x 200 cm, 1994

Andromède
• Huile sur toile 150 x 225 cm, 1997

Le tombeau de Béatrice
• Huile sur toile 100 x 150 cm, 1997

Orlando Furioso
• Huile sur toile 150 x 225 cm, 1996

Nulla in mondo pax sincera
• Huile sur toile 125 x 190 cm, 1998

Marcus Manilius précipité du capitole
• Huile sur toile 130 x 195 cm, 1999

Peintre de l'âge d'or et son modèle
• Huile sur toile 125 x 190 cm, 1999

Basileus e principessa
• Huile sur toile 110 x 165 cm, 2001

La tombe d'Esmeralda
• Huile sur toile 120 x 180 cm, 2000

Conte oriental n°3. L'oiseau bleu
• Huile sur toile 97,5 x 137,5 cm, 2004

Le théâtre de la sagesse
• Huile sur toile 150 x 225 cm, 2005

La maison de Salvator Rosa
• Huile sur toile 65 x 105 cm, 2005

L'Apothéose de Saturne
• Huile sur toile 150 x 225 cm, 2006

L'oracle
• Huile sur toile 120 x 180 cm, 2009

Consolatio
• Huile sur toile 120 x 180 cm, 2009

Offrande
• Huile sur toile 74,5 x 105,5 cm, 2010

PIERRE PEYROLLE, A PAINTER ON THE MARGIN

Similar to the “Vanities” of the great Flemish Masters where, beside profane splendours, brocades, silks and jewels, a skull or a funeral charade always appeared, Peyrolle’s paintings move away irremediably as we believe that we are deciphering them. The pleasure that they offer us is constantly thwarted by the presence of death in filigree. In this sense, this meticulous figuration which is Pierre Peyrolle’s trademark is much more “abstract” than painting of the same name, much more “conceptual” than the empty art of the Masters of the “Nothing”.

However, Pierre Peyrolle knows well that he will not resuscitate “Great Painting”. His extreme virtuosity, his artistic precision, his eagerness, his perseverance in creating a clinical representation of our civilization, will not return life to Art. It thus remains for Peyrolle to raise in the distance a haughty and inaccessible mausoleum akin to the “lsland of the Dead” of Arnold Böcklin. Pierre Peyrolle has already painted three gigantic pictorial comments on the ”Island”.

These signals that he sends us from a sinking wreck, Pierre Peyrolle hardly counts that we will perceive them, us, his contemporaries. The museum curators, the art critics, even the collectors find cumbersome this painting of history, or rather this painting of the end of history.

Peyrolle’s precision, his coherence, his laconism, contrast too much with what hangs in galleries today: the blur, the chatter, the undecided. So, Pierre Peyrolle continues to paint as one commits suicide; or rather as one sacrifices oneself, to raise above the flood of mediocrity an awaiting pedestal.

  • A VENIR
  • 2020Musée de Cortone
  • A VENIR
  • 2020Musée de Cortone
  • A VENIR
  • 2020Florence
  • A VENIR
  • 2020Florence
  • Galerie Desmet
  • 2019Bruxelles
  • Galerie Desmet
  • 2019Bruxelles
  • Galerie Benucci
  • 2019Rome
  • Galerie Benucci
  • 2019Rome
  • Galerie Steinitz
  • 2019Rue Royale Paris
  • Galerie Steinitz
  • 2019Rue Royale Paris
  • Fineart
  • 2018Carrousel du Louvre – Paris
  • Fineart
  • 2018Carrousel du Louvre – Paris

Contact us










    I AM NOT PAINTING IN THE SENSE WHERE I DO NOT SUBSCRIBE TO THE EVOLUTION OF CONTEMPORARY ART OR ITS ORTHODOXY, I AM AN INDIVIDUAL WHO MEDITATES ON ALL THIS CULTURE WHICH CARRIED ME TO REPRESENTATION, BUT I DO IT WITH A HAND BRUSH.


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