EN :
The painter exhibited at Galerie de France, whose principal merit is to continue the traditions of Fauvism and Cubism by also daring to accept new values, deserves attention. The name of Anna Eva Bergman, who was already mentioned here some time ago, should particularly retain our interest.
Anna Eva Bergman’s paintings, with their silent abstraction, share something with Arp’s. Both show great sensibility; they remain particularly discreet.
The work presented at Galerie de France, in all its diversity of form, is distinguished above all by an austere, sparse composition, with large planes contrasted by masses of dark, grey, ochre, and violet tones. Painting, from Bergman’s point of view, is essentially an abstraction, expressing something beyond mere representation, recalling the grand stylisation of nature in which form, though purified, remains clear and vigorous. Bergman’s temperament is affirmed powerfully through the starkness of composition, her lack of compromise in pictorial means, her sense of scale, and an elevated vision that commands the surface she treats. Such works reveal a rare harmony, derived not only from the mastery of craftsmanship—rigorous, precise, and flexible—but also from the clear spiritual elevation which informs their structure.
In observing this painter, we must appreciate the artist’s undeniable originality, based on an instinctive sense of measure. Bergman’s entire production rests upon the solid foundations of her strongly personal art, affirming itself progressively. Her talent develops according to its own principles, avoiding both facile imitations and overly theoretical conceptions. The surfaces of her paintings have a material beauty whose textures are evident and strong, producing a simultaneously intense yet calm effect. Without compromising her essential purity, Anna Eva Bergman creates a form of painting that is disciplined, bold, and full of life.
The confrontation of abstract art with reality takes on great significance. Bergman knows precisely how to preserve this vital, even essential, confrontation. The themes she treats, like « La Ferme du Nord » or « La Montagne », reveal her refusal of facile solutions and her preference for challenging subjects where the artist’s technique can affirm itself most explicitly. In her paintings, the clear simplicity of lines and shapes is delicately harmonised.
In the art of Bergman, we feel a powerful inventive temperament, which is always expressed by means of very personal compositions, where sensitivity, though restrained, reaches deeply emotional intensities. The study of her development leads to truly satisfying results. Consequently, we foresee a significant advancement in her already very solid work. There is no doubt that Anna Eva Bergman is advancing, at a confident pace, towards great style.
