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The artist

Eric Laurent

Light, oil and water

Welcome to the artistic universe of Éric Laurent, passionate and self-taught French painter.

Born in 1961, his early fascination with watercolor gave birth to a unique style, combining speed, flexibility and spontaneity.

Guest of honor in regional fairs since 1987, Éric won numerous awards before becoming a professional in 1990, exhibiting in prestigious galleries such asthe Vasse Gallery in Lille,the Raugraff Gallery to Nancy, and others.


Over the past decades, Eric has expanded his artistic repertoire by also exploring oil, creating a captivating balance between watercolor and oil painting.


His art, often described as "Quasi-abstraction", oscillates between the figurative and the abstract, suggesting nature with a distinctive delicacy.

Browse through his online portfolio to discover the wealth of his unique creations. Each work is an immersion in the imagination and deep vision of Éric Laurent.

Welcome aboard this artistic journey where color and form combine to tell timeless stories.

Its colors


I often add, during the final touches, lines of titanium white with a fine brush. I think I free myself from the constraints imposed by a too traditional vision of watercolor.

It took me a while to assimilate white into my painting.It is clear that today, titanium white has taken a major part in my practice since I even use it to extinguish a color that I find a little too bright.

I also use it during the final phases, in or in projection. Finally, white can be mixed with colors, both to “break” them and to make them opaque.


I mainly use Daler-Rowney or Winsor & Newton. I am not attached to a particular brand: each color has its specificity in each brand.

I do a lot of mixing; this is why knowing my colors has become a reflex: I know perfectly how they react.

My palette is all breaking downas it follows.

reds: alizarin crimson, light and dark cadmium red;

blues: Prussian blue, ultramarine,

cerulean, phthalo blue;

- yellows: gumdrop, cadmium,


white and black

only one green, phthalo green; all others are obtained by mixtures.

On the other hand, I don't use land.


Color plays a structuring role here, that is to say it orders the entire arrangement of the painting.

The two tree silhouettes in red, on either side of the composition, stand out from the blue-green background and act as a foil: they lead the eye towards the back of the work. Furthermore, by repeating the tones in different places, I unify the work.

For example, if the two turquoise windows appear well integrated, it is because this same color is repeated throughout the painting.

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