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Up until a few days ago, I had no idea who William-Adolphe Bouguereau was , and in fact, I still struggle to pronounce his name correctly.My first encounter with Bourgereau began with distrust after reading some of the information available on the internet. Based on the soaring name and the dating of his work I instantly thought of some boring painter, some serviceable French academic among those who paint lavish portraits of nobles as well as hunting parties. A painting from another century, in short, old and dated.However, judging too fast I made a mistake.<iframe src="https://www.youtube.com/embed/oFYHLpd_cII" width="560" height="315" frameborder="0" allowfullscreen></iframe>The lesson I learned quickly and I didn't need long to be captivated by the works of Bouguereau found in Open Art Images.Before I talk about the beauty of this I will share the crucial lesson I have learned, which is also what motivates me to write about art without being an academic in the field of art the art must be looked at and felt through the impact of emotions it creates in our bodies. Our senses and our instincts are the best guide to determine if an artist is able to connect with our souls. I didn't even know the name of Bouguereau, and if I hadn't I would have felt exactly the same. His paintings captivated me as they touched the most ancient archetypes in my life and challenged everything I thought I knew about art in academia.That's what art does, it sends us information that is not conscious that takes us back to parallel and past worlds as well as allowing us to enter for a short time into the head of a stranger, who in turn is able to enter our world without even knowing who we are. We and he, individuals distant in time and space together in the same room for a short time. Our worlds meet and merge in the territory that is created by a work art.Bouguereau, the one mistreated by modernistsMy error, however, was made by many other people before me in the same way, by those who as they stepped into the modern age and following a long and well-known career, concluded that Bouguereau wasn't adequate to be considered modern enough and prepared for the future and was 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 suggests an impressive technique, but often false and empty to the point of bad taste) and devoid of any genius.Bouguereau, the one of the Pieta.There was no greater error. It's enough to look at the painting of Pieta to understand it, to feel the sensation that goes into the internal organs. Bouguereau's Pieta conveys a universal message that is universal in the sense that Christ symbolizes the suffering of this world. Madonna, a black and esoteric woman, is the bearer of reality and of Justice and conscience at the same time and throws into our faces the truths, painful and hidden, about the ugliness that belongs to us. This dark, black Mary is surrounded and almost in prison by guilt, as shown by those good-natured characters, with a dramatic appearance, who are surrounded by the corpse of Christ. The woman, smug and angry, truly desperate, looks like someone who is a refugee, a gypsy who holds her deceased son in her arms amid the wreckage of the bombings. It is an image taken by a war photo reporter, but we find it on the canvas of an academic from the 19th century, who without much aplomb and smacks us on the face. http://ttytcammy.vn/Default.aspx?tabid=120&ch=9108 is just The second part (the one that is fun and the final) of a story about a woman named Mary however, it could be a different one. The story starts with the illustration "The Madonna of the Roses in which Mary is still a girl and a mother of a child, with a round face and white hair. She does not look us in the eye, but instead looks upwards, towards the sky, like someone looking for help by God or fate, conscious of the difficult job she's just started. The task is held by her arms a tiny Jesus and from his gaze (he is, and he stares at us with his eyes) we see the importance of future. She wraps him around in a maternity pose one that is practical, functional rather than emotional. The two men, sitting in front of us, seek acceptance. In the Pieta this embrace, it becomes a handhold for a mom who is unable to bear the weight of her murdered son as her life is slipping away. The feeling was familiar to Bouguereau, who lost three children along with his beloved wife. In the painting Bouguereau expresses his complete dismay, Mary declares her defeat and, in a way her defeat to the world. The prayers she makes to God, her doubts dictated by her awareness of her mission, break into an absolute certainty. Her black eyes, her hollowed-out skin, look at the perpetrators directly in the face and hope for humanity sank into the knowledge that evil is real and we are accountable for it.Bouguereau, the intense one of the AcademyLike? I said the major mistake that modernists made was to overlook the expressive capacity of the painting by Bouguereau. Certain the style is academic: from the flawless technicalities which he paints naked body as well as the religious and mythological themes that are derived from Neoclassicism, from the naturalistic backgrounds , to the romantic and bucolic subjects. But Bouguereau is not just this, and it is enough to keep looking at the eyes of the characters in his artworks in which all the human emotion he's able to see and transport onto the canvas is reflected. His contemporaries recognized this, and made him an one of the more famous artists in the 1800s. However, at the beginning of the century of 1900, the Damnatio Memoriae banned him. They accused him of not bold, but maybe they were unaware that beneath the orderly technicality of his work, Bouguereau hid chaos, malice, pain, and even seduction.His artworks are the perfect model of the bourgeoisie. stunning forms that conceal disturbing secrets, darkness and desires are no longer his desire to repress. The naked is one of the means he uses to bring us back to our natural instinct and desire 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. Simple gestures are transformed into something extraordinary (like the removal of a sock as an example) as bodies pile up and stack up, touch and seek one another, it's all an act of foreplay and Bouguereau is a tightrope walker poised between the bourgeois education system that is looked (and is looked) at, and the desire to communicate human desires in a physical way. 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 artist, equally beautiful, sensual, with a dreamlike quality as Bouguereau who, during the 1950s, saved him from oblivion and wrote about his achievements: Salvador Dali. He too, so attached to the bourgeois ideal knew the secrets in the unconscious of humans and also that you don't have to make a choice between content and form but you can fool the audience with magical surrealist tricks.<img width="340" src=" |
