Rating and value of paintings by Pierre Dmitrienko

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Artist's rating and value

An important figure in lyrical abstraction, Pierre Dmitrienko has established himself as an indisputable player in the art market.

Highly prized and sought-after in auction rooms, some of his works can fetch hundreds of thousands of euros - they are sold on the auction market between €10 and €95,000, displaying a rising quotation,

as evidenced by his oil on canvas Red Mountain in Southern Spain,dating from 1959, sold for €95,000 in 2007, whereas it was estimated at between €35,000 and €45,000.   

Order of value from the most basic to the most prestigious

The artist's style and technique

Pierre Dmitrienko, a leading figure in 20th-century French abstraction, develops a deeply introspective style, in which matter and composition become vectors of intense emotion.

His technique is characterized by a bold use of texture, where the surfaces of his canvases, often marked by impasto, reveal a constant dialogue between order and chaos.

Dmitrienko favors a dark, restrained palette, dominated by earthy tones, deep grays and intense blacks, which he sometimes illuminates with brighter touches, such as bright reds or whites, creating a dramatic contrast that amplifies the visual power of his works.

His work is based on a rigorous spatial construction, where geometric shapes creep in without ever freezing the composition. He plays on oppositions between rigid lines and free flat areas, between zones of density and spaces of lightening, lending his canvases a palpable tension.

The material, often scraped, hollowed or layered, reflects an almost physical engagement with its support, as if each gesture testifies to an inner quest, a need to transcend the visible to reach the essence of things.

This approach lends his art an almost telluric dimension, where each canvas seems imbued with a raw, primordial energy.

In his works, Dmitrienko seeks not only to represent, but to convey an experience, a vision where abstraction becomes a universal language, capable of evoking deep, complex emotions.

His mastery of gesture, combined with a profound reflection on matter and light, makes his style an essential contribution to the history of modern abstraction, where the intimate and the monumental come together in a subtle and deeply evocative balance.

The life of Pierre Dmitrienko

Pierre Dmitrienko (1925-1974) was born in Paris into a family of Russian origin, marked by exile and the upheavals of history. This heritage nurtured a particular artistic sensibility, which he developed over the course of a resolutely independent career.

Trained at the École des Beaux-Arts in Paris, Dmitrienko quickly turned away from academic conventions to embrace an abstract path.

His career took shape in the effervescence of the post-war period, when abstract art underwent a revival driven by a generation in search of reconstruction and innovation.

Dmitrienko quickly established himself on the Parisian scene, exhibiting his work at Galerie Arnaud and other emblematic venues. His compositions, often dark and imbued with a palpable tension, testify to a mastery of matter and contrasts.

At the same time, he distinguished himself in scenography, bringing his painterly eye to the world of theater, where light and space become so many elements to be shaped.

Despite a career cut short prematurely, his work remains coherent, driven by an artistic vision that refuses to compromise.

Today, Dmitrienko's imprint on lyrical abstraction remains inescapable. His work, both introspective and universal, reflects the hopes and uncertainties of his time.

He remains a singular figure, whose contribution goes beyond traditional frameworks to dialogue with the issues of his time.

Focus on Composition, Pierre Dmitrienko, 1960

It would be easy to overlook Pierre Dmitrienko's Composition, as one would when faced with a purely abstract ensemble, devoid of recognizable forms or explicit narratives.

And yet, this canvas, through its construction and visual impact, calls for a deeper reflection on the evolution of abstraction in the 1950s-1960s.

Dmitrienko doesn't seek to dazzle with novel processes or spectacular ruptures: his technique relies above all on the balance of masses, the density of colors and a controlled, almost meditative gesture.

The work seems to dialogue more with the classical traditions of painting than with the effervescent experimentation of the time.

The dark tones, heightened by brilliant nuances, recall an almost baroque gravity, while the lines and textures evoke patient work, where each brushstroke is inscribed as an essential affirmation.

In this, Dmitrienko runs counter to the more gestural or lyrical tendencies of his contemporaries, preferring quiet introspection to exuberance.

This technical and aesthetic choice is akin to a kind of appeal to classicism within abstraction. Far from being content with spontaneous expression, Dmitrienko works his surfaces like so many palimpsests, superimposing layers that reveal an almost archaeological depth.

This reminds us of a certain slowness in creation, a resistance to the ephemeral.

Thus, Composition doesn't simply reflect the abstraction of its time; it questions it, slows it down, the better to reveal its foundations. It is in this tension, between the classical heritage and the modern impulse, that all the strength of this work lies.

It invites not an immediate reading, but a patient contemplation, where each detail ends up revealing a part of Dmitrienko's inner universe.

Pierre Dmitrienko's imprint on his time

Pierre Dmitrienko, while a contemporary of the great modern experimentations, was able to make his mark in a subtle, almost discreet way.

At a time when the avant-garde seemed to dominate, when art claimed to be more than ever an act of rupture, Dmitrienko chose a different path, that of thoughtful abstraction, of matter as intimate research.

Contrary to other of his peers, he did not seek to overthrow the established order or revolutionize techniques, but rather to explore the infinite possibilities of abstraction through layers of ink, masses of color and pared-down forms.

His work is not content to follow the trends of his time. On the contrary, it becomes their counterpoint. In a world where urgency and brilliance predominate, Dmitrienko imposes a slowness, a restraint, even a form of rigor.

He is not one to be satisfied with the visible or the spectacular. His approach is based on meticulous surface work, an examination of matter and space. This research brings him closer to a more introspective vision of abstraction, which is built on time and repetition, not on the brilliance of the instant.

Dmitrienko's imprint on his period lies precisely in this approach: he embodies an intellectual, measured abstraction, in opposition to the sensual outbursts of other modern movements.

His influence is thus inscribed not only by the aesthetic he left behind, but also by the way he contributed to enriching the language of abstraction, making it denser, more organic, but also more charged with a deeply personal thought.

Far from the limelight of the avant-garde, he has, through his singularity, marked his era in a discreet but undeniable way.

Pierre Dmitrienko's stylistic influences

Pierre Dmitrienko, in his aesthetic quest, has drawn on precise stylistic influences, the fruit of in-depth reflection.

While we perceive in his works a geometric rigor, a fascination with construction and structure, he is notably inspired by the research of Serge Poliakoff, pioneer of colored abstraction.

Like Poliakoff, Dmitrienko invests color as a fundamental component of his language, but with a quieter, almost meditative intention, preferring purity to chromatic explosion.

The lyrical abstraction movement, particularly that explored by Jean Arp, also leaves a palpable trace in Dmitrienko's work. From the latter, he borrows the fluidity of forms, a certain taste for the sensuality of curves that mingle with the spatial.

But where Arp set his forms free in a kind of organic dance, Dmitrienko imposes strict control on the paint's momentum, transforming the artist's intuition into a more stable architecture.

We can also perceive a resonance with the work of Jacques Doucet, particularly in his approach to geometric forms, where Dmitrienko demonstrates a willingness to reconcile pure abstraction and sensibility.

Like Doucet, he experiments with the contrast between dynamic forms and more solid structures, but remains more attached to a certain recollection that is all his own, far removed from the spectacular flights of fancy of his contemporaries. Through this synthesis, Dmitrienko traces an aesthetic path all his own, rooted in the rigor of geometric abstraction, while cultivating an emotional depth specific to his time. 

His signature

Not all of Pierre Dmitrienko's works are signed.

Although there are variations, here is a first example of his signature:  

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