6 March 2009 - 25 April 2009
In 2005 the donation by Marc Jaulmes (Montpellier artist and collector) of fifteen works by the artist now enables the Musée Fabre to carry out their aspiration to pay homage to this painter and designer who made her mark both within the Parisian art world and in the Languedoc-Roussillon region (Anduze, Arles, Montpellier, Narbonne).
The uniqueness of a solitary career
Born in Königsberg in 1935 (East Prussia until 1945, currently Kaliningrad, Russia), Eve Gramatzki was deeply affected following the 1945 Russian invasion of her town which was a German possession. Eve studied at the Hamburg Fine Arts School before emigrating to France in 1962. There, she became friends with key figures from the circle Parisian gallery owners such as Eva Maria Fruhtrunk, Prussian like her and the art critic Anne Tronche. From the 70s she exhibited at the FIAC (1976) and at the CNAC Centre Pompidou (1974, 1976). During the 1980s she retired to their former holiday home, the Mas des Nègres, an isolated location in the hills of Basse Ardèche. There, she created the majority of her work.
Her studies in Hamburg were marked by the influence of Constructivism and the Bauhaus, her work would be defined by the art of collage and an impeccable discipline. But the art of Eve Gramatzki is a solitary art, as the artist was searching to overcome the trauma caused by war and exile. Her touch carries the trace of this suffering, the isolation.
The exhibition at musée Fabre
The exhibition Eve Gramatzki opens a cycle of 5 monographs of contemporary artists which will be shown within the collections from March 2009 until January 2010.
The exhibition proposes to follow the artist’s development chronologically through several key stages and dispatched in five galleries.
The early works of Eve Gramatzki, between 1972 and 1980, are marked by abandoned daily objects. Sometimes considered as ‘hyperrealist’, it is characterized by a great care to the representation of objects in their very details.
From 1980 and during her retirement in the Midi, she turns towards a lyric and geometrical abstraction, far from the trend of the time, which were dominated by a comeback to figuration. Coloured areas combined with tightly packed strokes and stains become now her only means of pictorial expression.
The third gallery shows more dynamic works, coloured interpretations, abstract objects or landscapes in which joyfulness is sensible.
Finally the works of the 90s are different of her previous work : the studying of the texture of objects becomes omnipresent and abstraction is prominent, filled with a darkness boding her brutal death in 2003.