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Until a few days ago I had no idea the name of William-Adolphe-Bouguereau and, actually, I find it difficult to pronounce his name correctly.My first encounter with Bourgereau began with suspicion when I read some information online. With the name's high-pitched sound and the date of his works I instantly thought of some boring painter and a serviceable French academic, one of those who painted expensive portraits of nobles and hunting events. Somewhere else in the past century, in short older and out of date.However, judging too fast, I fell into error.I quickly learned my lesson and I didn't need long to become enchanted by the work of Bouguereau discovered on Open Art Images.<iframe src="https://www.youtube.com/embed/oFYHLpd_cII" width="560" height="315" frameborder="0" allowfullscreen></iframe>Before I share with you the details of these beautiful things I will also share the fateful lesson learned, which is also what drives my desire to talk about art, without being an art scholar Art should be viewed and experienced through the impact of emotions it creates upon our body. The body's senses and the intuition are the best way to determine if an artist has able to get into our souls. I barely knew Bouguereau's name, and if I hadn't, it would have been the same, because his works bewitched me and touched the oldest archetypes of my soul and displaced the things I thought I knew about art in academia.It is the way art works and it is able to send us information that is unconscious and brings us back to parallel and past worlds as well as allowing us to enter for a moment into the head of a stranger, who in turn is able to enter ours, without knowing us. We and he, people distant in time and space, are in the same space for a short time. Our worlds intersect and merge into the world created by a work of art.<img width="339" src="">Bouguereau is the one who was abused by modernistsMy error was committed by many other people before me, by those who, at the gates of modernism and following a long and recognized career, decided that Bouguereau was no longer good enough, that he was not contemporary enough and prepared for the future or "cool" enough and, overnight, downgraded his status to that of a basic academic artist, one among those who were Art Pompier (an expression that suggests a masterful technique but often false and empty to the point of bad taste) and devoid of any talent.Bouguereau, the one of the Pieta.There was no greater error. It is enough to look to the painting of Pieta to grasp it, to feel a feeling that goes straight into the internal organs. The Bouguereau's Pieta is a universal symbol, where Christ is the symbol of the suffering of the world . The Madonna is a dark and mysterious woman, is the bearer of truth, of Justice and conscience, all at once She hurls in our faces the facts, both uncomfortable and obscure, about the ugly that is ours. The dark and black Mary is surrounded and almost in prison by guilt, as shown by these lovable characters with a dramatic look which surround the dead corpse of Christ. The lady, who is regal and angry, really desperate, appears to be someone who is a refugee, a gypsy who holds her son's body in her arms amid the debris of bombings. It's an image of an official war photographer but we find it on the canvas of an academic of the 19th century, who with no pleasantries and smacks us with a slap in the face.Pieta Pieta is nothing more than the second chapter (the one that is fun and the final) of a tale about a woman called Mary however, it could be a different one. The story starts with the drawing "The Madonna of the Roses in which Mary appears as a little girl, a young mother, round and white. She does not look us in our eye, instead she looks upwards, towards the sky, like someone looking for help by God or destiny, conscious of the daunting job she's just started. The task is held in her arms, a little Jesus who, through his eyes (he does, he looks at us with his eyes) we can sense the significance of destiny. She surrounds him in a maternal pose, one that is functional, rather than emotional. The two, facing us, demand acceptance. Then, in Pieta, that embrace becomes the hand that of the mother who is unable to bear the weight of her murdered son, while life slips away. This was a familiar feeling to Bouguereau, who had lost three children as well as his spouse. In the painting, while Bouguereau screams in sadness, Mary declares her defeat or, more accurately she declares the end of the world. Prayers to heaven and her doubts prompted by her realization of her mission, break into an absolute certainty. Her dark eyes, her hollowed-out skin, look the culprits in the face and the faith of humanity is dissolved into the conviction that evil is real and we are responsible for it.Bouguereau is the most intense of the AcademyAs? I mentioned, the serious mistake made by the modernists was to undervalue the expressive capacity of the paintings of Bouguereau. Certainly all of his work is academic, from the perfect technicalities with which he paints naked bodies as well as the mythological and religious themes drawn from neoclassicism, and from the naturalistic backgrounds to the romantic and bucolic subjects. However, Bouguereau isn't just this, and it is enough to linger on the eyes of some of the people in his paintings in which all the human intensity that he is capable of capturing and transferring onto the canvas is reflected. His contemporaries recognized this and made him an one of the more well-known artists in the 1800s. But then, with the beginning of the new century, it was the Damnatio Memoriae banned him. https://squareblogs.net/jardrive1/whispered-william-adolphe-bouguereau-secrets accused him of being too doing enough, and maybe they didn't realize that beneath the orderly technicality of his artworks, Bouguereau hid chaos, pain, malice, and seduction.His paintings are the perfect illustration of the bourgeoisie: stunning forms that conceal disturbing secrets, darkness and desires he no longer wants to keep from being repressed. The nude 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 believe in a fantasy, but also in the set of a film, where the actors are well illuminated and entice us with their. Simple gestures are transformed into something extraordinary (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 poised between an education of bourgeois that is looked (and is at and is looked) at and the desire to communicate material human needs. Both are present, and it is perhaps the observer who decides to focus on one or the other.It was another artist who was as emotional, sensual with a dreamlike quality as Bouguereau who, in the 1950s, saved him from oblivion and wrote his praises: Salvador Dali. He too, so attached to the bourgeois formula was aware of the hidden secrets in the human unconscious and that you don't necessarily have to decide between form and content, however, you could fool the viewers with surrealist magic tricks.Bouguereau, the one who is aware of the proper dosesBouguereau's secret is in the right balance between the sacred and profane. pure as well as sensuality. It is also about malice and innocence. If you think that you're looking at the standard shepherds, Venus, and angels, Bouguereau overcomes every stereotype or commonplace in art. A girl defends herself from Eros and that irritable putto symbolizes the desires and desires that she doesn't really want to pursue; a shepherdess possesses the look of an old woman who is a symbol of popular and rural wisdom that has been cultivated by those who have lived life through practice and even suffering. The Nymph who doesn't hide, but rather makes absolutely clear, with one intense gaze, the attraction she feels towards the Satyr. The sexual passion that is carefully placed in Dante's underworld. There are so many young mothers who are feeling overwhelmed with the responsibility of taking charge of their children in a world that does not accept them, where they are considered only functional personalities. The impact of the glances that his characters send us back and the looks they exchange with each other is awe-inspiring. They resemble photographs films, or movie scenes and gracefully tell real-life tales. https://zenwriting.net/creditpoison4/apply-any-of-those-4-secret-strategies-to-improve-william-adolphe-bouguereau is realist art, stuffed into dreamlike and mythical scenes, here are the real world, in its complex simplicity.Bouguereau, the one who paints using human archetypesMy impression is that Bouguereau is extremely knowledgeable about archetypes of humans, social patterns, and multiple identities of the being. I wouldn't be too surprised if it turned out that he belongs to some obscure school. Certain of his pictures swept me right into the surrealist realm of Jodorosky where nakedness is an intrinsic human trait, where vices and virtues are declaimed loudly, where the unconscious pops forth and finds a representation.These are the many things I see in Bouguereau's painting, and if you don't believe me take a look at the eyes of his characters. They are the mirror of the many souls of the world. Through my eyes of 2021 I see in him profound awareness of the realities of life, intellectual responsibility, a desire to unmask social taboos. He does all this in the simplest and most "formal" ways, with the language of his day, without pretension or snobbishness and without presumption or judgment, and above all with no violence, so that, at this point in both the text and the history of humanity, it's the modernists that seem outdated to me.