Ratings and values of paintings by Claire Tabouret

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Cote et valeur de l'artiste Claire Tabouret

Claire Tabouret is a well-known artist among contemporary art lovers and collectors. Today, prices for her works are rising under the auctioneer's hammer.

His oils on canvas are particularly prized, especially by American and French buyers, and the price at which they sell on the art market ranges from €90 to €580,500, a significant delta but one that speaks volumes about the value that can be attributed to the artist's works.

In 2021, his 2016 acrylic on canvas The last day sold for €580,500, against an estimate of €175,000 to €230,000. His value is rising sharply.

Order of value from the most basic to the most prestigious

The artist's works and style

Claire Tabouret's style is characterized by a subtle tension between introspection and universality, materialized by a technical mastery that transcends convention.

His often large-scale works explore a figurative style imbued with a saturated palette, where vibrant nuances and incisive contrasts create an atmosphere that is both dreamlike and unsettling.

The faces and bodies, treated with a fluid yet assertive line, oscillate between assertive presence and effacement, as if suspended in an ambiguous space-time.

Tabouret strives to reveal the silences and hesitations of being, using dense washes and impasto to enrich the materiality of her canvases, while infusing her subjects with a poignant gravity.

This pictorial language, in which light and shadow intertwine to construct unspoken visual narratives, lends each painting a singular emotional intensity. The compositions, often populated by grouped figures, evoke rituals or moments frozen in a collective memory, instilling a sense of timelessness.

At the same time, the artist plays with uneven textures, integrating irregularities that densify the symbolic charge of the works. Tabouret's technique is not limited to a simple play of shapes and colors: it becomes an introspective act, a quest to materialize latent emotions.

As a result, her work, while in dialogue with classical traditions, has established itself as a singular voice in contemporary figurative art, carrying with it echoes of a universe both fragile and monumental.

The life of Claire Tabouret   

Claire Tabouret's work is rooted in contemporary figurative art, where the energy of gesture meets remarkable technical mastery.

Her style is characterized by a constant tension between rendering the body and immersing it in vibrantly colored worlds.

Her figures, often suspended between presence and effacement, borrow from a palette rich in muted, contrasting nuances, in which glazing plays a fundamental role. This process, which she pushes to extremes, produces almost liquid surfaces, charged with a palpable emotional density. 

In his series, the frontality of the subject doesn't just engage the viewer: it captivates him, drawing him into a silent meditation on time and identity.

Although his portraits sometimes recall the gravity of the Flemish Primitives, they break with the idea of idealization by being rooted in a raw and often disturbing humanity.

Far from academic realism, she builds her works on a complex layering of matter and light, where every detail - a look, a hand, a garment - becomes a story in itself. 

Tabouret claims an almost choral approach to his art: his characters intertwine, confront or distance themselves, but always in a striking visual dialogue.

This collective dynamic, which she opposes to frozen individualism, is echoed in her precise use of textures and transparencies, reminiscent of the boldness of Francis Bacon or the tragic poetry of Edvard Munch.

Between classicism revisited and contemporary experimentation, Tabouret imposes a unique vision, both intimate and universal, of the human condition.

Focus on Les Déplacés, Claire Tabouret

Take Claire Tabouret's Les Déplacés, an imposing canvas combining humanity and abstraction.

At first glance, the viewer is drawn into a silent procession of figures, a group of men, women and children moving forward, as if caught up in an inexorable movement.

Their frontal, almost hieratic alignment evokes both press photography and religious painting. This duality between the sacred and the profane lends the ensemble a symbolic depth that goes beyond the anecdotal.

Tabouret's pictorial treatment deserves particular attention. The background is drowned in dark, almost monochromatic tones, dominated by shades of gray and brown, accentuated by flashes of diffused light.

This skilfully orchestrated contrast is reminiscent of the dramatic atmospheres of Baroque masters such as Caravaggio, where each figure seems to emerge from the shadows to catch our gaze.

