After a figurative period that followed studies at the Beaux-Arts in Clermont-Ferrand, then at the Academy of Visual Arts in Paris under the direction of Lucien Lautrec, and the Private Academy led by Robert Lapoujade, Emilia Faure, From his own confessions, 'is more interested in the elements that constitute the painting than in a more or less faithful representation of the real.' Freed from the reference to the representation, major axes constituting a flexible geometry articulate and punctuate the Surface worked in half-paste, forms and matter combine, in a discreet range.In this first period the concern to 'keep the plan' is constant.After 1960 occurs a break.A more gestural writing is in full paste , and the work of a denser material appears as the dominant expressive element.The color range is limited to ocher and gray tones integrated into a set of more contrasting dark-light values. This is the time when the artist shows his works at Lucien Durand, discoverer of young talents. Previously, she had participated in a gallery exhibition group Jeanne Castel (1949) and the Museum of Amiens. Discreet, she works in the secrecy and silence of her studio. Reluctant to show her creations, she exhibits little, because what counts above all is to be able to translate her expression. Special exhibitions in 1962 in Rouen, L'Armitière gallery, and in Neuchâtel, Numaga gallery. 1963 La Madeleine gallery in Brussels. 1966-1968 Riquelme gallery in Paris. Participates in the 'Micro-Salon', gallery Iris Clerc, Paris 1959. Salon Comparaisons from 1960 to 1963. 1961 and 1962, Paris, 'Line 4 • Salon organized by R.V. Gindertaël in Montrouge. 1962, Lille 'Fifty Painters of the New Reality'. Salon Réalités Nouvelles in 1961, 1962 and 1967. As well as abroad. Since then, her research has led her to cover a support with a plaster in several thicknesses. On the generally clear surface, it recreates forms whose asperities are accentuated by glazes. She is looking for plastic equivalents with the geological world. These fragments have been memorized, sometimes transfigured, 'parcels of unknown territories, humbly reinvented in a closed world of silence, even of meditation', she confides. This work led to the creation of books, especially since 1980. A single copy of which she gives the text closely related to its plastic creation (Galerie N.R .A, Paris 1982-1984-1985) .- br Emilia Faure is the wife of the painter Albert Chaminade.
Lydia Harambourg, 'The painters of the Paris School'
Editions Idées et Calandes - Neuchâtel Switzerland.
Emilia Faure, Composition, 1961,


1961
Abstraction
Painting
Oil on canvas Dimensions 100 x 65 cm
Signed and dated lower right