Rainbow paintings. Fabienne Verdier.
5 continents| N° d'inventaire | 26205 |
| Format | 14 x 20.5 |
| Détails | 104 p., paperback. |
| Publication | Milan, 2022 |
| Etat | Nine |
| ISBN | 9791254600207 |
Corinna Thierolf's fascinating essay explores Fabienne Verdier's artistic work, born from her visual and spiritual dialogue with Matthias Grünewald's Isenheim Altarpiece (1516), housed at the Unterlinden Museum in Colmar. Between 2019 and 2022, the artist created a collection of 78 large-scale paintings in which she continues her meditation on Grünewald's light, drawing not only on significant moments in the history of science but also on fundamental themes in pictorial culture, both Eastern and Western, as a way of illustrating the universal power of art.
The fluctuating Christ, who has just freed himself from his earthly life, finds his counterpart in the evanescent light of the artist's paintings, whose circles reflect the ideal form of the sphere, and therefore of the world, and can rightly be called "night suns" (Jean Paul).
With the Rainbow-Paintings , Fabienne Verdier evokes a natural phenomenon, she tells the story of the link between existence and its disappearance, between proximity and distance, eternity and infinity, the visible and invisible worlds. From there arise the themes of life and death, two poles that are not interpreted in an antagonistic perspective, but as a status in perpetual evolution. The artist shows a vital whole in constant mutation and, through her poetic force, she makes the void habitable.
Corinna Thierolf's fascinating essay explores Fabienne Verdier's artistic work, born from her visual and spiritual dialogue with Matthias Grünewald's Isenheim Altarpiece (1516), housed at the Unterlinden Museum in Colmar. Between 2019 and 2022, the artist created a collection of 78 large-scale paintings in which she continues her meditation on Grünewald's light, drawing not only on significant moments in the history of science but also on fundamental themes in pictorial culture, both Eastern and Western, as a way of illustrating the universal power of art.
The fluctuating Christ, who has just freed himself from his earthly life, finds his counterpart in the evanescent light of the artist's paintings, whose circles reflect the ideal form of the sphere, and therefore of the world, and can rightly be called "night suns" (Jean Paul).
With the Rainbow-Paintings , Fabienne Verdier evokes a natural phenomenon, she tells the story of the link between existence and its disappearance, between proximity and distance, eternity and infinity, the visible and invisible worlds. From there arise the themes of life and death, two poles that are not interpreted in an antagonistic perspective, but as a status in perpetual evolution. The artist shows a vital whole in constant mutation and, through her poetic force, she makes the void habitable.