Genieve Figgis

The Pursuit of happiness


Paris, Turenne

Opening on January 7th, from 6 to 8 pm.

Inquire about the exhibition:
inquiries@alminerech.com

The gallery is open from 11 am until 7 pm.

  • , Carriage, 2022
    Water soluble oil on canvas
    120 x 200 x 2 cm
    47 x 78 1/2 x 1 in
  • , Royal visit, 2022
    Acrylic on canvas
    130 x 180 cm
    51 x 71 in
  • , Summer house with Bird, 2022
    Acrylic and oil on canvas
    150 x 150 x 1.5 cm
    59 x 59 x 1/2 in
  • , Girls dress up, 2022
    Acrylic on canvas
    150 x 150 x 1.5 cm
    59 x 59 x 1/2 in
  • , Ladies at Versailles, 2022
    Acrylic on canvas
    120 x 120 x 1.5 cm
    47 x 47 x 1/2 in
  • , Marie Antoinette's Bed, 2022
    Acrylic and oil on canvas
    140 x 100 x 1.5 cm
    55 x 39 1/2 x 1/2 in
  • , Royal visit, 2022
    Acrylic on canvas
    100 x 120 x 1.5 cm
    39 1/2 x 47 x 1/2 in
  • , William and Kate's Wedding, 2022
    Acrylic on canvas
    100 x 120 x 1.5 cm
    39 1/2 x 47 x 1/2 in
  • , Pink house with couple, 2022
    Acrylic on canvas
    90 x 120 x 1.5 cm
    35 1/2 x 47 x 1/2 in
  • , Portait of Marie Antoinette Queen of France (after Vigée Le Brun), 2022
    Acrylic on canvas
    100 x 80 x 1.5 cm
    39 1/2 x 31 1/2 x 1/2 in
  • , Orange Ladies, 2022
    Acrylic on canvas
    80 x 100 x 1.5 cm
    31 1/2 x 39 1/2 x 1/2 in
  • , Love crowned (after Fragonard), 2022
    Acrylic on canvas
    100 x 81 x 1.5 cm
    39 1/2 x 32 x 1/2 in
  • , Count Fersen, 2022
    Acrylic on canvas
    100 x 80 x 1.5 cm
    39 1/2 x 31 1/2 x 1/2 in
  • , Napoleon, 2022
    Acrylic and oil on canvas
    80 x 100 x 1.5 cm
    31 1/2 x 39 1/2 x 1/2 in
  • , Marie Antoinette's cakes, 2022
    Acrylic on canvas
    64 x 85 cm
    25 x 33 1/2 in
  • , Marie Antoinette, 2022
    Acrylic on canvas
    84 x 64 cm
    33 x 25 in
  • , Marie Antoinette asleep, 2022
    Acrylic on canvas
    64 x 84 x 1.5 cm
    25 x 33 x 1/2 in
  • , Marie Antoinette with pink rose, 2022
    Acrylic on canvas
    74 x 64 cm
    29 x 25 in
  • , The Crown, 2022
    Acrylic on canvas
    65 x 55 cm
    25 1/2 x 21 1/2 i
  • , Madam Pompador, 2022
    Acrylic on panel
    64 x 54 cm
    25 x 21 1/2 in
  • , Marie Antoinette flowers portrait, 2022
    Acrylic on canvas
    54 x 64 cm
    21 1/2 x 25 in
  • , Green cow (after boucher), 2022
    Acrylic on canvas
    49 x 65 cm
    19 1/2 x 25 1/2 in
  • , Group portrait (after Mme Vigée le Brun), 2022
    Acrylic on wood panel
    64 x 54 cm
    25 x 21 1/2 in
  • , Melting, 2022
    Acrylic on canvas
    64 x 74 cm
    23 1/2 x 27 1/2 in
  • , After Nicolas Lavreince, 2022
    Acrylic on canvas
    65 x 55 cm
    23 1/2 x 19 1/2 in
  • , Seesaw after Fragonard, 2022
    Acrylic on canvas
    65 x 54,5 x 1.5 cm
    24 x 20 x 1/2 in
  • , Lovers in the park (after boucher), 2022
    Acrylic on canvas
    65 x 54 x 1.5 cm
    23 1/2 x 19 1/2 x 1/2 in
  • , Lover crowned detail, 2022
    Acrylic on canvas
    54 x 44 cm
    21 1/2 x 25 in
  • , Jardin chinois detail (after boucher), 2022
    Acrylic on panel
    40 x 50 cm
    16 x 19 1/2 in
  • , Summer Garden (after Nicolas Lavreince), 2022
    Acrylic on panel
    54 x 44 cm
    21 1/2 x 17 1/2 in
  • , Village scene (After Boucher French Beauvais tapestry), 2022
    Acrylic on canvas
    54 x 44 cm
    21 1/2 x 17 1/2 in

Press release

Almine Rech Paris is pleased to announce Genieve Figgis seventh solo exhibition with the gallery, on view from January 7 to February 11, 2023.

The work of Genieve Figgis is that of a liberation enterprise. It is a question, canvas after canvas, of relieving our imaginations and releasing the beings - or the spectres - who haunt our History. From Madame de Pompadour to Marie-Antoinette, from Count Fersen to Napoleon, she evokes a universe of royalty and power, where a brittle prestige gives way to a voluptuous strangeness, where characters become creatures, inhabitants of a grotesque world. The singular touch of Figgis gives each portrait the appearance of a mask, a disguise, and her work at large amounts to an ethereal study of a carnival cast. The artist offers us distance; the comic and the absurd free us from the weight of a suffocating heritage of representatives and symbols which no one chose. These portraits present surreal beings where garish colours mingle, where gazes are lost, where mouths twist and expressions melt. There is, in each one of them, a form of monstrosity. This strategy of subversion pushes Figgis towards the canons of the Rococo genre, in particular La Bascule by Jean-Honoré Fragonard (1750-1752), or Lovers in a Park by Boucher (1758). Many works also show rural and bucolic worlds, places of leisure and scenes of pleasure. The paintings are filled with cherubic angels and signs of love. The Rococo style, which appeared at the beginning of the 18th century, was precisely intended to make people forget reality, the decline of a past glory through light scenes of gaiety, of joie de vivre. The paintings of the period depict pastoral scenes and walks of aristocratic couples, which Figgis echoes, morphs, and dissects here. The multiple portraits of Marie-Antoinette are an homage to this figure and a recognition of her long-lasting influence and presence in history, a place that so many remarkable women are still deprived from. For Figgis, Marie-Antoinette remains an icon, and her paintings try to grasp a character who went through a forced marriage and her search for happiness in the golden jail of Versailles.       

- Rebecca Lamarche-Vadel