Eaux vives 1979

Editor: Here we have Alfred Manessier's "Eaux vives," an acrylic on canvas created in 1979. The swirling blues and blacks give me the sense of looking deep into a tumultuous body of water, maybe even from underneath. What strikes you when you see it? Curator: The title "Eaux vives" immediately brings to mind white-water rapids, suggesting dynamic, almost violent energy. I am curious how the painting relates to post-war reconstruction efforts. Does this abstraction of nature reflect a societal need to rebuild and redefine the world around them? The impasto technique—the thick application of paint—suggests a tangible, almost sculptural engagement with materiality, defying the notion of flatness that became so dominant. Editor: That's interesting; I hadn't considered that relationship between material and rebuilding. Do you think his artistic choices speak to a larger trend? Curator: Absolutely. There’s a visible shift in artistic patronage after World War II, influencing both style and subject. Abstract Expressionism became a symbol of freedom and individualism, and this work echoes those sentiments, doesn't it? How might the institutional embrace of Abstract Expressionism served broader political aims during the Cold War? Editor: I never thought about the Cold War influence here! I came into this just seeing blue, but you've really made me think about what this meant culturally, not just visually. Curator: And I am struck how his use of layering creates depth and movement that pulls viewers. Perhaps this movement provides an escape that allows for new interpretations each time we encounter the work.