Marliese Scheller

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How to define art and its aesthetic value? At the core of every work of art is the mastering of a style and a technique unique to each artist, in a way his/her signature, allowing the artist to express an idea, an emotion, in light, shadow and colour in order to engage, inspire and stimulate.

Aesthetics being perceived as the "science" of beauty, the specificity of a work of art lies in the fact that it is a creation of the mind and therefore an original work. Composition and harmony of the palette are other elements that contribute to its aesthetic value.

I hope to have sparked your curiosity and invite you to discover for yourself.

Oil Painting

In my oil paintings, I seek to harmonize tones and hues to emphasize luminosity.

The rendering of the colours, applied with a knife, is obtained through a long and meticulous study of the methods used by medieval painters and the preparation of a gesso base to receive the pigments.

Aware that current studies in painting are sometimes the result of aesthetic research, I have developed my art towards a form that expresses an inner thought. My characters take center stage in the composition and it is in the facial expression, the gestures, that I imagine man as being the extension of nature, a nature filled with lyricism, poetry.


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Drawing

In my "black and white period", I have drawn on the graphic tradition and, as with woodcuts, the modelling is kept to a minimal and the relief is created by strong contrasts (black Indian ink on white paper). Both construct space and suggest volume; the adaptation of the graphic technique to drawing allows for a larger format, sharper lines and details.


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Illuminated Miniature

In the illuminated manuscripts of the Middle Ages, where every expression is rendered with great sobriety, I perceive the spirit of the cathedrals, a period rich in achievements.

While I draw on the tradition of medieval art, the term illuminated refers here to the technique of applying colour in layers to a vellum support and refers to full-page figurative scenes and secular works.


Creation Cycle
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Tapestry

Each of my tapestries is woven as a single, unique piece, from a real size numbered carton. If the weaving stitch is similar to that of Aubusson, the weaving, the comb and my technique result in a straightforward weaving without any readjustment or concealment. This is the result of years of work and the close collaboration with the weavers of Zouk Mikhael (Lebanon).


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Achievements

Exhibitions

2018-2022
Oil paintings and Ink drawings, Agora Gallery, NYC, New York

2000
Illuminated manuscripts, Stewart Hall Gallery, Pointe-Claire, Quebec, Canada

1990
Tapestries, Le décor de la table, Montreal, Quebec, Canada

1989
Oil paintings, Ariel Gallery, Soho, New York, USA
Miniatures, Toronto Metro Convention and Del Bello Gallery, Toronto, Canada

1974
Tapestries, Hotel Phoenicia, Beyrouth, Liban

1968-1969
Executing twenty cartons for the carpet industry (Lebanon)

1965-1967
Tapestries, Le Hallier à Evreux, la Baronnie de Douvres-la-Délivrande and Bordeaux, France

1960
Tapestries, UNESCO, Beirut, Lebanon

1956
Oil paintings, Centre d’Études Supérieures, Beirut, Lebanon

1949-1950
Drawings, wood cuts, Pavillon Marsan, Louvre, Paris, France

1948
Frescoes a-secco, church of Saint-Ursula (choir), Scheidt, Sarre

 

Publications

March-July 2022 : Published in Contemporary Art Curator

February-March 2022 : Published in Art IDEAL

November-Décember 2021 :  Published in Spotlight

July-August 2021 : Published in Spotlight

March-April 2021 : Published in Spotlight

Décember 2020 : Published in Art IDEAL