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Up until a few days ago, I had no idea the name of William-Adolphe-Bouguereau and, in actual fact, I have trouble articulating his name correctly.My first encounter with Bourgereau started with a sense of skepticism, reading some information from the web. With the name's high-pitched sound and the date of his works I instantly thought of a boring painter, some serviceable French academic or one of the artists who paint lavish portraits of nobles as well as hunting gatherings. A painting from another century, in short, old and dated.However, judging too fast I made a mistake.I quickly learned my lesson and it took me no time to become enchanted by the works of Bouguereau that I found on Open Art Images.Before https://www.click4r.com/posts/g/2888227/at-last-the-key-to-william-adolphe-bouguereau-is-revealed talk about such beauty, however I will also share the crucial lesson I have learned, which is also what drives me to write about art, without being an art academic the art must be observed and felt through the its emotions in our bodies. The body's senses and the intuition are the best way to know if an artist can penetrate us. I didn't even know the name of Bouguereau, and if I hadn't I would have felt the same, because his work captivated me as they touched the most ancient archetypes of my soul and challenged the things I thought I knew about academic art.This is what art does, it sends us information that is unconscious, it takes us back to past and parallel worlds and allows us to step for a brief moment in the head of a stranger and has entered our world, and without knowing us. We and he, people who are separated in space and time, are in the same room for a brief moment. Our worlds intersect and merge within the space made by a piece of art.<iframe src="https://www.youtube.com/embed/oFYHLpd_cII" width="560" height="315" frameborder="0" allowfullscreen></iframe>Bouguereau The one who is snubbed by modernistsMy error was made by a lot of other people before me and by those who, in the midst of modernism and following a long and acknowledged career, decided that Bouguereau was not sufficient, that he was not modern enough or ready for the future, not "cool" enough and, in a matter of minutes, relegated him to an academic artist, a member of those who were Art Pompier (an expression that signifies an impressive technique, but often false and empty to the point of bad taste) and devoid of any talent.<img width="316" src="">Bouguereau, the one of the Pieta.There was no greater error. It's enough to look to Bouguereau's Pieta to understand it, to feel the sensation that goes to the internal organs. Bouguereau's Pieta is a universal symbol that is universal in the sense that Christ represents the pain of the world and the Madonna as a black and mysterious woman, is the bearer of the truth as well as Justice and conscience simultaneously She hurls in our faces the truths, painful and hidden, about the ugliness that is ours. The dark and black Mary is in a crowded and nearly trapped by guilt, depicted by these lovable characters with a dramatic appearance that are surrounded by the Christ's body. Christ. She, dignified and angry, really desperate, looks like a gypsy, a refugee who holds her dead son in her arms beneath the wreckage of the bombings. It's an image from an official war photographer however we can see that image on the walls of an academic of the 19th century, who without much aplomb and smacks us on the face.The Pieta is only an additional chapter (the last and most funereal) of a tale about a woman called Mary but it could also be another one. This story begins with the illustration The Madonna of the Roses, where Mary is still a little girl and a young mother. She is white and round-faced. https://jarsugar8.doodlekit.com/blog/entry/18792892/the-secret-history-of-william-adolphe-bouguereau does not look us in the eye, but looks upwards, towards the sky, like someone asking for support by God or fate, mindful of the daunting task she has just begun. That task is gathered by her arms a little Jesus who, through his eyes (he will, because he stares us in the eye) we see the importance of destiny. She encircles him in a motherly pose, one of those practical, functional rather than emotional. The two men, sitting in front of us, ask for acceptance. In the Pieta, that embrace becomes the hand that of the mother who cannot carry the burden of her son's murder, while life slips away. The feeling was familiar to Bouguereau who lost three children as well as his spouse. In the painting, while Bouguereau screams in sadness, Mary declares her defeat, or rather she declares the end of the world. Her prayers to heaven as well as her doubts, prompted by her realization of her mission, shatter into a certainty. The dark eyes of her, the hollowed-out skin, stare