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Artist
BIOGRAPHY (an important collection of paintings, such as, among others, COURBET, TOULOUSE-LAUTREC, VAN DE VELDE, DELACROIX, REMBRANDT, DUJARDIN, GÉRICAULT, were donated to the Louvre, by one of her brothers Mr. Léon Rosanier). She, herself, after some years in Paris decided to move to Argentina, where she settled down in Buenos Aires. There, she eventually started her pictorial and artistic career, among the local Informalists' group. After some years living there, and having spent some of her time travelling around the Continent, she decided to move definitively to the Cote d'Azur, where she carried on with her painting and artistic creations in Nice (Alpes Maritimes); where she finally passed away in 1995, after dedicating all her life to Art. Her pictorial activity was the fruit of more than fifty years of work, which left us a legacy of over 500 art works. Most of them are now part of the Foundation patrimony, as she refused, during her latter years, to commercialize her work. Her art works, in spite of the continuous logical evolution of her experiences, which she undertook throughout the years, have, nevertheless, a common denominator, which makes the whole an articulate ensemble, which was, the yearning to create. Fanny Rosanier spent her life in search of an end, the Universality, and, to achieve it, she did not hesitate to research extensively the history of the Arts, and removing concepts, which seemed complicated and which, nevertheless, made them tangible to us. She based her doctrine in the search for the infinite, the scission of the barriers and conditionings, realizing a dream that many an artist would have been eager to do, to be able to present your works in total freedom. She dwelled into her innermost longings and feelings, so that she could later expel them and confront them with the reality and the historic memory. Ali of the latter surged in a style full of lyrics, with an iconography that engulf us in a world full of symbolisms, that she outlines slowly, little by little, and is outlining for us the clues that will enable us to come near her, into her universe. She was a woman, who, from the beginning of her trajectory, showed great sense of modernity, as far as the real vision of the artistic creation. She was practically a self-made lady, and she experimented with all kinds of materials, converting them into a language full of chromatism and wonderful textures. In her, converge ail the elements necessary for the artistic performance: the experimentation, the research and the questioning. In her works one can distinguish the main trait that sets apart the real creators, the protagonism of sensibility before any other secondary aspects, such as logic or material benefits. To her, her works came from an internal strength that gave meaning to her life, and thanks to it, she found the answers to her transcendental doubts, that is why that the results of her works, were less important than the extraordinary experience lived during her creations, and above all to keep on going ahead. The development of her imagination was essential in this process, always trying to conciliate reason and desire. There is a profound search of the Utopian, essential trait of her optimistic and dreamy character. EXHIBITIONS Apart from her individual exhibitions, she participated in a few collective ones, which helped enrich her artistic personality, as, during those, consecrated artistic celebrities, such as, Tàpiés, Miró, Clave, Sonia Delaunay, Dubuffet, Hartung, Poliakoff, and Van Velde surrounded her. Her individual exhibitions where held in several world capitals, such as, Buenos Aires and Tandil (Argentina), São Paulo in Brazil. In Europe, several of her exhibitions where held in France, (Monte Carlo), Spain and Portugal. It should also be mentioned the touring exhibition which took place in 1969, and visited several U.S. cities, such as, New York, Kentucky, Boston; Louisville and Las Vegas, which was organized with the high patronage of Princess Grace of Mónaco. It should also be mentioned that, her works were highly praised by some known art critics of the time, mainly, Enrique Azcoaga, Rafael Sqirrú and Marianne Lohse, among others.
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