Françoise ROSBACH

Criticism

“Sculpture - like dramatic art – is at once the most difficult and the easiest of all arts. You have but to copy a model, and the work is done; but to give it a soul, to make it typical by creating a man or a woman - this is the sin of Prometheus. Such triumphs in the annals of sculpture may be counted, as we may count the few poets among men.” We can only agree with Honoré de Balzac’s statement upon discovering Françoise Rosbach’s admirable sculptures. She produces pieces that burst with life, fraternity, hope and compassion. After studying at the School of Applied Arts in Paris, she began creating costumes for the theatre and magazines, and pursued a long career (over 30 years) as collection manager for the magazine “Le prêt à porter couture” in Paris. With her discreet charm, this artist “took up sculpting” in 1996, fulfilling her wish to use the artform to transcend the quintessence of her emotions and inner reflections. Her encounter with Romanian artist Mitro, with whom she was initiated into sculpture over a period of three months by learning different techniques and the aesthetics of shapes, would prove a real revelation for her. The cult of perfection and the sublimation of the sculptural gesture would then become fundamental principles in each work she treated. Working with living models and using exclusively chamotte clay, Françoise Rosbach pays particular attention to the colour of her patinas in order to add character to her creations. With her expert mastery of each tool, relief, bodily architecture and realist expressiveness is transcended in her sculptures, demonstrating her talent and passion. Attentive and deeply concerned by the perpetual contradiction in which our society is evolving, Françoise Rosbach makes a point of denouncing mankind’s battles and conflicting human relationships in her work by methodically studying their complexity, violence and injustice. Take a look at her masterpiece dedicated to the abolition of slavery, for example, in which the artist reaches the summit of her artform. In pieces filled with tenderness and elegance, Françoise Rosbach enjoys returning to the image of motherhood and passionate love in her treatment of women, depicting poses in which sensuality and serenity communicate in perfect harmony. Having participated in numerous exhibitions and won the highest awards in both Normandy and Paris, she was distinguished at the International Salon of Present-Day Creators in 2007 with the gold medal. Singled out at several Parisian Salons, she would also recieve the silver medal for Arts, Science and Literature. Françoise Rosbach’s figurative sculptures tend particularly to show the importance of hands and their universal symbolism. The detail from Michelangelo’s “The Creation of Adam” that she represents in her work is surely the most eloquent message that the artist can convey to us.

“Sculpture - like dramatic art – is at once the most difficult and the easiest of all arts. You have but to copy a model, and the work is done; but to give it a soul, to make it typical by creating a man or a woman - this is the sin of Prometheus. Such triumphs in the annals of sculpture may be counted, as we may count the few poets among men.” We can only agree with Honoré de Balzac’s statement upon discovering Françoise Rosbach’s admirable sculptures. She produces pieces that burst with life, fraternity, hope and compassion. After studying at the School of Applied Arts in Paris, she began creating costumes for the theatre and magazines, and pursued a long career (over 30 years) as collection manager for the magazine “Le prêt à porter couture” in Paris. With her discreet charm, this artist “took up sculpting” in 1996, fulfilling her wish to use the artform to transcend the quintessence of her emotions and inner reflections. Her encounter with Romanian artist Mitro, with whom she was initiated into sculpture over a period of three months by learning different techniques and the aesthetics of shapes, would prove a real revelation for her. The cult of perfection and the sublimation of the sculptural gesture would then become fundamental principles in each work she treated. Working with living models and using exclusively chamotte clay, Françoise Rosbach pays particular attention to the colour of her patinas in order to add character to her creations. With her expert mastery of each tool, relief, bodily architecture and realist expressiveness is transcended in her sculptures, demonstrating her talent and passion. Attentive and deeply concerned by the perpetual contradiction in which our society is evolving, Françoise Rosbach makes a point of denouncing mankind’s battles and conflicting human relationships in her work by methodically studying their complexity, violence and injustice. Take a look at her masterpiece dedicated to the abolition of slavery, for example, in which the artist reaches the summit of her artform. In pieces filled with tenderness and elegance, Françoise Rosbach enjoys returning to the image of motherhood and passionate love in her treatment of women, depicting poses in which sensuality and serenity communicate in perfect harmony. Having participated in numerous exhibitions and won the highest awards in both Normandy and Paris, she was distinguished at the International Salon of Present-Day Creators in 2007 with the gold medal. Singled out at several Parisian Salons, she would also recieve the silver medal for Arts, Science and Literature. Françoise Rosbach’s figurative sculptures tend particularly to show the importance of hands and their universal symbolism. The detail from Michelangelo’s “The Creation of Adam” that she represents in her work is surely the most eloquent message that the artist can convey to us.

Sandrine TURQUIER, writer - art critic

Exhibitions

There is no exhbitions for this artist yet.