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" ... As an external art provider, our team is not some “outsourced talent.” We are strategic partners. We work with AAA-level blockbuster games and indie studios. Our job is to curate workflow for the right teams. Our small size and international positioning allow us to be proactive and very responsive. There is only one secret sauce to real quality in this industry. Communication. We encourage our artists to find the balance between functional works and masterpieces. For example, when we get a new client, we played all the games from that universe first. It is very important! We look at their souvenirs and hang out at fan forums. Then we talk with them about what they don’t like. We want to make a process and a result better. Our art is always at the service of these stories and we recruit the best people in the industry. ... "
" ... Born in 1961 into a working class family in Sao Paulo, Muniz won a scholarship at the age of 14 that allowed him to study art while taking evening classes. There, he learned to draw and came up close with masterpieces of academic painting and sculpture. “I was born very poor in Brazil,” he discloses. “We had very few books in my house. I wanted so much to learn and to be around books and knowledge because they were very scarce around me. That was the main motivation for me to learn. I am not good at anything, except that I am very curious. I am the most curious person I know. I have to say that the idea of plants that thrive in a very dry terrain, I love the way they are shaped. They are complex. Then I came to Ruinart. This collaboration was in the works for a long time, and for a long time, I have wanted to work with the idea of tree morphology. And when I met Frédéric Panaïotis, it’s great to meet people who know what they are talking about. I saw that I had not only the materials, but also a lot of knowledge that I could use to do this, so it was very inspiring. My experience of nature is very specific, and trees are definitely a part of it. I have been looking at trees for a long time, and this was the first chance I had to actually do work about them.” ... "
" ... I have already achieved a lot of prestigious projects. Last October, The Louvre decided to keep La Rose du Louvre permanently in the museum’s collections. The artwork commissioned for the 30th anniversary of the Pyramid was just unreal. It was so fascinating to visit the Louvre over the last two years in search of a flower that could become the symbol of the largest museum in the world. For these six original ink paintings on gold leaf I have been inspired by the rose Rubens painted in his Wedding of Marie de Medicis to Henri IV (1621-1625). Today they sit permanently in the Cour Puget amidst the masterpieces of the 17th and 18th century statuary. It is such an accomplishment for an artist. I could never have asked for more. We have also published The Secret Language of Flowers, a collection of notes on the hidden meaning and symbolism of flowers. Our next big project we are working on is to create a large studio in Montreuil to open up Visual and Plastic Arts. It will be a large platform which will gather Arts, dance, music performance, and then a library and cafe. I am also working today on projects of exhibitions for great museums around the world, working on very big monographs of my new artwork from the last ten years to present them on a large scale internationally. ... "
" ... Selmoni says the “Tempo” and “Ode to Music” are examples of how Vacheron Constantin is able to make groundbreaking modern masterpieces while sticking to tradition. ... "
" ... There will also be a chance to see one of Rembrandt’s acknowledged masterpieces, his 1641 portrait of Agatha Bas. Staring at the painter, one hand of the sitter leans on the frame, the other one holding it is a striking play between image and reality. There is also Rembrandt’s The Shipbuilder and his Wife, painted in 1669, a display of jovial marital politics at play among the Dutch bourgeois. ... "