Rotterdam et moi 1
Marian Williams
Painting - 130 x 97 x 2 cm Painting - 51.2 x 38.2 x 0.8 inch
$3,274
In Nantes, searching for Lola, Harry, and so many others…,
2021
by Marian Williams
Painting : 195 x 130 x 4 cm 76.8 x 51.2 x 1.6 inch
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About the artwork
Unique work
Hand-signed by artist
Sold with certificate of Authenticity from the artist
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195 x 130 x 4 cm 76.8 x 51.2 x 1.6 inch Height x Width x Depth
Not framed
Artwork sold in perfect condition
Artwork location: France
“In Nantes, searching for Lola, Harry, and so many others…”
Marian Williams
Sept. 2021
Mixed media composition on canvas.
Oil paint, acrylic paint, pencil, transfer collage and paper collage.
Portrait of Henri IV, based on the “Portrait of Henri IV en Mars” by Ambrosius Bosschaert better known as Ambroise Dubois, on which Henri is represented as a triumphant emperor dressed in pink, a pink that challenges, surprises and delights.
The image of Henri IV in the center is consistent with the original work, except for his face which is divided into two halves.
The top half is replaced by the face of the iconic French actor of a genre, known for his swashbuckling roles, Gérard Barray.
The lower half, down to the ruff, is that of another representation of Henri, the Prince of Béarn, then king of France and Navarre and attributed to François Bunel.
The left hand of Henri is also modified and replaced by the left hand of God in "The Creation of Adam" by Michelangelo.
Two ladies are at the King's side. Both have a double identity, half of which represents the actress Anouk Aimée in the 1961 film "Lola".
To Henri's right, we see Lola mixed with Gabrielle d'Estrées' face and details of the painting ‘Gabrielle d'Estrées et une de ses sœurs’ attributed to the Fontainebleau school. In this painting Gabrielle is represented, in the bath and in the company of her sister Julienne D'Estrées, duchesse de Villars, who pinches her breast.
Here, in this composition, Gabrielle's face is inverted and it is the arm borrowed from her sister on the famous painting, that reaches not to her sister but towards Henri.
To the left of Henri, Lola is mixed with the "very beautiful and very pious" Antoinette de Pons, Countess of La Roche-Guyon.
The details are from her portrait by François Quesnel (Le Vieux).
Nimbuses halo Gabrielle and Antoinette.
The composition features a cross in the bottom left corner. It represents a detail of one of the sumptuous Byzantine frescoes in the Saint Sophia Cathedral in Ohrid in North Macedonia.
During the French religious wars, each faction carried their cross. The cross used for this composition is a ‘Latin’ cross from a cathedral of the Macedonian Orthodox Church. It symbolises the point in common between the Catholic and Protestant faction.
In a dark but brightening sky we read the first sentence of the Edit de Nantes.
” This composition is inspired by a summer evening spent with friends in the Champagne region.
Neither a political nor historical manifesto, the work represents a memory, a poetic licence of an offbeat enthusiastic conversation, a subjective, friendly and amused "report" of this evening.
I borrowed a few characters from this one night conversation with Henri, the wars of religion, with Nantes, with Anouk, Cécile, Gabrielle, Antoinette, Gérard and so many other people and so many others trivial matters… or not.
Any confusion, any anachronism, any smile or wink will not necessarily be accidental and possibly absolutely desired.
During this conversation I rediscovered Mr. Gérard Barray, a theatre and film actor who excelled in the roles of big-hearted swordsmen in the 60’s cinema, where he embodied flamboyantly, d'Artagnan, Pardaillan, Surcouf and Scaramouche.
Barray, in his roles as in his personality, always gives an impression of great kindness with a little touch of irony under a most elegant thin moustache.
To place Gérard Barray’s warm and charming look in the center, mixed with Henri’s features, respectful of the two protagonists, was a fun challenge.
As for the ladies… all are desirable, but not just that.
Gabrielle d’Estrees, was in our conversation that evening and it was said that she was undoubtedly not a total stranger and probably an advisor to the Edict of Nantes.
As for Antoinette de Pons, she also was a woman of character. She was invested in business and acted as the protector of, among others, Bernard Palissy.
Lola is there too. Doubly so. Nantes is also Lola. Iconic film by Jacques Demy.
Lola / Anouk Aimée was also with us that evening. A long while even.
With warm memories, mixing and juxtaposing these characters and our candid discussions, I created this original composition.
The sky began to brighten on the canvas, a sky neither truly Flemish nor truly Italian that fitted the first sentence of the Edict of Nantes.
A time of peace. A time of hope. "
Read more
Marian Williams
Sept. 2021
Mixed media composition on canvas.
Oil paint, acrylic paint, pencil, transfer collage and paper collage.
Portrait of Henri IV, based on the “Portrait of Henri IV en Mars” by Ambrosius Bosschaert better known as Ambroise Dubois, on which Henri is represented as a triumphant emperor dressed in pink, a pink that challenges, surprises and delights.
The image of Henri IV in the center is consistent with the original work, except for his face which is divided into two halves.
The top half is replaced by the face of the iconic French actor of a genre, known for his swashbuckling roles, Gérard Barray.
The lower half, down to the ruff, is that of another representation of Henri, the Prince of Béarn, then king of France and Navarre and attributed to François Bunel.
