Etienne Cendrier, Sky, Pastel on Paper, 2019

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Ciel, Étienne Cendrier dry pastel on paper 80X60cm 31,49 "X23,62 " 2019

Ciel by Étienne Cendrier, dry pastel on paper … Read more Ciel, Étienne Cendrier dry pastel on paper 80X60cm 31,49 "X23,62 " 2019

Ciel by Étienne Cendrier, dry pastel on paper dated 2019, frame with anti-reflective glass


Height : 80 cm - 31,49 "
Width : 60 cm - 23,62 "

Biography :


Étienne Cendrier is a draughtsman, sculptor and painter who lives and works in Paris.

Drawing has been central to his career since early childhood. A professional since 1992, he has progressively specialized in dry techniques: graphite, charcoal, pastel, sanguine and even bic! drawing techniques par excellence. As no one can be perfect, he sometimes makes mistakes with watercolor or Asian wash techniques.

Pastel and charcoal take him from extreme figuration to the very edge of abstraction.
He draws in line as well as in volume and value, describing or evoking, drawing freehand and never employing the photographic transfer favored by hyperrealists. His subject is sensitive, visible reality, not photographic reality.

Most of Étienne Cendrier's anatomical drawings, "portraits" and skies are invented; they come from his imagination, his visual memory or are the result of pickings from earlier drawings, documents and so on. One could speak of assemblage or pure invention, depending on the case.

Since the birth of his son Basile in 2012, Étienne Cendrier has returned to modeling. And no week goes by without modeling, and in this field too, invention reigns, with the exception of portraits of his children.

Since 2014, Étienne Cendrier has been teaching perspective, drawing and morphological sculpture. He eventually settled at the New-3dge school, where he has the pleasure of teaching preparatory classes.

Étienne Cendrier also draws stories for his children.

His work can be found in the collections of Whoopi Goldberg, Agnès Jaoui, Rufus and the British Museum.

Guillaume Kientz, former curator of the Louvre, includes him in his list of artists, dead or alive, who deserve much greater recognition. This piece has an attribution mark,
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