Visual Arts Explorer - The Visual Arts Search Engine

MEIER Simone

LUDWICZAK Michèle
http://www.michele-ludwiczak.fr

GAGNES-DENEUX Jacqueline

HUTINET Laurent

BONNEF Line

LE YOUDEC Thierry

FRUGIER Françoise

You are an artist

Visual Arts Explorer is a revolutionary tool that allows art lovers, gallery owners and art commissioners to find with the magic of a click the artists with the creative expression and sensitivity they are looking for.

It also allows independent artists to create their own roster of art lovers/experts who showed interest in their work, and store their contact information for invitations to future exhibitions.

Vision Arts Explorer is the perfect liaison between the artist and his public.

If you are an artist and wish to know more about joining Visual Arts Explorer and setting up your own roster of gallery owners and collectors, please fill out and submit the fields below. There is no obligation on your part.

*Last, First Name :
Artist's name :
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This information is collected for the sole purpose of sending you an email containing registration requirements to this website. If you have questions concerning the use of your personal information or wish to modify your contact details, please contact contact@active-leads.com

LUDWICZAK Michèle
http://www.michele-ludwiczak.fr

Classification : A330-B220-B210-B200-C160-D110

The classification provides four or more codes placed on four axis (A - formalism, B - matériality, C - involvement body/mind, D - communication). These codes are positionning the artist in the art history.

A axis : FORMALISM
When looking at the work, what type of formalisation first strikes the eye? Is it more abstract or more figurative, etc ? (on a scale from more "immaterial" to more "realist").

A330 : Representative works Work with quiet figures
figures are formally and materially presented in a quiet way (Edward Hopper, Balthus, Edouard Pignon, P. Klossowski, Sam Szafran, A. Garcia Lopez, ...).

B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").

B220 : Materiality
in painting, but also with all other materials with the following possibilities: Structured predominance of volumes
particularly in sculpture and assemblages. Specially for "Minimal Art" and its derivatives (Sol Le Witt, Tony Smith, …).

B210 : Materiality
in painting, but also with all other materials with the following possibilities: Structured with materials predominant
their thickness, composition or the way they are worked as structures (the way they are "built up") are here the most important aspect (Eugène Leroy, Bertrand Lavier, ...).

B200 : Materiality
in painting, but also with all other materials with the following possibilities: Structured with colours predominant
with their intrinsic or symbolic strength, (Monory's "blues", G.Fromanger's "reds") historical or social meaning etc., and their structuring, the colours here are the most important (Jules Olitsky, Peter Halley, ...).

C axis : INVOLVEMENT BODY/ MIND
With what body:mind ratio does the artist enter into his work?
Classify from the most "intellectual" (e.g."Concept Art"...) to the most "physical" (e.g. "Body Art", ...).

C160 : tending towards the corporeal / the senses via expression with "humanity" (the passage from Life to Death)
- in a literal manner (John de Andrea, Duane Hanson, Itsvan Sandorfi, ...)
- or a symbolic manner (James Ensor, G. Rouault, F. Gruber, Zoran Music, Rebeca Stevenson, Jan Vercruysse, ...), ...

D axis : COMMUNICATION
Does the artist have the deliberate intention to convey a message of any sort through his work?
(classified from the most "mystical" to the most "worldly").

D110 : via what is meant with various spiritual or less marked religious influences
(from Barnett Newman to Mark Rothko, from Roman Opalka to Arnulf Rainer, ...).