The left hand of Henri is also modified and replaced by the left hand of God in "The Creation of Adam" by Michelangelo.
Two ladies are at the King's side. Both have a double identity, half of which represents the actress Anouk Aimée in the 1961 film "Lola".
To Henri's right, we see Lola mixed with Gabrielle d'Estrées' face and details of the painting ‘Gabrielle d'Estrées et une de ses sœurs’ attributed to the Fontainebleau school. In this painting Gabrielle is represented, in the bath and in the company of her sister Julienne D'Estrées, duchesse de Villars, who pinches her breast.
Here, in this composition, Gabrielle's face is inverted and it is the arm borrowed from her sister on the famous painting, that reaches not to her sister but towards Henri.
To the left of Henri, Lola is mixed with the "very beautiful and very pious" Antoinette de Pons, Countess of La Roche-Guyon.
The details are from her portrait by François Quesnel (Le Vieux).
Nimbuses halo Gabrielle and Antoinette.
The composition features a cross in the bottom left corner. It represents a detail of one of the sumptuous Byzantine frescoes in the Saint Sophia Cathedral in Ohrid in North Macedonia.
During the French religious wars, each faction carried their cross. The cross used for this composition is a ‘Latin’ cross from a cathedral of the Macedonian Orthodox Church. It symbolises the point in common between the Catholic and Protestant faction.
In a dark but brightening sky we read the first sentence of the Edit de Nantes.
” This composition is inspired by a summer evening spent with friends in the Champagne region.
Neither a political nor historical manifesto, the work represents a memory, a poetic licence of an offbeat enthusiastic conversation, a subjective, friendly and amused "report" of this evening.
I borrowed a few characters from this one night conversation with Henri, the wars of religion, with Nantes, with Anouk, Cécile, Gabrielle, Antoinette, Gérard and so many other people and so many others trivial matters… or not.
Any confusion, any anachronism, any smile or wink will not necessarily be accidental and possibly absolutely desired.
During this conversation I rediscovered Mr. Gérard Barray, a theatre and film actor who excelled in the roles of big-hearted swordsmen in the 60’s cinema, where he embodied flamboyantly, d'Artagnan, Pardaillan, Surcouf and Scaramouche.
Barray, in his roles as in his personality, always gives an impression of great kindness with a little touch of irony under a most elegant thin moustache.
To place Gérard Barray’s warm and charming look in the center, mixed with Henri’s features, respectful of the two protagonists, was a fun challenge.
As for the ladies… all are desirable, but not just that.
Gabrielle d’Estrees, was in our conversation that evening and it was said that she was undoubtedly not a total stranger and probably an advisor to the Edict of Nantes.
As for Antoinette de Pons, she also was a woman of character. She was invested in business and acted as the protector of, among others, Bernard Palissy.
Lola is there too. Doubly so. Nantes is also Lola. Iconic film by Jacques Demy.
Lola / Anouk Aimée was also with us that evening. A long while even.
With warm memories, mixing and juxtaposing these characters and our candid discussions, I created this original composition.
The sky began to brighten on the canvas, a sky neither truly Flemish nor truly Italian that fitted the first sentence of the Edict of Nantes.
A time of peace. A time of hope. "
About the seller
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For Your Eyes Only 19
Marian Williams
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$277 $220
Rotterdam et moi 2
Marian Williams
Painting - 130 x 97 x 2 cm Painting - 51.2 x 38.2 x 0.8 inch
$3,274
Rotterdam et moi 3
Marian Williams
Painting - 130 x 97 x 2 cm Painting - 51.2 x 38.2 x 0.8 inch
$3,274
Works in prints from Marian Williams
Born in Rotterdam in 1962, Marian Williams lives and works in France.
Although art is all around within the family, Marian choses to take various detours in life to finally arrive at her true passion.
After studying physical education and physiology she specialises in management of sport events. A career that continues after arriving in France in 1987, as managing director of a New York based design company.
Her passion for art, graphics and images never left her and in 2010 she definitely turns towards collage, painting and sculpting.
Since, her work has been on show in France, England, Italy, Albania, the Netherlands, Serbia and in the USA.
Whilst recycling objects, authentic photos and original illustrations from vintage magazines and books, dating from 1900, she creates dynamic, striking and colourful analog compositions.
The artist's approach to collage is rich and large; from different angles, formats and styles; on paper, canvas, mosaics or as sculptures.
The mixed media compositions are created with paper, ink, pastels, acrylic and oil paint.
Printed material is cut, ripped or torn and sometimes used as ink transfers.
The 'recycle art' sculptures are installations and compositions made out of vintage three-dimensional elements.
The works, influenced by pop art, surrealism and dadaism, show originality and freshness, in which classical art, retro chic, and kitsch are combined in a challenging way.
The artist's political engagement for the environment, women's rights, freedom and social justice, are recurring themes.
Her story telling is sincere, expressed in various ways, sometimes minimalist, sometimes complex.
“ Collage for me it is the most enjoyable and accurate form of expression.
It is story telling; transforming images that are charged with concepts and ideas into new compositions.
With my compositions I hope to make the viewers question what is normal and expected.
I was born in a free country and raised in an eccentric family who fought for equal rights, emancipation and social justice.
I hope to be a source of inspiration to think independently and question society."
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Marian Williams
In Nantes, searching for Lola, Harry, and so many others…, 2021
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