Who painted Grandes eaux?

Grandes eaux was painted by Marie-Louise Carven in 1967.

Where can I see Grandes eaux?

Grandes eaux is held by Palais Galliera - Musée de la Mode de la Ville de Paris.

Artwork

Grandes eaux

Marie-Louise Carven , 1967

Grandes eaux is a drawing by Marie-Louise Carven. It dates from 1967 and is held in the collection of the Palais Galliera - Musée de la Mode de la Ville de Paris.

About this work

Overview

Loose, rapid lines and modest shading convey the garment’s folds, giving the work the character of a quick study rather than a finished portrait.

Created circa 1967, *Grandes eaux* is a sketch by French fashion designer Marie‑Louise Carven. The drawing, held by the Museum of Ethnography, depicts a woman in a long, unadorned coat with oversized pockets, a low‑set hat, and a small object clasped in one hand. Loose, rapid lines and modest shading convey the garment’s folds, giving the work the character of a quick study rather than a finished portrait.

Subject & Meaning

The figure appears to be an everyday woman, rendered in a functional coat that emphasizes practicality through its large pockets. The low hat and the handheld object suggest a moment of casual readiness, perhaps alluding to the modern, mobile lifestyle of the 1960s while highlighting Carven’s focus on wearable, accessible design.

Technique & Style

Carven employs swift, gestural line work, allowing the composition to retain a sense of immediacy. Subtle shading delineates the coat’s drapery, while the overall simplicity of the drawing mirrors the designer’s reputation for lightweight fabrics and streamlined silhouettes.

History & Provenance

Marie‑Louise Carven founded her eponymous fashion house in 1945 and was an early adopter of ready‑to‑wear collections. *Grandes eaux* entered the Museum of Ethnography’s holdings at an unspecified date, where it remains part of the institution’s broader assemblage of fashion‑related artifacts.

Context

The sketch emerges from a period when Carven was expanding beyond haute couture into prêt‑à‑porter, reflecting a shift toward more democratic fashion. Its informal execution aligns with the 1960s trend of designers documenting ideas through rapid sketches, a practice that bridged creative concept and commercial production.