Yet in Tabouret's work, light doesn't exalt, it weighs down. It acts as a reminiscence, a vestige of a forgotten elsewhere.

The figures themselves, with their frozen postures and loose clothing, seem both concrete and ghostly.

This paradox, between anchorage in reality and dissolution into a dreamlike atmosphere, places the work at the crossroads of influences: on the one hand, the almost photographic frontality of a Gerhard Richter ;

on the other, the vibrant melancholy of an Edvard Munch. Tabouret's rapid yet precise brushstrokes make no attempt at detail. It suggests, evokes, leaving the viewer to fill in the silences.

Finally, the key element of Les Déplacés is the absence of distinctive facial features. This choice, far from being a simple neutrality, elevates each individual to the status of a universal figure. We can all project our fears, hopes and inner exiles onto them.

In this way, the work transcends its mere condition as a painting to become a timeless allegory of human wandering. With this work, Tabouret offers us a poignant reflection on the human condition, rooted in an artistic tradition but resolutely contemporary in its sensitivity and narrative urgency.

Claire Tabouret's imprint on her period

Claire Tabouret is a singular figure in contemporary art, whose imprint is distinguished by a subtle balance between personal introspection and universal appeal.

His works, often marked by a figurative style tinged with onirism and symbolism, engage with the major issues of his time: identity, collective memory and the relationship with others.

Tabouret is not content to simply follow in the footsteps of contemporary narrative painting, represented in particular by figures such as Chantal Joffe and Marlene Dumas; she redefines its codes.

As with these artists, his line blends precision and expressiveness, but is enriched by an emotional density of its own, carried by a vibrant palette that transcends realism.

The static faces and often grouped bodies she paints, immersed in suspended atmospheres, are reminiscent of the austerity and meditative force of Balthus's figures, while resonating with the intimacy claimed by Elizabeth Peyton.

Yet where Peyton celebrates luminous individualities, Tabouret constructs narratives in which the individual almost fades into the background in favor of collective reflection.

In an approach comparable to that of the Cubist engravers who, in the 1910s, reformulated the classical line by systematizing it, Claire Tabouret draws on artistic traditions to extract a renewed grammar.

Stylistic influences

For example, she takes up classic pictorial codes such as frontal staging and rigorous compositions, but charges them with a narrative tension specific to our times.

This relationship with tradition is not a simple appropriation: it becomes a platform for questioning our present.

In this respect, his groups of figures, frozen in a kind of silent communion, evoke a contemporaneity where human bonds seem fragile, almost ritualistic, but always essential.

His work is thus part of an era marked by a return to essential pictorial reflections, in the same way as other major figures such as Peter Doig or Cecily Brown, but with a rigor reminiscent of the methodical construction of classical engravers.

The way Tabouret anchors his figures in a marked physicality, while investing them with an emotional and narrative charge, is reminiscent of the portraits and scenes by Courbets portraits and scenes, imbued with realism and depth.

Tabouret's group scenes are also sometimes reminiscent of the frozen, almost theatrical compositions of Vallotton. Both artists share a tendency to capture the underlying tension in human relationships.

This filiation with art history, which she explores while at the same time emancipating herself from it, gives her painting a particular depth.

While she shares her contemporaries' fascination with ambiguity and fragmented narratives, she distinguishes herself from them through a formal language imbued with rigor, in which every touch of color and every contour contributes to an almost architectural balance.

Claire Tabouret's mark on her era lies in her ability to combine the timeless with the contemporary, to create a bridge between aesthetic heritages and the uncertainties of a changing world. 

His signature

Claire Tabouret's works are not all signed.

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

Appraising your property

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A member of our team of experts and certified auctioneers will contact you to provide an estimate of the market value of your work.

If you are considering selling your work, our specialists will also guide you through the various alternatives available to obtain the best possible price, taking into account market trends and the specific features of each work.