Tony Scherman: About 1789 series

"I am interested in storytelling, but storytelling that never ends, that remains open and ambiguous. I want my paintings to ask questions rather than provide answers."

Tony Scherman, Border Crossings magazine, 2007

Tony Scherman (1950–2023) was a renowned Canadian painter celebrated for his mastery of encaustic, an ancient technique blending pigments with hot wax. A graduate of the Royal College of Art in London, Scherman built an international career, exhibiting in prestigious galleries and museums worldwide. His work is distinguished by a deeply narrative and emotional approach, exploring historical, mythological, and psychological themes. Through rich textures and striking compositions, Scherman invites viewers to reflect on the complexities of history and humanity.

"About 1789", one of his most iconic series, offers a powerful and evocative exploration of the upheavals of the French Revolution (1789–1799). Using his signature encaustic technique, Scherman creates works where light and material blend seamlessly, enhancing their emotional depth.

This series highlights iconic figures such as Maximilien Robespierre, Charlotte Corday, and Napoleon Bonaparte, capturing not only their likeness but also their dilemmas, tragedies, and humanity. Through a dramatic palette of reds, blacks, and golds, Scherman reflects the tension between the spilled blood and the grandeur of the Ancien Régime. The works interrogate the conflicts between revolutionary idealism and violence, with the guillotine as an implicit symbol of both justice and terror.

Far from being strictly realistic, the portraits exude a poetic and psychological quality, inviting reflection on history and its contemporary echoes. Exhibited in prestigious galleries and museums, the "About 1789" series has been acclaimed for its innovative approach to history through art, blending ancient techniques with modern concerns to transform a historical moment into a timeless meditation on power, sacrifice, and the quest for freedom.

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