Georges Claverie

Art Collect - Georges-Claverie

A member of the Phoïbos group and trained at the Academy of Saint-Josse-ten-Noode in Brussels under Marcel Verhofstadt and Jos Errens, Georges Claverie quickly asserted a singular sensitivity, already recognized during his years of study. Born in Belgium but heir to both Mediterranean and Norman roots, he draws from this dual heritage the substance of his pictorial contrasts: the vibrant warmth of the South meets the quiet strength of the North.

In his paintings, everything is a matter of tension — between shadow and light, between figuration and abstraction, between inner life and representation. His characters play cards, meditate, or lose themselves in nocturnal dreams. Some seem to emerge from a symbolist theatre, others wander through existential allegories — figures of a humanity in perpetual questioning.

Explore the artworks

A selection of Available Works

Explore the Gallery

Le nu dialogue avec le masque, l’immobile frôle le mouvant, les couleurs franches côtoient des matières tour à tour lisses ou épaisses, presque sculpturales. On sent chez Georges Claverie un combat intime, une fièvre métaphysique qui traverse la toile. Il peint pour interroger « le juste, le dogme, la folie et la mort », et explore cette théâtralité humaine où se mêlent simulacres, déguisements, vérités voilées. Le carnaval, souvent présent, devient prétexte à la métaphore : la vie comme mascarade, entre éclat et dissimulation.

Fortement influencé par le néo-expressionnisme, il développe une écriture visuelle qui emprunte autant aux tons francs appliqués en aplats qu’au symbolisme d’un univers intérieur en quête de sens. Les blancs tempèrent les contrastes, apaisent les tensions chromatiques et laissent surgir un espace de contemplation, entre sérénité et inquiétude.

The nude converses with the mask, the motionless grazes the moving, and bold colors meet textures that are alternately smooth or thick, almost sculptural. In Georges Claverie’s work, one senses an intimate struggle, a metaphysical fever running through the canvas. He paints to question “justice, dogma, madness, and death,” exploring the human theatricality where masquerade, disguise, and veiled truth intertwine. The recurring motif of the carnival becomes a metaphor — life as masquerade, poised between brilliance and concealment.

Strongly influenced by Neo-Expressionism, he develops a visual language that borrows as much from flat, assertive tones as from the symbolism of an inner world in search of meaning. Whites temper contrasts, soften chromatic tension, and allow a space of contemplation to emerge — between serenity and unease.