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The painter, Eve Livnat-Merzer, born in Paris, the daughter of the artist Arieh Merzer.When the Nazis entered Paris the family managed to escape from the Gestapo by a hair's breadth, thanks to the resourcefulness of mother Esther, and to cross the border into Switzerland after undergoing many trials and tribulations in Provence. Eve, who was then a baby, grew up for a while with a Christian woman who saved the members of the family from the hardships they had to endure.
Eve made aliyah to Israel together with her family in 1945. She showed an aptitude for art from a very early age and was taught by her father, an artist and well-known worker in hand-hammered copper. She studied and worked in the artists' quarter in Safed with her father and with the artists Menachem Shemi and Mordechai Levanon. From them she acquired a great love of art as well as a wide range of techniques and drawing and painting skills. In her youth she joined a learner's group in "Oranim" under the tuition of Marcel Janco. She studied at the Teachers' Training College in Tel Aviv and in 1970 graduated from the Avni Institute; one of her teachers was the painter Yehezkel Streichman. In 1968 she gave her first exhibition entitled "Ten Past Eight," in which she showed her powerful collages for the first time; these made a big impression on all who came to look at her works. In 1972 she was awarded a grant by the French government for further training in "Les Beaux Arts" and in William Hyter's "L'Atelier 17." She spent some time living and working in Paris. Amongst other things, she specialized in etching and art printing. On her return to Israel, she continued her studies at the Art Studies Circle in Tel Aviv University. Eve is well-known for her distinctive aquarelles which, for a long time, were devoted to scenes of Safed, and in later years to other Israeli landscapes. These latter include a series of aquarelles depicting the Dead Sea and Jerusalem, and a series of aquarelles of the sea. Many of her early compositions were of interior scenes, and "The Empty Chair" was a recurrent motif in many of them.
Over the past few years Eve has widened her scope to include assemblages, and also ecological sculptures which she is developing with models which make use of reconstituted elements. She furthers this aim also by a dialogue with flaura and fauna which, with the help of a fertile imagination and more than a dash of humour, plays an active role in conveying the artistic-cum-philosophical message which is witty, sharp, and stunning.