Raymond Douillet

The Hearse
The Hearse
26x20
Le Virus de Wall Street
Le Virus de Wall Street
7.5x11.7
The Hours That Pass
The Hours That Pass*
57.5x45
The Merry Widow's View
18 1/2 '' x 13 3/4 ''
auto portrait de l'artiste en vieux singe avec ses enfants (Self portrait of the
auto portrait de l'artiste en vieux singe avec ses enfants (Self portrait of the artist as an old monkey with children)*
13.75x31.75 (image size)
 L'Éblouie
Dazzled
25 3/4 '' x 19 3/4 ''
Heads or Tails?*
Heads or Tails?*
13.7x9.7
The Key
24 x 19"
Groping Hand*
Groping Hand*
22x30
And Turns the Earth*
And Turns the Earth*
26x26
The Ball of the Large Seam/ Designer Fashion
24'' x 18 1/4''
La jeune fille et la morte (The young girl and death)
La jeune fille et la morte (The young girl and death)
26x19.75 (framed 34.25x27.75)
Magritte's Spirit
8 3/4'' x 6 1/3 ''
La reigne des oiseaux (The queen of the birds)
La reigne des oiseaux (The queen of the birds)*
18x21.5 (imge size)
The Spirit of the Cobra
32.5 x 28"
Les sirenes du Mississippi (Mississippi's Mermaids)
Les sirenes du Mississippi (Mississippi's Mermaids)
38x57.5
Corkscrew
Corkscrew
8x10
The Giant
17 x 20"
The Lunar Children
The Lunar Children
25.5x19.5
The Magic Spell
13 3/4 '' x 10 3/4 ''
The Violinist
18 1/4''x 13''
The Feather Thief
The Feather Thief
30x22
The Marsellaise**
39.5 x 31.2
A Short Tour and Farewell*
56 X 50"
La Danse des Bottes
La Danse des Bottes
17x13
L'hommage des Dervaches au Soleil
L'hommage des Dervaches au Soleil
82x43.7
Moonset
18 ¼” '' x 13 ''
Pollution
18 ¼” x 15''
The Wheel
28 x 32.5"
The Stranger
The Stranger*
22.5x30.75
Bears on a Spree - Carnival of Nice 1896
26.7 x 50"
The Prisoner
The Prisoner*
26x20
Sirens of the Mississippi
57 ½" x 37 ½"
Addiction to Tea
10 3/4 '' x 7 1/2 ''
The Horses of Thirst
The Horses of Thirst*
19.75x41.75
The Big Bad Wolf
29.52"x 33.46"
The Stone Eater
The Stone Eater
29.5x37.2
The Tease
13 3/4'' x 10 3/4''
The Parents Drink While the Children Toast
The Parents Drink While the Children Toast*
51x38.4
En Avant!
En Avant!
56 x 36
The Flight
21.5 x 28"
Duo en bas (Duet Below)
Duo en bas (Duet Below)*
18x21.5 (image size)
Sentries
32.5 x 28"
For R.R. of the Mysteries-An Air Wanders Through its Memory
For R.R. of the Mysteries-An Air Wanders Through its Memory
22.5x30
Checkmate
Checkmate
8x10
The Marvelous Garden
The Marvelous Garden (homage to Lewis Carroll)
20x26
Raymond Douillet

Raymond Douillet was born on July 20th 1947 — on the very day of the Tour de France cycle race arrival — in Hautmont, in the North of France. This small town is separated from Maubeuge by a river, the Sambre. Maubeuge is Jan Gossaert's, also named Jean de Mabuse (c 1478-1532), native town. He introduced the spirit and shapes of the Italian Renaissance into Northern Gothic Art by going through Dürer’s decisive influence. Almost four centuries and a half later, Raymond Douillet, unaware of it at the beginning, followed his prestigious predecessors’ footsteps. This is what could be called, owing to André Breton’s phrase, an « objective coincidence » : from one painter to the other, this relationship, which was fortuitous at the beginning, is now shared within a space configuration which has more than one thing in common. Everything works out as if Mabuse’s formula found an echo in Raymond’s paintings, a set up « mirrorical return » in accordance with a singular catoptric where combined coincidence and time would be the project managers.

If the Sambre is the river which draws together Raymond Douillet and Jean de Mabuse beyond time, it is also the link with René Magritte when flowing through nearby Charleroi. It is in 1912 in the Sambre in Charleroi that Magritte’s mother’s body was recovered, and it is also in this town that his first impressionistic-painted works came into being.

Working at his studio in an old coaching inn among the fields of a French farm community, the artist creates works unparalleled in their quality and attention to detail. Viewers are often surprised to learn that the models who people the artist’s canvases are not highly-paid models, but rather, common townsfolk, close friends, and most often family. Their poses are incorporated into the overall architectural framework of the pieces, or, as in the case of smaller works, their movements and expressions can become this framework. And while the true meaning of the finished work is left to the viewer to determine, Douillet frequently paints to show us parallels between verbal and physical expression, as well as commonalties between the English and French languages: a game we refer to as double entendre.

Douillet has been a member of the Salon des Artistes Francais since 1975 and the Salon d’Automne since 1978. His paintings grace a number of important corporate and private collections worldwide.

 

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Grand Ouvre

 

 

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