Hautes eaux, 2025
Painting : acrylic, marble, collage, sand · 70 x 140 x 5 cm 27.6 x 55.1 x 2 inch
$7,498
7 498 $US
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Shipped from: France
Delivery to: United States , $ 441
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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 )
70 x 140 x 5 cm 27.6 x 55.1 x 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
« After a walk on a winter day without any particular light, I was seized by the rise of greens through lichens, moss, of what was horizontal, while the trees were still without leaves. The water was very calm and threatened to invade the nerves. It is this immobilism that has seduced me and I am suspicious. This beauty can turn into a catastrophic flood. That day seemed to me to be a balance point before the flip…»
This painting does not seek to be hyper realistic, but rather to capture a sensation. The atmosphere is made up of soft, neutral colors: lots of off-white, cream and grey green. It's quite sober, but it creates an atmosphere of serenity and solitude. The only really bright touches are flashes of bright green yellow that are placed on vegetation and trunks.
The painting consists of a very blurred and wispy lower part and a large light area at the top. In the middle, a dark, textured horizontal stripe, this is where the paint is thickest and roughest. What catches the most attention are the vertical tree trunks, very thin and stretched with a lot of material in relief on these trunks, giving them a rough and palpable appearance, which contrasts sharply with the artistic blur of the rest of the painting.
This interplay between the textured and the vaporous is the key to the work, making this landscape both solid and evanescent.
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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