at the perpetrators with a glare and hope for humanity sank into the knowledge that evil is present and we are the ones responsible.Bouguereau The intense one of the AcademyAs? I said the major error made by modernists was to undervalue the expressive potential of the paintings of Bouguereau. Sure, everything in his style is academic, from the flawless technicalities which he paints naked body, to the mythological and religious themes that are derived from Neoclassicism, from the naturalistic backgrounds , to the romantic and bucolic subjects. But Bouguereau is not only that, and it's enough to linger on the eyes of the people in his paintings in which all the human ferocity that he is able to see and transport onto the canvas is reflected. His peers understood this, and made him among the top well-known artists of the 1800s. But then, with the advent of the new century the Damnatio Memoriae banned him. They accused him of not being doing enough, and maybe they didn't realize that, beneath the technical structure of his work, Bouguereau hid chaos, pain, malice, and even seduction.His artworks are the perfect illustration of the bourgeoisie: beautiful forms that hide disturbing dark secrets, dark and desires that are no longer his desire to keep from being repressed. The naked is one of the methods he employs to reconnect us to our primal instincts that the bodies are trying to entice us, and their brightness makes us enter a dream, as well as in the setting of a movie, where the actors are well illuminated and entice us with their. The simplest gestures become sublime (like taking off a sock, for example) and bodies pile up and stack up, they touch and search each other, it's all a game of foreplay, and Bouguereau is an artist who walks a tightrope between an education of bourgeois that is looked (and is observed) at as well as the need to express the human need for material. Both worlds are there, and it is perhaps the person who is watching that decides to see one rather than the other.It was another great artist who was as emotional, sensual like Bouguereau who, during the 1950s, saved him from oblivion and wrote his praisesfor him: Salvador Dali. He too, so attached to the bourgeois ideal knew the secrets within the human subconscious and also that you don't have to make a choice between form and content, but you can fool the spectators with surrealist illusions.Bouguereau, the one who knows the right dosagesBouguereau's trick is in the proper balance of holy and vulgar, pure as well as sensuality. It is also about malice as well as innocence. Even if you believe you are seeing the usual shepherds, the typical Venus and angels, Bouguereau overcomes every stereotype or commonplace in art. A woman defends herself against Eros the gruesome putto symbolizes the desires, the desires that aren't hers to pursue; a shepherdess has the expression of an old woman who is a symbol of the wisdom of the common and rural that has been cultivated by those who have lived life through practice and even some suffering. The Nymph who doesn't hide her feelings, but instead makes visible, with just one glance, the attraction she feels towards Satyr. Satyr. The gay passion is carefully placed within Dante's underworld. There are a lot of young mothers, overwhelmed by having to take care of their children in an unfriendly world accept them, where they are considered to be only functional characters. The power of the looks that his characters send us back and the looks they exchange with one another is enormous. They appear like photos or film footage and gracefully tell the real life stories. Realism is packed into mythical and dreamlike images This is the world in its complex simplicity.Bouguereau, the one who paints using human archetypesMy impression is that Bouguereau is extremely aware of human archetypes social patterns, as well as various identities of the human being. I wouldn't be surprised to discover that he is a member of an obscure school. Some of his images catapulted me into the surrealist world of Jodorosky in which the naked is an intrinsic characteristic of the human as well as where virtues and vices are proclaimed loudly, and in which the unconscious sprang out and is portrayed.These are just a few of the things I observe in his painting. And If you aren't convinced, take a look at his eyes, the mirror of the multitude of souls in the world. With my eyes of 2021 I can see in him a great awareness of the truths of life, a sense of intellectual responsibility as well as a desire to dispel social taboos. All of this is done in the most simple and "formal" ways, with the language of the day and without pretense or snobbery and without presumption or judgment and most importantly, with no violence, that at this moment in the text and in the history of humanity, it's the modernists that seem outdated to me.