The Ultimate Secret Of William Adolphe Bouguereau
For a while, up until a few days ago I had no idea the name of William-Adolphe-Bouguereau and, in fact, I still have trouble articulating his name correctly.
My first encounter with Bourgereau began with suspicion when I read some information online. From the high-sounding name and the dating of his works I instantly imagined a boring artist or a unprofessional French academic or one of the artists who paint lavish portraits of nobles as well as hunting gatherings. A painting from another century, or, more simply the old and outdated.
However, judging too fast I slipped up.
The lesson I learned quickly, and it took me no time to be captivated by the art of Bouguereau found on Open Art Images.
Before I share with you the details of the beauty of this I will also share the crucial lesson I have learned, which is the reason that inspires me to write about art without being an academic in the field of art the art must be viewed and experienced through the its emotions on our bodies. The senses and instincts are the best guides to determine if an artist is able to penetrate our souls. I had no idea of the name Bouguereau, and if I hadn't then it would be similar, as his work captivated me, touched the most ancestral archetypes of my soul and changed all I believed I knew about academic art.
That's what art does and it is able to send us unconscious information that takes us back to parallel and past worlds and allows us to step for a brief moment in the head of a stranger, who in turn has entered ours, without knowing us. We and he, individuals who are separated in space and time, are in the same room for a brief moment. Our worlds collide and blend within the space created by a work of art.
Bouguereau is the one who was abused by modernists
My mistake, however, was made by a lot of other people before me, by those who, as they stepped into the modern age and following a long, well-known career, concluded that Bouguereau was not sufficient and that he wasn't modern enough or modern enough, not "cool" enough and, immediately, degraded him to a simple academic artist, one of the Art Pompier (an expression that signifies an impressive technique, but often empty and false until it is bad taste), devoid of any creativity.
Bouguereau, the one of the Pieta.
william adolphe bouguereauwas greater. It's enough to glance through the painting of Pieta to grasp the meaning, and to experience an emotion that reaches to the insides. The Bouguereau's Pieta conveys a universal message which is that Christ is the symbol of the suffering of this world. Madonna is a dark and mysterious woman, is the bearer of truth and of Justice and conscience simultaneously She hurls in our faces all the facts, both uncomfortable and hidden, about the ugliness that is ours. This dark, black Mary is surrounded and almost imprisoned by guilt, represented by those good-natured characters, with a dramatic appearance, who have surrounded the dead corpse of Christ. She, dignified and angry, really desperate, looks like someone who is a refugee, a gypsy who holds her dead son in her arms beneath the rubble of the bombings. It is an image taken by a war photo reporter, however, we see that image on the walls of an academic of the 19th century who, without much aplomb is smacking us on the face.
Pieta Pieta is nothing more than The second part (the one that is fun and the final) of a tale about a woman named Mary but it could also be a different one. This tale begins with the drawingof the Madonna of the Roses in which Mary appears as a young girl and a young mother. She is white and round-faced. She does not look us in the eye, instead she looks upwards, towards the sky, as if looking for help in the direction of God or destiny, mindful of the daunting job she's just started. This task is carried by her arms and she holds a small Jesus and from his gaze (he does, he gazes at us) we can sense the significance of future. She surrounds him in a maternity pose one that is practical, functional poses, not emotional. The two men, sitting in front of us, demand acceptance. When they are in the Pieta this embrace, it becomes the hand for a mom who cannot take the burden of her son's death, while life slips away. This feeling was very familiar to Bouguereau who had lost three of his children along with his beloved wife. In the painting, while Bouguereau expresses his complete sadness, Mary declares her defeat, or rather her defeat to the world. The prayers she makes to God and her doubts prompted by the awareness of her mission, break into a certainty. The dark eyes of her, the hollowed-out skin, stare the culprits 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 Academy
As I said the major mistake made by the modernists was to overlook the expressive capacity of the painting by Bouguereau. Certain all of his work is academic: from the perfect technicalities with which he draws the naked bodies, to the mythological and religious themes taken from neoclassicism, from the naturalistic backgrounds to the romantic and bucolic subjects. But Bouguereau is not only this, and it is enough to keep looking at the faces of certain characters in his paintings and the full human ferocity that he is in a position to perceive and convey on canvas is evident. His contemporaries understood this, and made him one of the most famous artists of the 1800s. But then, with the dawn of the new century his work was banned by the Damnatio Memoriae banned him. They accused him of not bold, but maybe they didn't realize that behind the technical order of his artworks, Bouguereau hid chaos, malice, pain and even seduction.
His artworks are the perfect model of the bourgeoisie. beautiful forms that hide disturbing hidden secrets, darkness and desires are no longer his desire to repress. The naked is among the methods he employs to return us to our primal instincts: the bodies want to lure us in, and their brightness makes us feel like we're in a dream however, they also create a setting of a film, in which actors are illuminated and entice us with their. Simple gestures are transformed into something extraordinary (like removing a sock for instance) and bodies pile up and stack together, and they play with one another, it's all a game of foreplay, and Bouguereau is a tightrope walker who is balancing bourgeois education that looks (and is looked) at as well as the need to speak to human desires in a physical way. Both exist but it's the person who is watching that decides to look at one over the other.
