Eveline Henner W-157 'PENOBSCOT BAY'
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Eveline Henner W-109 RED ROSES IN VASE
Though abstracted to the very basic elements of form and color, Eveline Henner paintings still reflect the real object, emphasizing the interplay of light, color and movement. Whilst her style embodies elements of the constructional modernism and the cubism, her way of abstracting impressions gained in nature and civilization and transforming them into new structures is very much her own. Her way of depcicting impressions is at the same time analytical and synthetical, resulting in a kind of cubistic realism. Her objective is to convey the characteristic fundamentals of an object by breaking in down to the very basic elements of form, movement and color and at the same time by emphasizing their interplay with light. Looking at her butterflies one may feel the strokes of the wings. Her sailboats are imbedded in the elements, giving an impression of their close interaction with wind and water. And even her luminous flower compoisitions reflect movement, symbolizing nature's everlasting transformation process.
The Artist is a graduate of the College of Art and Design in her native Basel, Switzerland. While working as a interior designer, she started her career as a painter with a first-prize award in a public competition among a large international entry in Ascona, Switzerland. It was there from the beginning, her very personal eloquent style, enhanced by impressions gained in study travels to southern France, Spain, Italy, Greece , Egypt and the United States.
Her paintings have been selected for representation in official exhibitions and honored in many group and solo shows. Apart from a large number of paintings sold over the years, her work is being widely spread in the form of art cards and wine labels and was the subject of a television-show on Maine Public Broadcasting.
Her designs of wine labels are part of the artistic section in the International Museum of Wine Labels, Chateau d'Aigle in Aigle, Switzerland.
The artist is living in Rockport, Maine, working in her own Studio Gallery, overlooking Penobscot Bay.
College of Art and Design, Basel (Switzerland), 1961-63.
1966-90, Galleria AAA, Ascona Switzerland.
1977, Gallery Heimatwerk Basel, solo exhibition.
1979-80, Gallery PARADE,Zurich, solo-exhibition.
1983, Gallery Perrig, Basel.
1988, Gallery ART ACS, Zurich, solo exhibition.
1989, Grand Hotel Dolder, Zurich, solo exhibition.
1990, Gallery Ruf, Muenchen.
1990,1991,1996, Gallery ART SELECTION, Zurich.
1992, Hotel Spluegenschloss, Zurich, solo exhibition.
1993, Gallery KUENG, Basel, solo exhibition.
1994, Hotel Fleur du Lac, Morges, Switzerland, solo exhibition.
1994, INTERNATIONAL MUSEUM OF WINE LABELS, Castle of Aigle (Switzerland).
1997, AGORA GALLERY, New York.
1999, HENNER-ART Studio Gallery, Rockport ME, solo exhibition.
1999, Gallery 'AM PARADEPLATZ', Zurich, solo exhibition.
2000-2001, HARBOR SQUARE GALLERY, Rockland ME.
2002-2004, NTWH Gallery, Belfast ME.
2002, TV-Show MPBS Maine Public Broadcasting.
2005-12, PRISMGLASS Gallery, Rockport ME, solo exhibitions.
2011, HENNER-ART Studio Gallery, solo exhibition.
The Artist's Personal Statement:
"My objective is to convey the characteristic fundamentals of an object, be it a flower, a vase, a sailboat, a city skyline or a figurative image, by transforming it down to it's very basic elements of form, movement and color and at the same time by emphasizing their interplay with light. Blossoms in macroscopic size, flowers in a vase, in the garden and in greenhouses as well as butterflies belong among others to my favorite themes. And then I like to work on still life and figurative objects like the mother and child and the clown themes. But there are summer days I feel fascinated by a scenery on the sea shores with rocks, a landing, boats, sails and a lighthouse. The coastal area's special light characteristics, similar to those in the Mediterranean regions are conveying lucidity and transparency to the colors. And sometimes I am in the mood to indulge in the cubistic elements of a city and it's skylines, like the one I created decades ago of the Manhattan Skyline with the old Twin Towers. A painting familiar to people, who have supported the fund-raiser for the September 11 victims, organized by the Bangor Fire Department.
By abstracting and transforming an object to it's basic elements I am taking a cubistic approach. The result of the transformation process still reflecting the true shapes, movement and colors of the real object, my style has often been characterized as a cubistic realism or a naturalistic cubism."0
|Review of Artist's Work: |
_„Though abstracted to the very basic elements of form and color, Eveline Henner’s paintings still reflect the real object, emphasizing the interplay of light, color and movement. They give evidence of an extraordinary talent of handling structural shaping and color. The artist’s way of abstracting her impressions gained in nature, cities or harbors and transforming them into new structures is unique, of no parallelism...“
Galerie am Paradeplatz
Zürich, August 1999
A R T . S E L E C T I O N
Galerie . Edition
Eveline Gugelmann - Henner was trained as interior designer at the Basle College of Art and Design and studied drawing and painting under Martin Christ and Fritz Ryser. While working as a interior designer, she started her career as a painter in 1966 with a successfull exhibition in Ascona, Switzerland and showed her work in the following years in many exhibitions and galleries in Switzerland and other countries in Europe and in the U.S. of America.
Her experience of the Mediterranean proved a decisive influence on her ability to communicate in color. It was there from the beginning; the personal, eloquent style, brilliant and expansive, yet, at the same time, delicate and thorough in detail. It is the natural world - landscape, flowers, cities - that she loves and paints.
Eveline.Gugelmann - Henner never followed the way of abstract or informal painting and she is never looking for the lucky chance to impress. The most important in her painting is not only her subtle work with color as mentioned above, but also the rigid search for an uncompromising way of composing the painting. What is especially engaging in her pictures is the clean line, the careful execution and the lively interplay of colors whereby twodimensional elements are juggled mosaically. This may recall the style of Picasso’s and Braque’s cubism and also Lionel Feininger’s way to deal with the questions of composition.
The particular attraction of her pictures is the very personal synthesis of her broad-spectral perceptiveness and her pronounced capability of shaping and structuring.
Hans Peter Gilg, lic. Phil. I
Art historian, Zurich, Switzerland