[vc_row row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb][vc_column css=\u00a0\u00bb.vc_custom_1466499995513{padding-bottom: 30px !important;}\u00a0\u00bb][vc_column_text]<\/p>\n

Vanitas 1990-1995<\/h2>\n

[\/vc_column_text][vc_column_text css=\u00a0\u00bb.vc_custom_1472587766579{padding-top: 30px !important;padding-bottom: 30px !important;}\u00a0\u00bb]Les ann\u00e9es 1990-1995 voient la s\u00e9rie Vanitas faire son apparition. Gouaches, lavis et huiles sur toile composent cette s\u00e9rie qui fait la transition entre le monde des humains et celui des objets. Dans ces natures mortes, Alleyn y d\u00e9peint avec un vocabulaire intime, un monde spectral, o\u00f9 s\u2019alignent, comme dans un portrait de famille, les vestiges d\u2019existence\u00a0: fauteuils, plantes, statuettes. La th\u00e9\u00e2tralit\u00e9 du r\u00e9cit\u00a0<\/span>est\u00a0sugg\u00e9r\u00e9e par des \u00ab\u00a0mots-images\u00a0\u00bb qui tiennent ici lieu de sujets. Cette p\u00e9riode est marqu\u00e9e par le contraste du noir au gris, d\u2019o\u00f9 suinte par moment, une teinte vive, presque mena\u00e7ante.[\/vc_column_text][\/vc_column][\/vc_row][vc_row row_type=\u00a0\u00bbrow\u00a0\u00bb use_row_as_full_screen_section=\u00a0\u00bbno\u00a0\u00bb type=\u00a0\u00bbfull_width\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb css_animation=\u00a0\u00bb\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1466499334324{padding-bottom: 20px !important;}\u00a0\u00bb][vc_column][vc_separator type=\u00a0\u00bbnormal\u00a0\u00bb border_style=\u00a0\u00bb\u00a0\u00bb thickness=\u00a0\u00bb1″ down=\u00a0\u00bb10″][vc_column_text]

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