Elise Ansel Libica II, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Elise Ansel was born and raised in New York City. She currently lives in Portland, Maine. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium. Exhibitions/Awards Ansel has exhibited widely in the United States and England. Ansel was included in the 2018 Portland Biennial, and featured in an exhibition at the David Winton Bell Gallery, Brown University in 2018. In 2016, the Bowdoin College Museum of Art presented Distant Mirrors, an exhibition of her paintings and drawings. Ansel's work was included in the Summer Exhibition at the Royal Academy in 2015 and 2019. Ansel was a Joan Mitchell Foundation Award Nominee in 2018. Her work is in the permanent collections of the Bowdoin College Museum of Art, the Museum of Contemporary Art Kraków, MOCAK, Poland, the Eli Lilly Foundation and Sopwell House, St. Albans. Gallery Representation Ansel is represented by Cadogan Contemporary in London, Carol Corey Fine Art in Kent, Connecticut and Miles McEnery Gallery in New York City. About the postcard artworks: The artworks I submitted to AOAP spring from details excavated from iconic Old Master paintings. Two are from Michelangelo's Libyan Sibyl which is on the ceiling of the Sistine Chapel in Vatican City, one is from Giovanni Bellini's San Zaccaria Altarpiece, 1505 in Venice and one is cropped from Still Life with Flowers on a Marble Ledge, 1652 life by Willem Van Aelst I create by translating Old Master paintings into a contemporary pictorial language. Using an idiom of energetic gestural abstraction, I mine art historical imagery for colour and narrative structure. I use abstraction to interrupt representational content in order to excavate and transform meanings and messages embedded in the works from which my paintings spring. I examine the impact of authorial agency and address the myriad subtle ways the gender, identity and belief systems of the artist are reflected in the art. Old Master paintings were, for the most part, created by white men for white men. Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. To be clear, my modus operandi uses the past as a springboard for something new, not to destroy the past but to build on it, to reconstitute what's problematic and to celebrate what's beautiful, to radically reinvent historical art through my own perspective, in my own language, for my own time. My collages and paintings are not critiques of the Old Masters but rather a vehicle for shining a light on imbalances existent today. In this, the Old Masters/Mistresses are my powerful allies.
Elise Ansel Libica II, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Elise Ansel was born and raised in New York City. She currently lives in Portland, Maine. Ansel received a BA in Comparative Literature from Brown University in 1984. While at Brown, she studied art at both Brown and the Rhode Island School of Design. She worked briefly in the film industry before deciding to make painting her first order medium. Exhibitions/Awards Ansel has exhibited widely in the United States and England. Ansel was included in the 2018 Portland Biennial, and featured in an exhibition at the David Winton Bell Gallery, Brown University in 2018. In 2016, the Bowdoin College Museum of Art presented Distant Mirrors, an exhibition of her paintings and drawings. Ansel's work was included in the Summer Exhibition at the Royal Academy in 2015 and 2019. Ansel was a Joan Mitchell Foundation Award Nominee in 2018. Her work is in the permanent collections of the Bowdoin College Museum of Art, the Museum of Contemporary Art Kraków, MOCAK, Poland, the Eli Lilly Foundation and Sopwell House, St. Albans. Gallery Representation Ansel is represented by Cadogan Contemporary in London, Carol Corey Fine Art in Kent, Connecticut and Miles McEnery Gallery in New York City. About the postcard artworks: The artworks I submitted to AOAP spring from details excavated from iconic Old Master paintings. Two are from Michelangelo's Libyan Sibyl which is on the ceiling of the Sistine Chapel in Vatican City, one is from Giovanni Bellini's San Zaccaria Altarpiece, 1505 in Venice and one is cropped from Still Life with Flowers on a Marble Ledge, 1652 life by Willem Van Aelst I create by translating Old Master paintings into a contemporary pictorial language. Using an idiom of energetic gestural abstraction, I mine art historical imagery for colour and narrative structure. I use abstraction to interrupt representational content in order to excavate and transform meanings and messages embedded in the works from which my paintings spring. I examine the impact of authorial agency and address the myriad subtle ways the gender, identity and belief systems of the artist are reflected in the art. Old Master paintings were, for the most part, created by white men for white men. Abstraction allows me to interrupt this one sided narrative and transform it into sensually capacious non-narrative form of visual communication that embraces multiple points of view. To be clear, my modus operandi uses the past as a springboard for something new, not to destroy the past but to build on it, to reconstitute what's problematic and to celebrate what's beautiful, to radically reinvent historical art through my own perspective, in my own language, for my own time. My collages and paintings are not critiques of the Old Masters but rather a vehicle for shining a light on imbalances existent today. In this, the Old Masters/Mistresses are my powerful allies.
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
