I browse the internet routinely for sites relating to flat tin figures. Recently, I ran across a site featuring the works of Stephane Coudert. I must be honest and say I had not heard of Stephane’s work, at least that I could remember, which is more of a reflection on me than it is on Stephane. The more I researched the site and Stephane Coudert, I discovered a link on this site at the end of an interview with Daniel Canet. He informed me that an interview in French was available on Stephane’s site.

I found myself browsing Stephane’s site for quite some time. If you use Google’s “Chrome” browser, it will translate the foreign language you are viewing to your own language. I was able to read most of Stephane’s site to my great delight. I urge you to check it out if you have not already.

I asked Stephane a few questions:

How long have you painted ? 

Since my young time, I never quit the world of painting, in one way or another. I concentrated my production on flats about 15 years ago, for several reasons :

  • it looks to me as the most artistical way of expression in the universe of figures or modeling,

  • it is the closest practice from canvas (or wood) painting, even if it is a very, and inevitably, academic practice which guides (limits?) creativity ; even so, it is remarkable to see the different styles which appear in the history of flats,

  • it is easy to transport everywhere (a raining day during holidays is always an opportunity for me !),

  • it is easy (and not fragile) to present the results.

How did you get into “flats”

Very progressively. I remember my first interest was in the years 1990. Flats where very difficult to find, even in Paris. No internet; nobody to tell me about Kulmbach or all the German editors. I met some artisanal French editors but didn’t follow up at that time.

A few years later, I meet Louis Becavin in the club of Saint-Germain-en-Laye and, as I lived not very far away, he was the first one to explain me the essential principles of flats paintings.

Sèvres was quite close, and I began to expose every year to that exhibition, which remains, for me, the reverence for flats in France. Each exhibition, which allows to see my productions next others, and which is an opportunity to meet great painters like Serges Franzoia, was a radical step in my practice.

How did you learn to paint ?

By observing other flats, but also paintings and all graphical productions.

By speaking with other painters, in clubs or exhibitions.

And by developing, years after years, a furious will to achieve the perfect light, the perfect sensation, this light coming “from the figure”; in one word, to find Mike Taylor’s light (but also, more recently, the Speranza’s diabolic life in figures !).

I took always almost one decisive advice of each encounter.

That’s why I decided to offer all that “painting path” in one complete website, all in french because all my compatriots are not easy with English nor German written language.

In parallel, I followed some graphic arts classes, to improve my practice and my comprehension of drawing and illustration. And I never quit my interest for paintings on canvas, by observing and practising to improve my capacity for analysing.

http://stephanecoudert.com

Here is a sample of what you will find on Stephane’s site.

alice_28

edo_bakufu_9

elephant_8w

flachfiguren_sieben_schwaben

flat-figure-patinage-5

menestrel-final-retour

 

You will also find interviews, galleries of other painters’ work, and painting instructions. There is a wealth of information. Thanks, Stephane.

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