Mary Stuart, Queen of Scots (1542 - 1587) (2019) Drawing by Mc Devésa

Pastel on Paper, 14x11 in
$740.42
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Fine art paper, 10x8 in

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This artwork is framed
This artwork appears in 95 collections
  • Original Artwork (One Of A Kind) Drawing, Pastel on Paper
  • Dimensions Height 14in, Width 11in
  • Framing This artwork is framed (Frame + Under Glass)
  • Categories Drawings under $1,000 Figurative
Pastel sur papier, interprétation de l'œuvre de François Clouet (1510-1572). Pastel exécuté à main levée, déjà encadré. Mary Stuart est née le 8 décembre 1542 et morte exécutée le 8 février 1587, est souveraine du royaume d’Écosse du 14 décembre 1542 au 24 juillet 1567 et reine de France du 10 juillet 1559 au 5 décembre 1560. [...]
Pastel sur papier, interprétation de l'œuvre de François Clouet (1510-1572). Pastel exécuté à main levée, déjà encadré.

Mary Stuart est née le 8 décembre 1542 et morte exécutée le 8 février 1587, est souveraine du royaume d’Écosse du 14 décembre 1542 au 24 juillet 1567 et reine de France du 10 juillet 1559 au 5 décembre 1560.
Marie devint finalement une charge qu'Élisabeth Ire ne pouvait plus tolérer en raison de nombreux rapports de complots projetant de la tuer ; certains historiens suspectent qu'ils étaient fomentés par les ennemis de Marie.

Marie Stuart était experte dans l'art du chiffre. En France, ses intérêts avaient été défendus dès 1565 par le mathématicien et cryptologue François Viète avec qui elle partageait ce talent. Les lettres codées qu'elle échangeait avec ses partisans dans sa prison furent interceptées puis déchiffrées et probablement truquées par les services d'Élisabeth ; elles servirent de prétexte à sa condamnation.

Marie Stuart fut exécutée au château de Fotheringhay le 8 février 1587 à dix heures du matin, comme suspecte dans la participation du complot d'Anthony Babington. Elle choisit de porter une tenue rouge sous sa robe d'apparat, se déclarant elle-même martyre catholique. Son crucifix fut écrasé au sol. Les témoignages confirment que son bourreau était saoul le jour de son exécution, et qu'il eut besoin de trois coups de hache (le glaive, symbole de la justice divine, commun en France, lui avait été refusé) pour exécuter la sentence. Lorsque ses servantes s'avancèrent pour la déshabiller, les bourreaux se précipitèrent, car la coutume voulait qu'ils récupèrent pour eux les vêtements des condamnés. Marie s'offusqua, disant qu'elle ne s'était jamais déshabillée devant autant d'hommes. Mais elle finit par se résigner sans se dénuder totalement. Voyant alors sa détresse de se trouver nue, une de ses servantes s'avança et lui noua un foulard sur les yeux. Elle se mit alors en place, et le premier coup lui fit juste une entaille sur l'os occipital. Puis le deuxième tomba sur la nuque sans complètement couper le cou, et ce ne fut qu'au troisième que la tête se décolla. Le bourreau la ramassa pour la présenter au peuple mais il ne s'était pas rendu compte que la perruque était encore sur le crâne. Elle lui resta dans les mains, la tête tombant sur le sol. Le bourreau la mit en exposition sur un balcon proche où elle resta une journée.
Vive la liberté, vive l'Écosse !
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Mc Devésa is a versatile artist whose career rich in experiences and artistic discoveries reflects an unwavering passion for art in all its forms. From a young age, she began drawing, learning the visual arts[...]

Mc Devésa is a versatile artist whose career rich in experiences and artistic discoveries reflects an unwavering passion for art in all its forms. From a young age, she began drawing, learning the visual arts through evening classes at the Beaux-Arts d'Aix-en-Provence and Marseille Luminy. This first contact with art quickly led her to discover pastel, a technique that marked the beginning of her creative exploration.

In 1986, Mc Devésa turned to oil painting, a medium she used with intensity before finding her true playground in acrylic. Acrylic proved to be the ideal medium for her, allowing her to give free rein to her creativity. Influenced by Piet Mondrian, whose geometric abstraction and astonishing vibrations she deeply admired, she immersed herself in this style while leaving room for forays into the figurative, according to the emotions of the moment.

Her passion for portraits is also a central aspect of her work. Painting a face on canvas brings her great satisfaction, allowing her to get closer to the people she loves and admires. Since 2019, Mc Devésa has been exploring a new dimension of her art by devoting herself to Byzantine icons at the Atelier d'Arts Anciens Valuarda in Montreal. This practice further enriches her repertoire and artistic approach.

Alongside her artistic career, Mc Devésa has a deep passion for art history. Since 2015, she has been pursuing studies at the Université du Québec à Montréal (UQÀM), which allows her to better understand the world of art through its spiritual, cultural, theoretical, economic and social dimensions. Her artistic influences, including Van Gogh, Mondrian, Wesselmann, O'Keefe, and Molinari, nourish her creativity and enrich her work.


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