Art Review, Week 1
REVIEW ETHOS My ethos when it comes to reviews and the mechanics of the way my opinions function in its truest alignment, is not much really needs to be said. Therefore it is allowed and should be brief, extending it would be just useless words. The art showcased is ONLY shown if something is felt, there will be no other pictures of art that did not register or provoke something in me. The curation IS the review. If I walk into the museum, gallery, or street and nothing responds-no matter how acclaimed-I will NOT showcase it.
Love.
-Theo
La Dame au jardin clos
Maurice Denis La Dame au jardin clos 1894 Huile sur toile H. 55,0 ; L. 74,5 cm. Achat, 2012 © Musée d’Orsay, Dist. RMN-Grand Palais / Patrice Schmidt
The “sharpness” and line work bordering in and around the face. additionally the nipples are extremely pronounced and potent.
Abel
Camille Félix Bellanger Abel Entre 1874 et 1875 Huile sur toile H. 110,5 ; L. 215,4 cm. Achat à Camille Félix Bellanger, 1875 © Musée d’Orsay, Dist. RMN-Grand Palais / Patrice Schmidt
This piece carried such a unsettling, potent energy of morbid death.
Un enterrement à Ornans
Gustave Courbet Un enterrement à Ornans Entre 1849 et 1850 Huile sur toile H. 315,0 ; L. 668,0 cm. Don Mlle Juliette Courbet, 1881 © RMN-Grand Palais (Musée d’Orsay) / RMN
Unerving lifelike depiction of the red hooded religious figures who once roamed this land.
La Fuite des nymphes
Henri-Edmond Cross La Fuite des nymphes Vers 1906 Huile sur toile H. 73,0 ; L. 92,0 cm. Don comtesse de Vitali en souvenir de son frère le vicomte Guy de Cholet, 1923 © RMN-Grand Palais (Musée d’Orsay) / Hervé Lewandowski
Such an interesting take on viewing the perception of the world through colours, and the exact shades of every aspect of life, especially when looking at the small shadows and pockets on would overlook, like vaginal area on the woman on the right, and the shadow on the woman’s back on the left. It made me conceptualise how closely reflections and shadows are to the landscape they are a reflection of.
Femme nue, courant, tournée vers la droitea+Apollon assis, de face, les deux bras etendus vers la droite+Homme nu portant un adolescent nu
Drawings by Élie Delaunay Nantes 1828-Paris 1891, and Pierre Puvis de Chavannes Lyon 1824 - Paris 1899. Musee D’Orsay. Original Photograph
Amazing example of what a drawing can be.
Grand panneau à décor végétal, fond clair
Odilon Redon Grand panneau à décor végétal, fond clair 1901 Huile, détrempe, fusain et pastel sur toile H. 250,7 ; L. 89,4 cm. Dation, 1988 © Musée d’Orsay, Dist. RMN-Grand Palais / Patrice Schmidt. Original Photograph
A beautiful example of color.
Grand panneau à décor végétal, fond clair
Odilon Redon Grand panneau à décor végétal, fond clair 1901 Huile, détrempe, fusain et pastel sur toile H. 250,7 ; L. 89,4 cm. Dation, 1988 © Musée d’Orsay, Dist. RMN-Grand Palais / Patrice Schmidt. Original Photograph
The shade of purple in this.
Femme de maison blonde
Henri de Toulouse-Lautrec Femme de maison blonde 1894 Huile sur carton H. 68,5 ; L. 47,5 cm. Donation sous réserve d'usufruit André Berthellemy, 1930 © RMN-Grand Palais (Musée d’Orsay) / Hervé Lewandowski
Fascinating depiction, it allows you to feel the essence and demeanour of the a prositute of that time.
Le Lit
Henri de Toulouse-Lautrec Le Lit Vers 1892 Huile sur carton marouflé sur bois parqueté H. 53,5 ; L. 70,0 cm. Legs Antonin Personnaz, 1937 © RMN-Grand Palais (Musée d’Orsay) / Hervé Lewandowski
Just makes a heart happy. :)
And what an intrestiting thought of how the details of this scene could come about, whether he was in the room and captured a moment, or if he was thinking back to a moment or in one, and then would have thought of it in a third person perspective.
La Source
Jean Auguste Dominique Ingres La Source 1856 Huile sur toile H. 163,0 ; L. 80,0 cm. Legs comtesse Duchâtel, 1878 ; Dépôt du musée du Louvre, 1986 © RMN-Grand Palais (Musée d’Orsay) / Hervé Lewandowski
The juvenileness portrayed in this one shocked me, made me question what the artists perversions, and attractions were and if they played a part in this, and if this was more an expression of fantasy, or rather a place to express those feelings. Furthermore a wonder of what the “acceptable” demographics of that time were and maybe that played a part, and why such a paintings fame didn’t get swayed. It also made me question what exactly makes this painting or other paintings depictions juvenile in nature, is it the lack of body hair which was a contrast to the times pieces, was it the pinkness of the nipple, or maybe the lack of imperfection and smoothness of the skin. These qualities I think all can contribute, but the accumulation of those with whatever energy was behind this particular depiction, was such an intense unnerving feeling of juvenescence.