
Eve
Print 40 × 40 cm
Painter · Toulouse
Three series, one subject. The light that glides across the façades, the light that turns over in the water of the canals, the light that settles on a nape, a shoulder, a gesture.

Theme
The tender gesture. A nape, two open hands, an embrace. The figures emerge from a ground of light and matter, on the threshold of apparition. Finalist of the Figurativas 2025 competition at the MEAM in Barcelona, mention at the Salon des Artistes Français 2024.
12 works · acrylic on canvas





What the hands hold back, what the skin lets through : light, again, become almost a character.
Geste tendre series






Theme
Water as a mirror. Canals, bridges, tawny lakes: the landscape is read upside down, in its reflection. Trees become clouds, the horizon a line of vapour. The formats stretch out, panoramic, to let the road run on.
12 works · acrylic on canvas





The reflection is not a copy. It is the landscape hesitating, trembling, consenting to come undone in colour.
Water reflections






Theme
Walls that breathe. Rome, Fira, Toulouse : the city is never a backdrop. Façades dissolve in the brightness, staircases break apart, passageways open. What remains is matter and a light that passes through everything.
12 works · acrylic on canvas




Abri de lumière, Silence habité, Passage de clarté: the titles say the same thing as the canvas. You do not enter it, you dwell in it.








I-CAC rated artistInstitut de Cotation de l'Art Contemporain — see the ratingPainting is where memory, time, and light converge. My practice has evolved through a personal visual language based on the dialogue between acrylic glazes and clear water. By layering multiple translucent veils of color and then selectively revealing them with water, I allow the image to emerge gradually rather than appear all at once—like a memory slowly resurfacing.
My work explores the enduring traces left by people, landscapes, and lived experience. Water is its central metaphor: it separates, transforms, erases, and renews. It also carries a deeply personal resonance, rooted in my exile from Cuba in 1969, a memory that quietly permeates my work. Rather than telling an autobiographical story, I seek to give a visual form to what remains when places, faces, and time itself have been altered.
What drives my practice is the desire to restore time to its rightful place. In contrast to the culture of immediacy that defines our contemporary world, I embrace a slow process in which each layer of paint must be applied, allowed to dry, observed, and only then followed by the next. This extended temporality is not simply a working method; it is an artistic position. It echoes the approach of the Old Masters, for whom painting was a patient construction in which light emerged from successive layers rather than from immediate effect. I feel deeply connected to this tradition. Leonardo da Vinci, Titian, the Flemish Masters, Velázquez, Monet, and Magritte are not references I seek to emulate, but enduring presences that accompany my own inquiry: how can painting make visible what lies beyond appearances while remaining rooted in the figurative world?
My paintings invite contemplation. Light seems to rise from within the depth of the canvas, filtering through translucent glazes until a presence gradually reveals itself. Within this suspended space, the viewer is invited to slow down, to dwell in the act of looking, and to experience what continues to resonate beyond the image itself: memory, absence, and the fragile beauty of what endures.
garces-de-marcilla.diane@orange.fr
06 52 76 40 76
Studio in Toulouse, visits by appointment. Artist rated by I-CAC. Follow the studio:
Diane Garcès de Marcilla — SIRET 485 161 749 00026 — RCS Toulouse. All works reproduced are the property of the artist.
72 exhibitions · 2001 – 2026
Digital lithography · limited edition
Lithography is a printing technique developed in the 19th century. This reproduction process on limestone has been advantageously replaced today by “digital digigraphy”. This process ensures an optimal result in reproduction. The printing, limited to 30 copies, guarantees rarity and exclusivity. A certificate of authenticity that I co-sign with the digigrapher certifies that it is an original artwork and that it meets the legal criteria; it is signed by me and numbered.
The Hahnemühle Albrecht Dürer art paper, 210 g, 100% cotton, on which the prints are made, is an ideal base that can reproduce the most minute detail and the most subtle shade. Its lifetime, according to Epson, can exceed a century.

Print 40 × 40 cm

Print 40 × 40 cm

Print 40 × 40 cm

Print 40 × 30 cm

Print 40 × 40 cm

Print 40 × 40 cm

Print 70 × 50 cm

Print 70 × 50 cm

Print 70 × 50 cm

Print 70 × 50 cm

Print 40 × 40 cm

Print 40 × 40 cm

Print 40 × 40 cm

Print 40 × 40 cm
Certificate, signature, stamp

Digital lithograph, 60 × 60 cm, with its certificate of authenticity

Official Label of Excellence stamp on the back of the print. It identifies the digigrapher.

My signature

Limited edition of 30 copies

Certificate of authenticity
Only some of the paintings are offered here as digital lithographs. Should you choose other artworks, it is possible to print them.
For any order or information
garces-de-marcilla.diane@orange.fr
06 52 76 40 76
Prizes and distinctions
I-CAC rated artistInstitut de Cotation de l'Art Contemporain — see the rating20 items · press, video, radio
Press · 2023
4 pages to browse




Press · November 2022
Issue of Pratique des Arts magazine devoted to portraiture. Article published in November 2022.
The clipping

Press · July 2022
Article published in July 2022
The clipping

Radio · 28 March 2019
Thursday 28 March 2019
Press · February 2019
Article published in February 2019
The clipping

Press · November 2017
Issue of Pratique des Arts magazine devoted to acrylics. Article published in November 2017.
The clipping

Press · May 2016
Article published in May 2016
The clipping

Press · 2014
Article by Claudine LAVAIL-DARDER, published in 2014.
The clipping

Press · 2013
Article by Agnieszka CHEVILLOTTE, published in 2013.
4 pages to browse




Press · 2012
Published in 2012.
The clipping

Press · 2010
Article by Agnieszka CHEVILLOTTE, published in 2010.
6 pages to browse






Press · 2010
Article by Max LAGARRIGUE, published in 2010.
The clipping

Press · 2010
Article published in 2010.
The clipping

Press · 2007
Article by Mireille Schnorf, published in 2007.
The clipping

Press
The clipping

Press
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Press
The clipping

Press
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Press
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Press
The clipping
