Eve Malherbe

 

« Autoportrait au bleu de travail »



Eve Malherbe

« Autoportrait en bleu de travail »

Huile sur toile – 2017 - 130 x 89 cm

Signature au dos

Provenance : atelier de l'artiste

Oil on canvas – 2017 – 130 x 89 cm

Signature on the reverse

Origin : artist's studio


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Le mot du marchand

To an attentive eye, Eve Malherbe's work is characterised by her simultaneous exploration of two independent pictorial comments. The first interests itself in classically representing the visible, but also an invisible that is not quite so. In fact, this graphic investigation consists of examining the underside of the visible, highlighting how hidden elements can act on this visible to reveal themselves as obvious. To achieve this, Eve Malherbe's favourite material is fabric, and even more so veils. She uses of shapes and transparencies to have an inkling, to make appear and disappear the bodies. Eve Malherbe's other comment is to define modernity by means of a historiographical trompe l'oeil. The compositions, the subjects and the technique all seem to pertain to 19th-century painting. But certain infringements of academic orthodoxy make a conformist reading true to that period impossible. That's in this discrepancy, this iconoclastic approach without appearing to be so that Eve Malhebe's modernity is inscribed in.

Word from the merchant

To an attentive eye, Eve Malherbe's work is characterised by her simultaneous exploration of two independent pictorial comments. The first interests itself in classically representing the visible, but also an invisible that is not quite so. In fact, this graphic investigation consists of examining the underside of the visible, highlighting how hidden elements can act on this visible to reveal themselves as obvious. To achieve this, Eve Malherbe's favourite material is fabric, and even more so veils. She uses of shapes and transparencies to have an inkling, to make appear and disappear the bodies. Eve Malherbe's other comment is to define modernity by means of a historiographical trompe l'oeil. The compositions, the subjects and the technique all seem to pertain to 19th-century painting. But certain infringements of academic orthodoxy make a conformist reading true to that period impossible. That's in this discrepancy, this iconoclastic approach without appearing to be so that Eve Malhebe's modernity is inscribed in.

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