Vierge et l'enfant, 2026
Painting : pastel · 40 x 30 x 2 cm 15.7 x 11.8 x 0.8 inch · Ready to hang
€900
900 €
Shipping & delivery
Shipped from: France
Delivery to: Germany , € 103
Estimated delivery: One to two weeks
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Verified Reviews : 9.6/10
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About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, framed, ready to hang
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
40 x 30 x 2 cm 15.7 x 11.8 x 0.8 inch Height x Width x Depth
Artwork dimensions including frame
50 x 40 x 4 cm 19.7 x 15.7 x 1.6 inch
Sold by
Art gallery
Credentials
Vetted seller since 2017 • Top Seller
Description
This pastel composition revisits a classic theme with a contemporary softness.
The eye is immediately drawn to the tenderness of the filial bond.
The chromatic palette relies on a marked contrast.
The deep blue of the coat dialogues with the brilliance of a red dress.
The light sculpts the faces and highlights the finesse of the features.
The grain of the pastel brings a velvety texture to the characters' skin.
The child, dressed in immaculate white linen, brings a central clarity to the scene.
A delicate detail animates the composition: blue grapes held in the hands.
The protective posture of the maternal figure creates an atmosphere of serenity and benevolence.
The dark and sober background emphasizes the luminosity of the complexions.
The whole testifies to a great technical mastery of academic drawing.
The work ends with the precise rendering of the fabric folds and the softness of a green drape.
The eye is immediately drawn to the tenderness of the filial bond.
The chromatic palette relies on a marked contrast.
The deep blue of the coat dialogues with the brilliance of a red dress.
The light sculpts the faces and highlights the finesse of the features.
The grain of the pastel brings a velvety texture to the characters' skin.
The child, dressed in immaculate white linen, brings a central clarity to the scene.
A delicate detail animates the composition: blue grapes held in the hands.
The protective posture of the maternal figure creates an atmosphere of serenity and benevolence.
The dark and sober background emphasizes the luminosity of the complexions.
The whole testifies to a great technical mastery of academic drawing.
The work ends with the precise rendering of the fabric folds and the softness of a green drape.
Presentation
Born on December 14, 1952 in Meyriez, in the canton of Fribourg in Switzerland, Isabelle Waterlot showed a particular sensitivity for drawing and creation from childhood. Very early noticed by her teachers, her artistic inclinations naturally guided her towards training dedicated to the arts.
She joined the Decorative Arts of Geneva, first in preparatory class, before joining the Decorative Painting section. For three years, she passionately developed her mastery of many disciplines and techniques: painting, academic drawing, pictorial arts, mosaic, or photography.
Driven by a true thirst for learning and desiring to expand her field of expression further, she then continued her path at the Beaux-Arts of Geneva, which she joined after successfully passing an examination.
It was particularly there that she discovered a new passion: engraving, which would become the central subject of her degree. Isabelle Waterlot then explored different techniques—wood engraving and copper engraving, etching, or intaglio—and progressively perfected her artistic language under her masters.
Her family life then led her to temporarily put her personal practice on the back burner. However, she never truly distanced herself from art and gradually resumed her tools to create reproductions and private commissions.
This artistic renaissance gave birth to another desire in her: to transmit.
In 2001, she realized this ambition by creating the Académie du Gros-de-Vaud in Échallens, a school intended to share her experience, her techniques, and her passion. She taught there until 2023, then continued this transmission at the college of Poliez-le-Grand.
In parallel with teaching, Isabelle Waterlot develops her own artistic universe. Settled in Poliez-le-Grand, she draws much of her inspiration today from the landscapes and the atmosphere of the countryside surrounding her, but also from the discoveries and emotions reported from her many travels.
Her journey thus testifies to a relationship with art built over time, where academic training, technical mastery, personal experience, and transmission converge in the service of a practice deeply nourished by observation and experience.
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