To coincide with “Hyper Nuit”, Amélie Bertrand's ‘Contrepoint Contemporain’ [Contemporary Counterpoint] exhibition at the Musée de l'Orangerie, Semiose is publishing a catalog dedicated to the event. The publication highlights the series of eight paintings, including three tondis, that Amélie Bertrand specifically produced in dialog with Claude Monet.

As the writer Mara Hoberman observes, “Counterpoints abound when considering the work of Claude Monet and Amélie Bertrand. Whereas Monet famously painted en plein air, Bertrand composes in Photoshop before ever putting brush to canvas. [...] Whereas Monet represented natural atmospheric effects like sunlight, shadow, rain and haze using daubs of thick paint, Bertrand's depictions of artificially lit volumes and spaces bear no vis­ible brushwork. [...] But despite such obvious stylistic and technical differences, profound affinities exist between these two modern landscape painters, focused on how landscapes feel, not just how they look.”

As well as photographs of the paintings and layout models of the installation, the book features an illustrated essay by Sophie Eloy, the exhibition's curator, as well as a text written by Mara Hoberman, art critic and regular contributor to Artforum.

“With nearly a century separating their artistic practices, both artists confront the same essential painterly challenge: how to capture landscape in such a way that we, the viewers, understand not only what a place looks like, but also—and most importantly—how it feels to be there. As much as Bertrand represents a contemporary counterpoint to Monet, she has also contemporized his conceptualized approach to landscape painting.” Mara Hoberman.