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Lumière naturelle versus Lumière électrique, travaux in situ versus travaux situés

From the end of the 1960s, Daniel Buren became interested in light, natural or electric, in a multitude of works playing with transparency, reflections, chromatic superpositions, lighting and light radiation.

Over the course of his interventions, which began in 1968 on glass roofs, windows, doors or facades, cellophane papers printed with white stripes were added to the striped papers, subsequently replaced by colored transparent filters which have become one of Daniel Buren’s favorite materials. Thus the transparent color is introduced, described as indescribable by the artist.