In Vera Molnar’s work, the motif of the Montagne Saint-Victoire holds a singular place.
VERA MOLNAR - RIEN, PEU, PLUS
In Vera Molnar’s work, the motif of the Montagne Saint-Victoire holds a singular place.
In Vera Molnar’s work, the motif of the Montagne Saint-Victoire holds a singular place as exemplified by many of her drawings, works and editions. Of course we think of her tribute to Cezanne and his capacity to reveal the asymmetry of this rocky eruption through plastic means. But with Vera Molnar, the Montagne Saint-Victoire is also a principle, or more precisely, the natural fortunate embodiment of a disorder she keeps trying to rationalize. This rationalization especially takes up the form of the bell curve, a system of representation of the complexity that Vera Molnar uses, appropriates and updates. If the Montagne Sainte-Victoire is the natural embodiment of this curve, its full beauty had to be demonstrated. Such was the artist’s intention with this triptych.
Three panels for three states. With dots drawing up the silhouette of the mountain. The first panel introduces us to a disembodied vision, whereas the second shows us some arbitrary outlines, and the third one puts an end to the process by exposing the physiognomy of the mountain. The use of wool as a sensual reference to the lines of a drawing makes up for the pragmatic rigor of the dots. Faced with this impressive subject, Vera Molnar creates an exemplary work in which she turns a famous motif into a model combining rigorous protocol and beautiful drawing.
VERA MOLNAR - RIEN, PEU, PLUS
Data sheet
- Size
- 65 x 50 cm
- Edition
- Edition of 12
- Technique
- Wood panels, wool
- Publication date
- 2017
Molnar (Véra)
Born 1924 (5th January) in Vera Gacs, Budapest. Lives and works in Paris as well as in Normandy
1942-47 studied painting and for a diploma in art history and aesthetics at the Budapest College of Fine Arts. 1946 first non-representational images are created. 1947 artists′ fellowship in Rome at the Villa Julia moved to France. 1947-60 occasional co-operation with François Molnar. 1948 marriage to François Molnar. 1959-68 works with the machine imaginaire method. 1960 Co-founder of the Groupe de Recherche d′Art Visuel (GRAV) first participation in an exhibition organized by her friend Max Bill with the title Konkrete Kunst (Concrete Art) in Zurich, Helmhaus. 1967 Co-founder of the Group Art et Informatique at the Parisian Institut d′Esthétique et des Sciences de l′Art. 1968 first computer graphics are designed: thereafter continuous work with the computer. 1976 development of the "Molnart" computer software programme jointly with her husband first single exhibition Transformations at the gallery of the London Polytechnic. 1979 works at the Centre Georges Pompidou in Paris, at the Atelier de Recherche des Techniques Avancées (ARTA). 1980 member of the Centre deRecherche Expérimentale et Informatique des Arts Visuels(CREIAV) at the Université de Paris I, Sorbonnethe first artist′s book 1% de désordre is published by Wedgepress & Cheese in Bjerred (Sweden). 1985-90 lectureship in fine arts and aesthetics and art history at the Université de Paris I, Sorbonne. 1990 her works are on display at major European exhibitions on non-representational art and avantgarde the first installative work is created for the Foundation of Concrete Art, Reutlingen . 1999 large monographic exhibition Extrait de 100 000 milliards de lignes at the Centre de Recherche, d′Échange et de Diffusion pour l′Art Contemporain (CRÉDAC) in Ivry-sur-Seine. 2005 recipient of the first d.velop digital art award [ddaa] for her life′s work, organised annually by the Digital Art Museum [DAM] and honoured with an individual exhibition by the Kunsthalle Bremen
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