Anne Manoli was born in Paris on 24 February 1961.

She realised very early on that painting would be favourite medium for celebrating nature, which has had a strong impact on her from childhood, from childhood. It was withwith her grandmother, Marie Renaut, that she began her first paintings. In 1976, she turned to studies in the plastic arts. Fascinated by the work of Van Gogh, Ensor and Soutine, she painted series of expressionist expressionist portraits. In 1980 she entered at the Ecole Nationale Supérieure des Beaux-Arts in the studio of the painter Louis Nallard, who encouraged her. Nallard's tellurism and an exhibition of De Staël reinforced her attraction to matter. The discovery of De Kooning, Pollock and Klein gradually freed her from expressionist figuration. She graduated from ENSBA in 1983 with a series of almost monochrome canvases, featuring organic, diaphanous forms and broad flat tints, and had her first solo exhibition in 1984.​

​

​In 1985-1986, she continued her work by engraving directly into the paint, reminiscent of Egyptian and Syrian bas-reliefs, which brought her closer to her father Pierre Manoli, a sculptor of Egyptian origin. She was also enthusiastic about the work of Kieffer and Barcelo. In 1988, she sought out new spaces through various collages and superimposed canvases, including ‘Pour qui les continents’ and ‘Naissance de la baleine’. Her palette became darker with ‘Mangeur d'étoiles’. In 1990, she freed herself in a series of ‘Grandes Vasières’ and ‘Petites Nos’, in which she rediscovered the jubilation of the mud of her childhood. From this original crucible, Anne Manoli produced the series ‘Muraille Végétales’ (1996) and ‘Transmutations’ (1997), which express her obsession with the alchemy of decomposition. In 1998, animals such as oxen and monkeys merged into her ploughs of paint.

​

The painter Astolfo Zingaro discovers her work and introduces her to gallery owner Nicolas Deman, who offers her a fruitful collaboration: several solo exhibitions follow, “Migrations”, ‘Chrysalides’, “Après la pluie”, from 1999 to 2002; color and gesture intensify. In London, she fully realized that painting transmits a vital energy, encountering the works of Kossoff and Auerbach. In 2003, at the instigation of Marion and Yves Guigon, the artist created large-format works in which she depicted the four natural elements: “Grandes tourbières”, “Marée blanche”, “Grand lapilli” and “Asphodèles”.

2004-2005: Anne Manoli begins a series of “Terres d'eaux”, landscapes with horizontal lines that repeat like tidal ripples. In Normandy, the verticality of the cliffs gave rise to a series of canvases, small pieces of earth with a fragile, mineral aspect, exhibited at Galerie Guigon in 2010 under the title “Verts presque tendres”. From then on, the painter would insist on the “canvas object”, the pattern formed by the paint escaping from the frame: first, she would consolidate it, then affirm it: the overflow of paint was no longer the result of the gesture, but a prior construction. The “painting object” becomes increasingly tactile, with the edges thus drawn and sculpted giving the impression of an extraction, a tearing away.

In 2013, Galerie Mézières presented a monograph, “La Passagère”, as well as an exhibition of a series of canvases, a mise en abîme of a piece of land (an island) where time erodes the surface. Now matte, the light diffuses a more muted energy. Pursuing the “mineralization” of painting, his work is reminiscent of cave art and frescoes.

2016, renewed collaboration with gallerist Nicolas Deman, who breathes new energy and exhibits: “Le banquet des Nymphes”, the twilight world of the marsh unfolds in large canvases where matter is set free; 2017 “Sauvage est le Vent” four large formats in praise of the four great moments of a day or a year; 2018 “Les moires”, Anne Manoli reveals between two surfaces a subterranean world of circulating, mutating forms that bring out in their trajectories islands of matter while connecting them; a metaphor for painting, which for the painter is a living organism.

The last series, “La laboureuse” 2023, is an allegory of the creative process, an immersion in matter where I emphasize the physicality of the paint layer and assert that painting is anything but an image.