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For a while, up until a few days ago I was unsure of who William-Adolphe Bouguereau was and actually, I struggle to pronounce his name correctly.My first encounter with Bourgereau began with suspicion, reading some information on the internet. With the name's high-pitched sound and the date of his work I instantly thought of some boring painter and a servile French academic or one of the artists who painted expensive portraits of nobles and hunting gatherings. A painting from another century, which is, in a nutshell the old and outdated.However, judging too fast, I fell into error.The lesson I learned quickly, and it didn't take me long to be captivated by the work of Bouguereau discovered through Open Art Images.<img width="319" src=""><iframe src="https://www.youtube.com/embed/oFYHLpd_cII" width="560" height="315" frameborder="0" allowfullscreen></iframe>Before I talk about such beauty, however, I will reveal the crucial lesson I have learned, which is also what drives the desire for me to blog about art, without being an academic in the field of art: art should be looked at and felt through the emotions it creates on our bodies. Our senses and our instincts are the best guide to know if an artist can get into us. I had no idea of the name Bouguereau If I had, it would have been exactly the same. His works bewitched me as they touched the most ancient archetypes of my soul and displaced all I believed I knew about academic art.It is the way art works by sending us unconscious information and takes us back to past and parallel worlds, it lets us enter for a brief moment in the mind of a stranger who has managed to enter our world without even knowing who we are. We and he, people who are separated in space and time together in the same space for a short time. https://squareblogs.net/jardrive1/cracking-the-william-adolphe-bouguereau-secret collide and blend in the territory that is created by a work art.Bouguereau The one who is snubbed by modernistsMy error, however, was made by a lot of others before me, by those who, in the midst of modernism and following a long and recognized career, decided that Bouguereau wasn't good enough to be considered contemporary enough and prepared for the future, not "cool" enough and, overnight, downgraded him to an academic artist, one from the Art Pompier (an expression that signifies an impressive technique, but often empty and false until it is bad taste), devoid of any genius.Bouguereau, the one of the Pieta.The error is not more significant. It is enough to look to Bouguereau's Pieta to grasp the meaning, and to experience the sensation that goes to the bowels. Bouguereau's Pieta carries a universal message that is universal in the sense that Christ represents the pain of the world . The Madonna, a black and mysterious woman, is the bearer of the truth as well as Justice and conscience at the same time and throws into our faces all the truths, uncomfortable and hidden, about the ugliness that is ours. The dark and black Mary is enveloped and imprisoned by guilt, represented by the jolly characters with a melodramatic look, who have surrounded the dead 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 under the debris of bombings; it is an image of an official war photographer but we find this on the wall of an academic of the 19th century who with no pleasantries and smacks us with a slap in the face.The Pieta is just an additional chapter (the last and most funereal) of a tale about a woman called Mary, but it could be a different one. This tale begins with the painting of the Madonna of the Roses, where Mary is still a girl and a mother of a child, round and white. She does not look us in the eye, instead she looks upwards, to the sky, like someone looking for help in the direction of God or destiny, conscious of the difficult task she is about to begin. This task is carried within her arms. a tiny Jesus and from his gaze (he will, because he stares at us with his eyes) we can sense the significance of fate. She encircles him in a maternal pose, one that is practical, functional rather than emotional. The two of them, standing in front of us, ask for acceptance. Then, in Pieta the embrace transforms into an embrace for a mom who can't take the burden of her son's death, while life slips away. This feeling was very familiar to Bouguereau who lost three children and his wife. In the painting he expresses all his despair, Mary declares her defeat and, in a way, the defeat of the world. Prayers to heaven as well as her doubts, prompted by the awareness of her task, shatters into the certainty. Her black eyes, her hollowed out skin, look at the perpetrators with a glare and the faith of humanity sank into the knowledge that evil is present and we are responsible for it.Bouguereau The intense one of the AcademyLike? I said the major mistake that modernists made was to underestimate the expressive potential of the painting by Bouguereau. Certain the style is academic, From the precise technicalities which he paints naked body, to the themes of mythology and religion that are derived from Neoclassicism, from naturalistic backgrounds to romantic and bucolic subjects. However, Bouguereau is not just that, and it's enough to linger on the eyes of certain people in his paintings, where all the human ferocity that he is in a position to perceive and convey onto the canvas is reflected. His contemporaries understood this and made Bouguereau an one of the more well-known artists of the 1800s. However, at the advent of the century of 1900, his work was banned by the Damnatio Memoriae banned him. They accused him of being too doing enough, and maybe they were unaware that beneath the orderly technicality of his artworks, Bouguereau hid chaos, malice, pain and seduction.His paintings are the perfect example of the bourgeoisie: stunning forms that conceal disturbing hidden secrets, darkness and desires that are no longer his desire to keep from being repressed. The naked is one of the methods he employs to bring us back to our primal instincts and desire to entice us and their brightness lets us feel like we're in a dream as well as in the setting of a movie, where actors are lit and are able to entice us. Simple gestures can be enthralling (like taking off a sock, for instance) and bodies pile up and stack together, and they play with one another, it's all an elaborate game of foreplay and Bouguereau is a tightrope walker who is balancing the bourgeois education system that is looked (and is looked) at and the desire to communicate human desires in a physical way. Both exist, and it is perhaps the viewer who decides whether to see one rather than the other.<img width="405" src="">It was another great artist, equally emotional, sensual with a dreamlike quality as Bouguereau who, in the 1950s, saved him from oblivion and wrote about his achievements: Salvador Dali. Dali, like many artists who were adamantly attached to the bourgeois model, knew the secrets contained within the human subconscious and that you don't necessarily have to decide between content and form, but you can fool the viewers with surrealist magic tricks.Bouguereau is the one who is aware of the proper dosesBouguereau's secret is in the proper balance of sacred and profane, purity and sensuality, malice as well as innocence. If you think that you're seeing the typical shepherds, the typical Venus and angels Bouguereau overcomes every stereotype, every commonplace of art. A woman defends herself from Eros the gruesome putto represents the cravings of her heart, desires aren't hers to approach; a shepherdess has the expression of an old woman who is a symbol of rural and popular wisdom and of those who have learned how to live their lives through practice and some suffering. The Nymph who doesn't hide and instead makes clear, with one eye, the desire she feels for a Satyr. The sexual passion that is carefully placed within Dante's underworld. There are many young mothers who are who are overwhelmed by the need to take charge of their children in an environment that doesn't recognize them, and where they are considered only functional personalities. The impact of the glances that his characters send us back and those that they exchange with each other is awe-inspiring. They appear like photos or film footage and gracefully tell real-life tales. This is realist art, stuffed into mythical and dreamlike scenes This is the world in its complex simplicity.Bouguereau the artist who paints with human archetypesI believe that Bouguereau is very aware of human archetypes as well as social patterns and multiple identities of the being. I wouldn't be shocked should it turn out that he is a member of an obscure school. A few of his photographs swept me into the surrealist realm of Jodorosky where nakedness is a fundamental characteristic of the human in a world where virtues and vices are declaimed loudly, where all the unconscious springs out and is portrayed.These are just a few of the things I see in his painting. And if you don't believe me look into the eyes of his characters, the mirror of the souls of the world. With my eyes of 2021 I can see in him a deep awareness of the facts of existence, intellectual accountability, a desire to unmask social taboos. He does all this in the most basic and "formal" ways, with the language of his time and without pretense or snobbery and without presumption or judgment, and above all without violence, so much that, at this moment in the text and in human history, it's the modernists who seem antiquated to me.