Posted on 3 November 2026:
🎨 #YathraCanvas: Art in a Frame
Dr. Larissa Noury and Refki Gollopeni at Villa des Arts, Montmartre: A Dialogue of Colors, Landscapes and Lights
Internationally acclaimed painter, architect and color theorist Dr. Larissa Noury unveils her Tactile “New Impressionism” in Paris.
In the heart of Montmartre, a historic sanctuary that once welcomed Paul Cézanne, Henri Rousseau and Francis Picabia opened its doors to a poetic exploration of perception and form. From October 26 to November 1, 2026, “Couleurs, paysages, lumières” (Colors, Landscapes, Lights) brought together Dr. Larissa Noury and artist Refki Gollopeni at La Ville A des Arts (Villa des Arts). The dual showcase was a sensory immersion into pictorial matter, shifting light and the changing essence of territory.
Two Visions, One Shared Quest
One question lay at the heart of the exhibition: how does light shape our perception of landscape, turning color into emotion? The two artists work with distinct techniques, yet their canvases spoke to each other in harmony.
Refki Gollopeni: Structure and the Fleeting Spark
Gollopeni treats landscape as a realm of memory and quiet contemplation. With a sharp sensitivity to atmospheric change, his brushwork catches the brief moment when sunlight touches natural reliefs, water or architecture. His compositions leave room to breathe and invite viewers to dwell in the natural energy of the scene.
Dr. Larissa Noury: The Tactile Depth of Pure Chromatism
A longtime Montmartre resident with doctorates in Art History and Architecture, Dr. Noury champions what she defines as “New Impressionism.” Inspired by Monet, Turner and Zao Wou-Ki, she treats color not as a flat surface but as the architecture of the work itself. She layers pure pigments, sands, resins and textured reliefs, creating vibrant micro-landscapes in which light seems to glow from within the canvas.
Together, the two bodies of work reminded visitors that landscape is not only seen but felt, in structure, in texture and above all in light.
The Visitor Experience: Learning to See Again
Conceived as an immersive journey, the exhibition invited visitors to alternate between contemplating the imagined landscape and immersing themselves in pure color. Color became the universal language linking reality to abstraction, the landscape became a state of mind rather than a place on a map, and light was the guiding thread, revealing the depth of Gollopeni’s horizons and the chromatic richness of Noury’s surfaces. In the words of the exhibition itself, “Colors, Landscapes, Lights” is a celebration of the visible world and its inner resonance, and an invitation to relearn how to see.
From Theranda to Paris: Painting the Land with Its Own Wine
Refki Gollopeni’s landscapes carry a remarkable story. Born of Suhareka, Ancient Theranda in Kosovo, a land of vineyards and winemaking heritage, they are painted with red wine. The earth gives grapes, the grapes become wine, and the wine returns to the canvas to paint the very land it came from. Its earthy reds, deep purples and delicate transparencies evoke the atmosphere of a landscape rather than simply copying it, while its unpredictable flow keeps his fluid forms alive.
Art critic and curator Skender Boshtrakaj noted that, in Gollopeni’s hands, this heritage is not folklore but contemporary expression, reaching beyond nostalgia to show how cultural memory can resonate across borders. Turning to Dr. Noury, he observed: “In galleries and museums, works of art are usually meant to be seen, not touched. Larissa Noury offers us a rare invitation: to experience art through touch.” For him, touching in her art “is not a violation of the artwork’s boundaries, but an invitation to experience it more intimately.” He added that “a landscape may belong to a particular place, but the experience of art can belong to everyone.”
Art You Can Feel: The Tactile Landscapes of Dr. Noury
At the heart of Larissa Noury’s work lies a tactile dimension. Through impasto, imprints and layering, her landscapes become poetic evocations rather than static descriptions. Their surfaces recall tree bark, eroded stone, lapping water and the movement of the wind, turning nature into a sensory experience.
Painter, filmmaker, author and set designer Yves Charnay, Honorary Professor at ENSAD, called her work “an invitation to a journey from sight to touch,” in which color, light and matter are placed at the heart of creation. “Larissa’s world is subtle, powerful, and inclusive, like the real world,” he said. “Bravo Larissa!”
An Evening of Living Paintings
The inauguration evening was a celebration in itself. Guests were treated to “alive paintings” and painted dresses, with the exceptional participation of designer-stylist Jean Marie Pujol (YSL) and cellist Laure Volpato, whose music filled the gallery as sheer fabrics floated like waves. Journalists, artists, diplomats, collectors, photographers, musicians and designers gathered from France, Italy, Spain, Russia, Japan, China, Bulgaria, Ireland, Poland and beyond.
Addressing the gathering, Dr. Noury offered the thought that guided the whole exhibition: “Color does not merely describe nature; it reveals its soul.”
Journalist Natalia Quel captured the mood: “The worries were left behind the door of the small gallery… It was so festive.” She described guests arriving “as if to a celebration,” invited “not only to look but also to experience unforgettable, almost magical moments,” and concluded: “The vernissage is unforgettable, as is the beautiful lady Larissa!”
🎨 #YathraCanvas
