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| (c) Copyright Frédérique Lavergne |
Painting
in France: An Interview with Fine Artist Frédérique Lavergne
by Gina McKnight
Archived interview from the January 2018 Issue of Arabian Finish Line.
No duplication without permission.
“Arabian horses seem to live above the
floor.”
From her large studio window, overlooking
her perennial garden and beautiful horses, Frédérique Lavergne loves to paint.
The romance of the French countryside, coupled with the smell of horses and
fragrant woodland, enhances Frédérique’s creativity. Frédérique writes, “I need
to be connected with horses. This is all I need to feel good for painting.”
A world-renowned artist, I caught up with Frédérique
and we talked about her art and life with horses…
GM: What sets the Arabian Horse apart from
other horse breeds?
FL: Arabian
horses seem to live above the floor, just like if they were constantly flying.
A legend says they were created from the wind, but this sounds real when
you see them moving, with the nose open, just like if they were breathing the
wind which created them. Didn't God say, "I will make you fly without
wings”? See the moving, so lightly, a bit like cats do, so proudly, remembering
who they are, and where they come from.
GM: That is a profound description of the
Arabian horse! You know them well, Frédérique! When commissioning a portrait of
a horse, what do you require?
FL: When I am
commissioned, I appreciate to receive several photos, or videos. If I can't
meet the horse himself, I need the photos or videos to catch his spirit and
soul. Because if you only paint the outside of the horse, his image, the portrait
won't reflect who he is, which is the most important to put on the canvas. I
also need to have a description from the owner, the way he sees the horse, what
he shares with him, where the painting will be hanged (even if possible, a
picture of the room where it will be). This is to catch what the client wants
to see on the painting, which side of the personality of the horse. Because
a horse can be seen very differently by two people, and when I do a commission,
I want the client to have his horse,
seen by himself, but painted by me on the canvas. When I do a commission, I
want to paint the horse like the client would do if he could do it
himself. Remains from me of course, my strokes, my way of composing, how I
understood the horse and the relationship he has with his owner.
GM: Your art is truly stunning. You capture
the essence so beautifully. What mediums do you use to create a masterpiece?
FL: I paint with
oil on canvas, or paper. I use brushes or palette knife. When I draw, I use black stone, which is the
pencil that was used by the Dutch master to do the sketches on the canvases
before painting. I like these
because they are deep black, as charcoal, but not powdery. I use white chalk
also, ink and walnut tint
GM: Does lighting and environment play an
important role in the finished portrait?
FL: Lighting is
essential in my way of painting. It’s because, as I said before, I don’t want
to paint only the "surfacing image" even as beautiful as it is. I
want to paint the soul and the spirit of the horse. What makes him be what he
his. And this is a kind of mystery which needs to pop out from the dark, or to
stay a bit in a chiaroscuro, because the soul can't be entirely seen and
understood.
GM: You have so many lovely portraits that
are my favorites. Do you have a favorite Arabian portrait from your own
collection?
FL: My favorite
Arabian portrait from me is the one on black background.
GM: Portraying all horse breeds, where has
been your best encounter with horses?
FL: I could say
first that wherever I can meet a horse is the right place. But really meet
them, not just see. I need time with a horse. I need to touch him, to smell
him, to feel him. And whatever breed he his, the encounter happens... I
especially had that kind of experience in Portugal, but recently, I have been
twice in Mongolia, in June (summer) and January (winter!). I was with breeders, and their horses which
live so differently than our horses live. Total liberty, food autonomy, not a
lot of contacts with humans. I was thrilled to discover horses as they really
are.
GM: Experiencing horses in their natural
habit with minimal human contact must have been exhilarating! I know your
paintings travel around the world. Where are you currently exhibiting?
FL: I am currently
exhibiting in US, Red Hook, New York, Equus Art Gallery; in Ireland Greenlane
Gallery; in Italy, Firenze, Porcellino Gallery; in France, Rouge Garance
Gallery and L'Art en tete Gallery.
GM: From my last conversation with you, I
remember you mentor novice artists. Do you have advice for starting equine
artists?
FL: I have been
doing that full-time job since 2000. And sincerely, I would say to any
beginner, keep a job out of art. Just to avoid the pressure on your art. The
best way to live it, is, if possible, to never depend financially of it.
Because when you need to get money each month from your painting, the challenge
is really harsh to produce real deep pieces. Just as if you were just painting
to express your passion for horses and art. It’s possible, but really difficult
because you must go on painting, year after year, just as if you were not
waiting for people to like the result, but just to express your
talent thrust the tribute to horses.
GM: As an avid horse-lover, knowing both
the spiritual and physical attributes of horses, what does horsemanship mean to
you?
FL: First of all,
real horsemanship isn't possible without connection. in any discipline. I
have learnt this with my own horse. I have had two accidents, and haven’t
been able to ride. I was wondering what I could do with my horse, I wanted to
keep a relation with him, but I couldn't even take him for a walk or grazing. I
had my knee broken, then a surgery, and a year after I had five ribs broken and
lung perforated. I couldn't take the risk to get pulled by the rope if the
horse moved his head too quick. So, I tried to work through
"comportemental approach" at liberty, without being close to him
at all. Connection is essential then!! And after that, I learnt that the
connection you create, helps a lot in any equestrian discipline you
practice.
Since I went to
Mongolia, horsemanship has got a new meaning to me. Now, my way is mostly to
stand with horses and learn from them. Not asking anything. Just studying their
behavior, and trying to catch what they have to "tell" us, what they
are telling from their link to universe. I also met Jean Francois Pignon and his
horses recently. I have learnt a lot from him. The possibility of getting
things from horses just with "talking-horse". We often try to make
the horse learn things from us, but we do it with the language we think horses
can understand. Maybe this is not wrong, but what I am sure of now, is that it
is not the more direct and efficient way. This way is to learn how to
talk-horse. Jean Francois Pignon shows evidence of this. It is so rich and full
of emotions! It feeds my creativity.
Connect with Frédérique…
Gina McKnight is a freelance writer from
Ohio USA. gmcknight.com
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