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拍品专文
Ayant suivi une formation académique et elle-même professeur de peinture à l'école des Beaux - Arts d'Orléans, Yolande Fièvre 'cessa tout à fait de peindre' (J. Paulhan, catalogue de l'exposition Yolande Fièvre, Galerie Bonnier, 1990) au début des années 1930 en réalisant ses Dessins Automatiques, où le trait et l'aplat spontanés couvrent le papier avec sérénité ou détermination. À partir de 1957, les Oniroscopes, à l'image de Joie en forêt ou de Sans Titre, composent des paysages faits de tissu, de superpositions de couches de peinture transparentes et de sable se déplaçant librement sur la surface de l'oeuvre, seulement retenu par une plaque de verre. Ce mouvement est représentatif de la démarche libre de Yolande Fièvre : elle structure l'organique et le mêle au minéral, le trait et le tissu sont révélés dans leur histoire propre. 'Ayant cessé d'être peintre, Fièvre a gagné à l'égard de la peinture toutes libertés. Mieux : a laissé toute liberté à la peinture. Mieux encore : l'évènement qui commande la peinture, et seul la justifie.' (J. Paulhan, op. cit.).
By undertaking an academic training, and painting professor at the Fine Arts School of Orléans herself, Yolande Fièvre 'completely stopped painting' (J. Paulhan, exhibition catalogue Yolande Fièvre, Bonnier Gallery, 1990) at the beginning of the Thirties by executing Automatic Drawings, in which the spontaneous line and plane cover the paper with serenity and determination. From 1957, the Oniroscopes, like Joy in the forest or Untitled, create landscapes made of fabric, superimposings of transparent paint layers and of sand freely moving on the surface of the artwork, only held by a glass plate. Such movement is representative of Yolande Fièvre's free approach : she structures the organic and mixes it with the mineral, the line and the fabric are revealed in their proper history. 'Having ceased to be a painter, Fièvre has won with regard to painting all liberties. Better: has left any freedom to painting. Even better: the event that controls painting, and justifies it on its own' (J. Paulhan, op. cit.).
By undertaking an academic training, and painting professor at the Fine Arts School of Orléans herself, Yolande Fièvre 'completely stopped painting' (J. Paulhan, exhibition catalogue Yolande Fièvre, Bonnier Gallery, 1990) at the beginning of the Thirties by executing Automatic Drawings, in which the spontaneous line and plane cover the paper with serenity and determination. From 1957, the Oniroscopes, like Joy in the forest or Untitled, create landscapes made of fabric, superimposings of transparent paint layers and of sand freely moving on the surface of the artwork, only held by a glass plate. Such movement is representative of Yolande Fièvre's free approach : she structures the organic and mixes it with the mineral, the line and the fabric are revealed in their proper history. 'Having ceased to be a painter, Fièvre has won with regard to painting all liberties. Better: has left any freedom to painting. Even better: the event that controls painting, and justifies it on its own' (J. Paulhan, op. cit.).