Painting
After the curtain fell on her stage career, Andrée Marlière turned the same discipline she brought to rehearsal toward canvas. The subjects vary, drummers and samurai reduced to planes, sail and sea abstracted into rhythm, but the concerns stay constant: how line carries weight, how a curve breathes, how light shapes motion.
She approached painting as a continuation of choreography, learning the score of each image and letting gesture lead form. Her own site summarises this pivot simply: after teaching and ballet-master work, she devoted herself to painting and began exhibiting in Antwerp and beyond.
From 1998 onward she showed regularly: Stadsschouwburg Antwerpen (“het Paleis”) in 1998, Galerie 44 in Chaîrière in 1999 and 2000, and a return to the stage world with a display at the Koninklijk Ballet van Vlaanderen in 2002.
Through the mid-2000s the itinerary widened, Galerij Paulus (2003), Art-Event Antwerp (2004), Galerie de la Madeleine in Brussels (2005), the XIV Biennale de Lérida in Spain, and the Association des Peintres et Sculpteurs de la Danse Européens in October 2006, before closing the cycle with local shows at “Poort van Cyriel” in Buggenhout and at Cultureel Centrum De Kollebloem in Puurs in early 2007.
Contemporary notices framed the work as dance translated to paint. La Semaine d’Anvers praised “a talent that immediately engages” in 2002 and later wrote that she painted as she had danced, “with heart and mind.”
Gazet van Antwerpen’s 2007 coverage called the Puurs exhibition theatrical in spirit and sketched her path from drawing on tour to a focused studio practice in later years.
Those reviews match what the paintings themselves suggest: a performer’s sense of timing, a coach’s precision, and an autodidact’s stubborn clarity.