In the mid-1960s, Charles Rollier began the final phase of his artistic career. Characterised by relaxed gestures and circular movements, the two works, Nayikà - femme-couple émanant son pouvoir d'initiation, 23 March 1967, and Untitled, 2 November 1965, show the increasing self-confidence that manifested itself during that important stage of his work, which was suddenly interrupted by the artist’s death in 1968.

Tinged with lyricism and sensualism, Rollier’s late paintings suggest the movement and contour of interweaving silhouettes. Through fluid and transparent paint, allusive, almost dancing forms appear, emanating a powerful cosmic energy. In this whirl, a state of rebirth and transcendence seems to inhabit the pictorial space without being confined to it.

Made with quick strokes, Rollier’s two paintings convey the commitment and spontaneity of execution with which the artist never stopped working. Between intuition and illumination, each composition becomes the manifestation of an inner reverie and a glorification of the woman.

“In concentrated, attentive isolation, to turn one’s back on crowds of things… The city, the era, current ideas, sufferings, everything… and turning back towards that dark and silky, silent and peaceful dawn… and over there, in that distant world, to listen to secret voices… undulating murmurs…” (Charles Rollier, Monday 24 April 1961).