Graphite Drawings
Back From the Party
pencil/paper
26” x 20”
AVAILABLE
Centauress and her Children
pencil/paper
30” X 22”
AVAILABLE
Cosmogony
pencil/gold&silver leaf/paper
30” x 22”
AVAILABLE
Little Concert for Oliver Messiaen
pencil/paper
30” x 22”
AVAILABLE
Paganini After a Drawing By Ingres
pencil/paper
26” x 20”
AVAILABLE
Paganini
pencil/paper
26” x 20”
AVAILABLE
Rejected Lover
pencil/oil/paper
26” x 20”
AVAILABLE
Study for the Painting of Mademe de Beauharnais
pencil/paper
26” x 20”
AVAILABLE
The Deep Sea
pencil/paper
30” x 22”
AVAILABLE
The Fitting
pencil/colored pencil/paper
26” x 20”
AVAILABLE
The Memory
pencil/paper
26” x 20”
AVAILABLE
The Parisain and the Three Fatties
pencil/colored pencil/paper
30” x 22”
AVAILABLE
The Quartet
pencil/paper
26” x 20”
AVAILABLE
The Souls of Stan and Miles
pencil/paper
26” x 20”
AVAILABLE
The Watercolorist
pencil/colored pencil/paper
26” x 20”
AVAILABLE
Time of a Lifetime
pencil/paper
30” x 14”
AVAILABLE
Where Are We Going?
pencil/colored pencil/ gold&silver leaf/paper
26” x 20”
AVAILABLE
L'Autiste Peintre II
Pencil & Oil on Panel
28” x 22”
Available
First Inspiration, Last Expiration of Polichinelle
Oil on Panel
21.5” X 28”
Available
The Witch
Oil/Panel
22” x 18”
Available
The Succubi
Pencil & Oil on blue cardboard
25.5” x 19.7”
Available
Nocturne
Oil/Canvas
54” x 37”
Available
Two of Douillet’s favorite quotes are from Marcel Duchamp: “the artist who makes a work does not know what he is doing” and “it is the viewer who makes the painting”.
The Music of the Spheres
Oil/Canvas
54” x 67”
Available
Douillet is not an artist who practices his craft for the moment. What keeps him standing at the easel, brush in hand, is his conviction that he still has work to do. His art is continually exploratory: it searches, it reveals, and it proposes through imagery from nature, esoterica, and philosophy. The techniques he developed reflect his desire to search and his awareness that the work that he is doing matters.
Douillet’s painting gives viewers a timeless pictorial account of human striving for awareness and meaning. It is worthwhile to acknowledge that his use of centuries-old methods contribute to the quality and longevity of the physical painting, while allowing him to connect with his conscious and unconscious sources of inspiration. In past centuries, the traditional painting methods brought satisfaction and pride to collectors of royal rank, to prelates, and to wealthy merchants alike. Today, those techniques are rarely used by other artists, but Douillet has used, mastered, and improved them. Scores of modern collectors have been rewarded as a result.
The Crow of Abramelin
Oil/Canvas
36” x 29.5”
SOLD
Two of Douillet’s favorite quotes are from Marcel Duchamp: “the artist who makes a work does not know what he is doing” and “it is the viewer who makes the painting”.
Under the Sun
Oil/Canvas
57” x 87”
SOLD
Douillet had the good fortune to be born in the north of France to loving, resourceful parents. On the surface, his childhood was much like any of the time and place, but his childhood can be looked at in the light of the artist he became. He was a singularly observant, sensitive, and independent child, which gave his typical childhood experiences a distinct cast to his development, helping to shape his attitudes, his memory, and his thoughts. Years later, as an artist, he became socially independent, almost solitary; keen in his observations of society and folkways; spiritually philosophical about the nature and destiny of life; not without humor, but completely serious about the endeavor of painting. What he experienced as a child would help shape aspects of the artist he would become.
Le Marionnette et le Mari Honnête ou The Bachelorette Party
Oil/Canvas
28” x 26”
SOLD
Douillet does not think much of a painter’s ability to talk about his paintings. He has always been happy to let others do the talking for him; he likes to quote Dali’s injunction, “Painter, paint.”
The Last Hour
Oil/Canvas
37” x 30”
SOLD
The Eternal Return
Oil/Canvas
41” x 60”
SOLD
Death is also for Douillet a real and everyday character who, dressed in working clothes, accompanies us all as a faithful friend. But just to be so normal his presence on the first strikes us by giving us an overwhelming terror. Only later, having entered Douillet's macabre machinery, do we realize how, with this faithful companion, we can also laugh and ironise about the world around us, to the point of better enduring its many insults. Douillet's art ends up being invigorating and his sinister humor, comforting.
The Fates
oil on canvas
24” x 18"
SOLD
The Flight of the Soul
oil on canvas
21.5” x 19"
SOLD
Free As Air
Oil /Canvas
45.5” x 35”
SOLD
The Rose or the Cabbage
Oil/Canvas
36” x 30”
SOLD
The Autist Painter
Oil/panel
SOLD
Douillet has given us no manifesto to help us categorize his work. He has joined no associations with like-minded artists in a common cause, and claimed no terminology to describe what he does as an artist. His one defining statement is that he was looking for himself in his work, and eventually found himself in his work.
The salient fact is that Douillet’s life is his painting. In his view, his personal life is neither important nor interesting. Douillet’s firm position is that his paintings are as much of his life as the public needs to see. The paintings reveal the artist, of course. But they also reveal the person, if only indirectly.
To paraphrase Walt Whitman in Leaves of Grass: who touches a Douillet painting touches a man. Douillet’s work reveals the core of his life, a life of observing, reading, thinking, and imagining, expressed in an obsession with painting: mindful, exquisitely crafted painting.
Douillet’s art engages us in a conversation that challenges us to use our minds as well as our eyes, and rewards us with the pleasures of wonderment and understanding. It is an art of thinking.