"Sitting" figuratif nu acrylique sur lin 60x60cm 2010, 2010
Painting : acrylic · 60 x 60 x 3 cm 23.6 x 23.6 x 1.2 inch
$1,278
1 278 $US
Delivered in time for Christmas
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Shipped from: France
Delivery to: United States , $ 192
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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, not framed
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
60 x 60 x 3 cm 23.6 x 23.6 x 1.2 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2015 • Top Seller
Discount
This seller offers discount when you purchase multiple artworks.
Description
Acrylic on linen — 60 × 60 cm
A naked young woman sits cross-legged, her arms folded over her drawn-up legs. The top of the painting cuts off her face: only her closed lips and her chin can be seen. Long, coppery blonde hair falls over her shoulders and her chest. Her body is painted in soft gradations of beige, pink and bronze, against a dark brown, almost chocolate background. She occupies a narrow vertical opening between two broad bands. On the left, a midnight blue and violet panel is crazed with fine pale lines. On the right, a raised band of ochre and orange takes on a rusty tint towards the edge. In front of her run two dark, rough iron bars, pitted with rust: one vertical, running the full height of the painting, the other horizontal, at the level of her feet.
I sum up my intention in a single sentence: the beauty of the body in opposition to violence. The whole composition rests on this opposition. The violence is not told through a scene: it lies in the iron bars that pass in front of the young woman and turn the painting into a barred window. The horizontal bar even extends over the ochre band and ends in a rounded tip, as if it were coming out of the painting towards us. The viewer thus finds themselves on the other side of the bars.
In the face of this harshness, the body retains its beauty and calm. I paint the skin so finely that the grain of the canvas shows through, whereas everything around it is rough: the dark panel cracks like old leather, the ochre band has the relief of plaster, and the bars look eaten away by rust. Curled up on herself, the young woman seems to be shielding herself, yet nothing about her expresses fear: her shoulders are relaxed, her mouth calm. Her cropped face leaves her anonymous.
Presentation
The Breton light as a loom
There are artistic lives that are built in a straight line, and then there is that of Emmanuelle Vroelant, made of bifurcations that, each time, have led her a little further. Born in 1952, she studied clinical psychology, then a 5-year trip, which leads her to Vanuatu and towards painting: on site, two decisive encounters reveal within her a vocation that will never leave her. She exhibits for the first time in 1978, on the other side of the world.
Back in Paris, she opens her first studio in 1981 and exhibits for four years in a row at the Salon d'Automne. Different exhibitions in Paris and the provinces will follow. The inauguration of a gallery in New York will lead her to China.
A period of illness then distances her from the canvas, and she becomes a psychoanalyst and Art-therapist for several years, a parenthesis that undoubtedly refines her view of creation.
The real second breath arrives in 2006, when she leaves Paris to settle in Brittany, in Roscoff. The light of the Finistère coast becomes her raw material, and she finds a creative intensity that will carry the rest of her work.
What strikes her is the frankness with which she embraces her influences without dissolving into them: Michelangelo, Vermeer, Kandinsky, Soulages. But it is Zao Wou-Ki whom she designates as her "true pictorial encounter," the one who showed her how silence and color could together inhabit the space of the canvas.
From this dialogue with the masters, a language of her own was born, "suggestive abstraction": large formats where the material — marble powder, mortar, collage, plant fibers — becomes the subject itself, carried by a demand for simplicity that is ever more radical. "Say more with less," as she likes to put it.
Today represented by the gallery Art and Heart and present on the major online art platforms, Emmanuelle Vroelant's works travel far beyond French borders: USA, Australia, Sweden, Switzerland, Germany, Greece, Italy, England, Saudi Arabia…
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