Sans titre, 2021
Painting : acrylic, marble, gold leaf, collage, mixed media · 80 x 100 x 5 cm 31.5 x 39.4 x 2 inch
$5,858
5 858 $US
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Shipped from: France
Delivery to: United States , $ 364
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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 )
80 x 100 x 5 cm 31.5 x 39.4 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
On a white ground punctuated by discreet greys, some twenty cut-out forms, almost jigsaw pieces, make up this untitled painting. On the left, they stack up into a totemic column, a blue-grey and black patina heightened with gold leaf. On the right, a procession of narrower, taller golden forms, punctuated by grey-blue and black fragments. Between the two, an almost perfect black disc bears a single touch of bright red, like Japanese lacquer applied in a single gesture. The gold shows through, cracks, reveals the support, in a play of materials that owes as much to goldsmithing as to painting.
I can pinpoint the origin of this canvas precisely: after watching a documentary on Art Nouveau and recalling Klimt’s paintings, these forms imposed themselves, along with the colour atmosphere and the need to add pale gold leaf. The angular cut-outs, the mosaic of materials and the omnipresent gold bear the direct imprint of Klimt. A second, more unexpected reference is layered over it: this black and red disc bears the trace of Japanese influence, with the touches of grey that I added to soften the relationship between the forms and the ground.
The absence of a title suits this crossing of references: the canvas tells no story, it brings together two decorative vocabularies, the golden mosaic of the Vienna Secession and the economy of gesture of Japanese lacquer, without trying to resolve one into the other. Two different kinds of sobriety, one through accumulation, the other through restraint, which the canvas simply lets coexist on the same white ground.
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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