Cavell VIII, Le mauve – 2021
Oil on panel
38 x 46 cm
14,9 x 18,1 in.
Signed lower right and signed, titled, dated on the back

En sortant de la BRAFA – 2020
Oil on panel
62 x 58,5 cm
24,4 x 23 in.
Signed lower right and signed, titled, dated on the back

Les deux pilones, Champ doré – 2018
Oil on panel
45 x 54 cm
17,7 x 21,2 in.
Signed lower right and signed, titled, dated on the back

Cavell V, Petit Cavell, Grande grue – 2020
Oil on panel
43,5 x 61 cm
17,1 x 24 in.
Signed lower right and signed, titled, dated on the back

Cavell IV, La grue de Cavell – 2021
Oil on panel
61 x 61 cm
24 x 24 in.
Signed lower right and signed, titled, dated on the back

Cavell II – 2020
Oil on panel
61 x 78 cm
24 x 30 in.
Signed lower right and signed, titled, dated on the back

Cavell VII, Le grand – 2021
Oil on panel
62 x 122 cm
24,4 x 48 in.
Signed lower right and signed, titled, dated on the back

Antenne de San Francisco – 2021
Oil on panel
100 x 96,5 cm (100 x 40 cm & 100 x 56,5 cm)
39,3 x 37,9 in. (39,3 x 15,7 in. & 39,3 x 22,2 in.)
Diptych
Signed titled, dated on the back

TRTA, Le bas du ciel rue de la Régence – 2019
Oil on panel
98,5 x 98,5 cm
38,7 x 38,7 in.
Signed, titled and dated on the back

Her first exhibition in 2005 in Paris consists of 42 clouds paintings: they are for her an abstract form embedded in reality. The artist makes this abstraction that nature offers by challenging herself to be as exact as possible. It is then the trees graphics in winter that will interest her in this quest for the abstract beauty of the real, then comes the metal in nature.

The first pylon appears in 2006 in a mountain cloud, the condensations in 2008, then the antennas of the Naples and Patmos roofs in 2007, the first factories in 2011 and finally the first Zeebrugge cranes in 2010… A continuity can be read by going through these fifteen years of painting in the same search for graphic harmony.

Charlotte Fortier Beaulieu is an art historian and graduate
of the Ecole du Louvre in 1995. Self-taught, she trained by observing the techniques of the ancients, from the Poussin’s orange to the Max Ernst scratches. Her pictorial practice begins in her paternal grandfather’s studio, where she will paint daily since the 90s.