In a group exhibition with numerous participants titled “The human figure in art”, Eva Divari stouching the viewers’ hearts with her “After the Rain” painting.
Art historian and critic, Annita Patsouraki, wrote the following:
Artist Eva Divari, known by her preference and the usual source of her inspiration in maritime issues, pleasantly surprises and unexpectedly astonishes with a new sample of artistic pursuit.
Her work “After the Rain” is the realistic depiction of a real social snapshot. Two elderly women sit light-heartedly and talk calmly and nostalgically, outdoors in the city center. A scene familiar, accessible, which in the midst of our daily lives often goes unnoticed. It is the pictorial rendering of the real world, of modern life.
Natural portraits not made to order, that were imprinted unexpectedly without the intention of idealization or embellishment on the artist’s part, capture realistically but not phoraphically the physiognomies of the protagonists. These are typical bourgeois personalities, ordinary people around us, which could represent familiar persons, indeed relatives, of everyone. People who live a quiet, simple life close town.
The whole composition is calm, quiet, with dominant planar surfaces of varying color choice and faithful representation. Any additional decorative pattern and feature in the clothing or in the space shown is absent, focusing more our attention to the dialogue between the two women.
The presentation of their portrait confirms the idea of ​​the absolute interest in man, their personality and everyday life. These women exude a conventional charm of confused impression. With an appearance of decency, restrained expression, surface calm, they provoke the viewer with their lack of meretricious attitude, vanity and ephemeral mood.
Is the description of a human type, in the confidence of his locus, his origin, his habits and his circumstances with reference to any essential detail.
The figures and their placement, although the painter is left with little choice, are defined through the background by their volume. They are projected through shadows based on the color rendering of objects, in sections of faces and the balance and relationship between them. The study of the human head and its tilt patterns imprints specific expressions of the eyes and mouth, which win the viewer over.
The anatomical peculiarities described do not originate from a humorous mood or criticism but to integrate with all the ideal forms within the composition, ascribing absolutely the accurate representation of reality.
The presentation of the external appearance of people with their true features records a socially contemporary history of a simple daily snapshot.
With emphasis on stable, austere and lithe sketch, characteristic of the cretor’s art, with exaggerated details and referential to its descriptions, it identifies the volumes and forms that guide our gaze and mentally isolate each figure.
The description of the city life with the ensemble of the artwork and the composition are in harmony with the perspective and geometric symmetry.
The huge water patch that separates horizontally the painting, instinctively demonstrates the artist’s favor of the liquid element.
The apparent stagnation of the figures and color fields of the environment reflect distinctly, animating the artistic ensemble.
These persons do not pose for the artist or the viewer, but one opposite to the other, where they cross their gaze and attention. Their identity is confirmed by their choice of clothing, style, posture, the physiognomy of their faces and the atmosphere that surrounds them. They stand nonchalant in a familiar environment, a common meeting place and outdoors social intercourse.
There are not portraits of idealized presence or social recognition and discrimination. There is nothing distinctive on them to indicate their prior professional or family status.
They are women who deserve every honor and respect, that their offer to life was valuable. They are the women that face the past with fondness and sweet recollection, now they are living through their old age.
In times of emotional respite, their life seems like a journey filled with experiences, smiles and tears, struggle, love, patience, and struggle. They enjoy the charm of their age and the concerns it brings, reminiscing what they have lived through and now can understand their purpose and meaning. Concentrating in moments when they achieved what they wished, when they realized a dream of theirs that gave meaning to their lives.
They know now that life does not allow turn backs, that you have to live your every day, because every new morning carries within it a new experience.
Two female figures, living today, experiencing the solitude of their age and reminiscing the past, reconstructing forgotten stories in their minds that have faded over time.
It is the description of waiting for the daily meeting, random or predetermined, in search of a necessary companionship that shares and accepts concepts, common concerns, the expectation of the unexpected, the management of time relentless. It is the daily routine of tiny thrills, stern observation of the lives of others, only to occupy the mind and cover the endless free time.
The artist managesto surprise the viewer with her thematic choice, ascribing a random anthropocentric social scene with stern diligence, with clarity and simplicity she highlights the substantial and with a touching approach lends expressiveness, value and emotional generosity.
Annita Patsouraki
Art Historian
This is the original article as published in the ‘Periplous’ magazine
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