FRESQUE, 2024
Painting : acrylic, marble, collage · 100 x 80 x 3 cm 39.4 x 31.5 x 1.2 inch
€2,400
2 400 €
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Shipped from: France
Delivery to: Germany , € 119
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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 )
100 x 80 x 3 cm 39.4 x 31.5 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
Seen up close, Fresco reads like a section of wall that has been lifted away: an entirely crackled, whitened surface, on which only rare colours come through — as if time had eaten away everything that was not essential.
The composition is organised in superimposed horizontal bands, like the layers of a plaster repainted and then cracked over the centuries. In the upper third, a fine orange line runs across almost the entire width of the canvas, like an old crack; lower down, an ochre and rust mass rises vertically on the right, like a drip or a damp stain that has streaked the wall over the years. Off-centre to the right, a patch of Prussian blue concentrates a presence all by itself amid muted tones of sand, off-white and pale grey-green.
Beneath this worked zone, a smoother, lighter band borders the composition at the bottom. The whole is framed by a white margin left visible, a reminder that what we are looking at is only a fragment, taken from a larger wall that has since disappeared.
This economy of means — a pastel palette, broken by just two flashes of colour — is what gives the painting its silent charge. Nothing here is demonstrative; everything is erosion, patience, remains. It echoes what I myself say about the frescoes that inspired me: frescoes are fragile works that evoke what once was, and that moves me.
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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