Alerte rouge, 2026
Painting : acrylic, marble, collage · 80 x 80 x 3 cm 31.5 x 31.5 x 1.2 inch
€5,200
5 200 €
Delivered in time for Christmas
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Shipped from: France
Delivery to: Germany , € 107
Estimated delivery: One to two weeks
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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 80 x 3 cm 31.5 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
Acrylic, marble powder, art paper on linen — 80 × 80 cm
On a white background, a large crescent shape, orange-brown with rusty glints, occupies the left half of the canvas. Its crumpled surface catches the light. At its top, a beige band caps it at an angle, above a touch of bright red and a flash of green. In the hollow of the crescent, a golden sphere, veined with turquoise and white, is pressed against a mass of deep blue, from which grey and white peaks emerge. Between the two, black fragments are interspersed, with an oblique black stroke pointing towards the sphere, and a long black curve. At the top right, three small silver flecks and a black stroke float in the white.
I started from a feeling: the summer of 2026 was very paradoxical. While in Brittany it was miraculous, everywhere else the question of drought threatened human existence.
So I depicted our planet trapped, dehydrated, between this compact mass of threatening heatwave heat and water that is growing scarce, to the point of becoming a commodity to be counted out.
On top of that, I add the predators… The black fragments, clenched like a jaw around the sphere, seem to give them form.
With , I turn a very real concern into a striking image: a tiny planet, caught in a vice, under threat.
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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