La Mariée et l'autoportrait à la morgue
2007
Oil on canvas, diptych
150 x 180 cm (59 1/16 x 70 7/8 in.) (each)
In white and grey tones, the large-format diptych La Mariée et l’autoportrait à la morgue (The Bride and Self-Portrait at the Morgue) by Yan Pei-Ming, from the Pinault Collection, explores the theme of death. In Chinese colour symbolism, white refers much more to death than black. In a luminous halo, the frozen aspect of the bride's face comes into tension with the artist's self-portrait, a suggestive, fictional depiction tending towards abstraction.
Born in China in 1960, Yan Pei-Mig, who works from photographs, has been making large paintings with a brush and roller since the 1990s, aiming at immediacy. "It's alive: I paint, erase, change and become one with the painting," he says. His subjects reflect both our times and his private life. It carries on the tradition of historical painting while revisiting the genre of portraiture.
La Mariée et l'auto-portrait à la morgue was presented by the Pinault Collection during the "Qui a peur des artistes ?" (“Who’s Afraid of Artists?”) show at the Palais des Arts in Dinard in 2009.
Born in China in 1960, Yan Pei-Mig, who works from photographs, has been making large paintings with a brush and roller since the 1990s, aiming at immediacy. "It's alive: I paint, erase, change and become one with the painting," he says. His subjects reflect both our times and his private life. It carries on the tradition of historical painting while revisiting the genre of portraiture.
La Mariée et l'auto-portrait à la morgue was presented by the Pinault Collection during the "Qui a peur des artistes ?" (“Who’s Afraid of Artists?”) show at the Palais des Arts in Dinard in 2009.
Exhibitions
© Yan Pei-Ming / Adagp, Paris.
© Yan Pei-Ming / Adagp, Paris.
