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For a while, up until a few days ago I was unsure of who William-Adolphe Bouguereau was , and in actual fact, I have trouble articulating his name correctly.My first encounter with Bourgereau began with distrust, reading some information online. From the high-sounding name and the date of his work I instantly imagined a boring artist, some serviceable French academic, one of those who paint expensive portraits of nobles as well as hunting parties. Something from the other century, or, more simply older and out of date.But judging too quickly I slipped up.I quickly learned my lesson, and I didn't need long to be captivated by the work of Bouguereau that I found through Open Art Images.Before I tell you about these beautiful things I will share the lesson I learned that is what motivates me to write about art without being an art academic: art should be viewed and experienced through the impact of its emotions on our bodies. https://jarsugar8.doodlekit.com/blog/entry/18792984/the-insider-secret-on-william-adolphe-bouguereau-uncovered and the instincts are the best guides to know if an artist can get into our souls. I didn't even know the name of Bouguereau and, if I didn't I would have felt similar, as his paintings captivated me as they touched the most ancient archetypes that shaped my soul, and changed everything I thought I knew about art in academia.That's what art does, it sends us information that is not conscious that brings us back to parallel and past worlds as well as allowing us to enter for a short time into the mind of someone else and has managed to enter our world without even knowing who we are. We and he, individuals who are separated in space and time together in the same space for a brief moment. Our worlds meet and merge in the territory that is created by a work art.Bouguereau is the one who was abused by modernistsMy error was committed by many other people before me, by those who, as they stepped into the modern age and after a long and well-known career, concluded that Bouguereau wasn't sufficient and that he wasn't contemporary enough and modern enough or "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 the mastery of a technique, however it is often false and empty to the point of having bad taste), devoid of any genius.Bouguereau, the one of the Pieta.The error is not more significant. It's enough to glance to Bouguereau's Pieta to comprehend it, and feel a feeling that goes straight to the insides. In Bouguereau's Pieta is a universal symbol which is that Christ is the symbol of the suffering of the world . The Madonna as a black and mysterious woman, is the bearer of reality and of Justice and conscience simultaneously; she throws in our faces all the facts, both uncomfortable and hidden, about the ugliness that is ours. That black dark Mary is enveloped and imprisoned by guilt, represented by those good-natured characters, with a dramatic appearance, who surround the dead corpse of Christ. She, dignified and angry, really desperate, looks like someone who is a refugee, a gypsy who holds her son's body in her arms beneath the wreckage of the bombings. It is an image from the war photographer, however, we see it on the canvas of an academic of the 19th century who with no pleasantries, slaps us on the face.The Pieta is nothing more than the second chapter (the final and funereal one) of a story about a woman named Mary, but it could also be a different one. This tale begins with the painting The Madonna of the Roses and where Mary is still a little girl, a young mother, with a round face and white hair. She doesn't look us in the eye, but looks up, toward the sky, as if looking for help from God or destiny, mindful of the daunting job she's just started. That task is gathered in her arms, a little Jesus who, through his eyes (he does, he gazes us in the eye) we can sense the significance of destiny. She surrounds him in a maternal pose, one that is functional poses, not emotional. The two, standing in front of us, demand compassion. In the Pieta this embrace, it becomes the hand that of the mother who cannot bear the weight of her murdered son as her life is slipping away. This was a familiar feeling to Bouguereau, who lost three children and his wife. In the painting, as Bouguereau expresses his complete despair, Mary declares her defeat, or rather her defeat to the world. Her prayers to heaven, her doubts dictated by the awareness of her mission, shatter into the certainty. The dark eyes of her, the hollowed-out skin, stare at the perpetrators with a glare, while the hope of humanity sank into the knowledge that evil is real and we are responsible for it.Bouguereau is the most intense of the AcademyAs? I mentioned, the serious mistake that modernists made was to underestimate the expressive potential of the paintings of Bouguereau. Certain all of his work is academic, From the precise technicalities which he paints naked bodies, to the mythological and religious themes drawn from neoclassicism, and from the naturalistic backgrounds , to the romantic and bucolic subjects. But Bouguereau is not only this, and it's enough to be able to focus on the eyes of the characters in his artworks, where all the human intensity that he is in a position to perceive and convey onto the canvas is reflected. His contemporaries recognized this, and made Bouguereau among the top famous artists in the 1800s. Then, with the advent of the century of 1900, the Damnatio Memoriae banned him. They accused him of not daring, but maybe they were unaware that behind the technical order of his artworks, Bouguereau hid chaos, pain, malice, and seduction.His work is the ideal example of the bourgeoisie: stunning forms that conceal disturbing secrets, darkness and desires he no longer wants to keep from being repressed. The naked is one of the means he uses to return us to our natural instinct that the bodies are trying to seduce us and their brightness lets us enter a dream, as well as in the setting of a movie, where actors are lit and bewitch us. Simple gestures are transformed into something extraordinary (like the removal of a sock as an instance) and bodies stack up and pile up, they touch and search the other, it's a game of foreplay, and Bouguereau is an artist who walks a tightrope between the bourgeois education system that is looked (and is observed) at as well as the need to speak to human desires in a physical way. Both are present and it's the person who is watching that decides to focus on one or the other.It was another great artist, as beautiful, sensual, like Bouguereau who, in the 1950s was able to save him from his obscurity and wrote his praises: Salvador Dali. https://www.evernote.com/shard/s727/sh/25780562-56df-4b54-f4cd-3c0d8737b9b4/3666c4aa7a28304ccdc3ec1b22103796 , so attached to the bourgeois formula, knew the secrets contained within the human subconscious and also that you don't need to choose between form and content, however, you could fool the spectators with surrealist illusions.Bouguereau, the person who can determine the appropriate dosages<img width="447" src=" |
