Eline Rausenberger is an unconventional artist born in the vibrant city of Antwerp in 1944. Despite her absence from traditional art educational institutions, Rausenberger has distinguished herself as a promising artist, garnering both awards and admiration within and beyond the art world. At the age of 26, she received a state scholarship along with her husband Jacques Vandewalle for a one-year residency at the Cité des Arts in Paris. By the age of 27, she achieved the First Prize in Flemish Painting for her work ‘Betoging te Parijs’, 1971 (displayed here), followed by the Silver Medal of the European Prize for Painting at the age of 31, awarded for her work ‘L’Ommeganck à Anvers’, 1975 (displayed here).
This exhibition not only showcases original works by Rausenberger but also includes pieces on loan from private collections such as those of the Flemish Community. This underscores not only her promising talent but also the recognition she has received from both individual collectors and Belgian institutions.
As the daughter of renowned painter Irène Battaille and Georoy Rausenberger, her artistic path was paved early on. However, Rausenberger has forged her own path, diverging from the conventions of the academy. With unrestrained freedom, she wielded her brush, unleashing her creativity to develop a distinctive style. The artist lays her medium on the tabletop and paints as if she is writing her life onto the canvas; each brushstroke a chapter in her autobiography, drawing from her incredible visual memory.
Rausenberger’s works reflect her personal and intimate experiences while also inviting large-scale observation. From her years in the picturesque Beguinage of Antwerp to her life in Caylus, she captured her life with stunning precision and vivacity. Her paintings are infused with intriguing details. The artist was fascinated by crowds, unable to explain the origin of this fascination but always feeling compelled to paint gatherings or processions. The abundance of details accompanying this captivated her, sometimes painting up to 100 figures meticulously on a single panel. No detail escaped her touch.
The title of the exhibition, "Where is Eline?" holds two meanings. While known for her introverted nature, Rausenberger can sometimes be found within her own works, a silent observer amidst the crowd, always clad in a striped dress, a modest yet recognizable statement. In this way, she encourages us to pause and thoroughly explore her works, so that we may discover her within the myriad of details that make her work so captivating. Furthermore, it suggests that despite the promising trajectory of her career, Eline's significance has unfortunately diminished over time. While her impact on the history of Flemish art may have been overshadowed, her artistic contributions warrant renewed recognition and appreciation.
The last time Eline Rausenberger's works were exhibited to the Belgian public was in 1997. Her most recent exhibition took place in France in 2007. Today, we bring renewed attention to Eline Rausenberger with the exhibition Où est Eline?