It was another artist, as beautiful, sensual, like Bouguereau who, during the 1950s and 1960s, saved him from the ashes and wrote his praises: Salvador Dali. Dali, like many artists who were adamantly attached to the bourgeois ideal was aware of the hidden secrets in the unconscious of humans and the fact that you don't have to make a choice between content and form but you can fool the audience with magical surrealist tricks.
Bouguereau The person who can determine the appropriate dosages
Bouguereau's secret is in the proper balance of the sacred and profane. pure and sensuality. He also demonstrates malice and innocence. Even if you think you are seeing the usual shepherds, Venus, and angels, Bouguereau surpasses all stereotypes or commonplace in art. A girl defends herself from Eros, that annoying putto is a symbol of the desire of her heart, desires aren't hers to be able to satisfy. A shepherdess is an old woman who is a symbol of the wisdom of the common and rural that has been cultivated by those who have lived the way of life through experience and suffering. The Nymph who doesn't hide her feelings, but instead makes evident, with a single intense gaze, the attraction she feels towards Satyr. Satyr. The homosexual passion carefully positioned in Dante's underworld. There are a lot of young mothers feeling overwhelmed with the responsibility of taking the care of their children within a world that does not recognize them, and in which they are just functional individuals. The power of the expressions that his characters give us back and those that they exchange with one another is awe-inspiring. They appear like photos films, or movie scenes and gracefully tell real-life tales. Realism is packed into dreamlike and mythical scenes, here can be the universe in all its complex simplicity.
Bouguereau, the one who paints using human archetypes
It seems to me that Bouguereau is very knowledgeable about archetypes of humans as well as social patterns and many identities of the person. 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 universe of Jodorosky where nakedness is an intrinsic characteristic of the human, where vices and virtues are declaimed loudly, in which the unconscious sprang forth and finds a representation.
These are the many things I see in Bouguereau's painting, and If you aren't convinced, look into the eyes of his characters, the reflection of the many souls of the world. Through my eyes in 2021 I can see in him a great awareness of the truths of life, a sense of intellectual responsibility as well as a desire to dispel social taboos. He does all this in the most basic and "formal" ways, with the language of his time and without pretense or snobbery, without judgment or presumption and most importantly, with no violence, so that, at this moment in the text as well as in human history, it is the modernists who appear outdated to me.
My first encounter with Bourgereau began with suspicion when I read some information online. From the high-sounding name and the dating of his works I instantly imagined a boring artist or a unprofessional French academic or one of the artists who paint lavish portraits of nobles as well as hunting gatherings. A painting from another century, or, more simply the old and outdated.
However, judging too fast I slipped up.
The lesson I learned quickly, and it took me no time to be captivated by the art of Bouguereau found on Open Art Images.
Before I share with you the details of the beauty of this I will also share the crucial lesson I have learned, which is the reason that inspires me to write about art without being an academic in the field of art the art must be viewed and experienced through the its emotions on our bodies. The senses and instincts are the best guides to determine if an artist is able to penetrate our souls. I had no idea of the name Bouguereau, and if I hadn't then it would be similar, as his work captivated me, touched the most ancestral archetypes of my soul and changed all I believed I knew about academic art.
That's what art does and it is able to send us unconscious information that takes us back to parallel and past worlds and allows us to step for a brief moment in the head of a stranger, who in turn has entered ours, without knowing us. We and he, individuals who are separated in space and time, are in the same room for a brief moment. Our worlds collide and blend within the space created by a work of art.
Bouguereau is the one who was abused by modernists
My mistake, however, was made by a lot of other people before me, by those who, as they stepped into the modern age and following a long, well-known career, concluded that Bouguereau was not sufficient and that he wasn't modern enough or modern enough, not "cool" enough and, immediately, degraded him to a simple academic artist, one of the Art Pompier (an expression that signifies an impressive technique, but often empty and false until it is bad taste), devoid of any creativity.
Bouguereau, the one of the Pieta.
william adolphe bouguereauwas greater. It's enough to glance through the painting of Pieta to grasp the meaning, and to experience an emotion that reaches to the insides. The Bouguereau's Pieta conveys a universal message which is that Christ is the symbol of the suffering of this world. Madonna is a dark and mysterious woman, is the bearer of truth and of Justice and conscience simultaneously She hurls in our faces all the facts, both uncomfortable and hidden, about the ugliness that is ours. This dark, black Mary is surrounded and almost imprisoned by guilt, represented by those good-natured characters, with a dramatic appearance, who have surrounded the dead corpse of Christ. She, dignified and angry, really desperate, looks like someone who is a refugee, a gypsy who holds her dead son in her arms beneath the rubble of the bombings. It is an image taken by a war photo reporter, however, we see that image on the walls of an academic of the 19th century who, without much aplomb is smacking us on the face.
Pieta Pieta is nothing more than The second part (the one that is fun and the final) of a tale about a woman named Mary but it could also be a different one. This tale begins with the drawingof the Madonna of the Roses in which Mary appears as a young girl and a young mother. She is white and round-faced. She does not look us in the eye, instead she looks upwards, towards the sky, as if looking for help in the direction of God or destiny, mindful of the daunting job she's just started. This task is carried by her arms and she holds a small Jesus and from his gaze (he does, he gazes at us) we can sense the significance of future. She surrounds him in a maternity pose one that is practical, functional poses, not emotional. The two men, sitting in front of us, demand acceptance. When they are in the Pieta this embrace, it becomes the hand for a mom who cannot take the burden of her son's death, while life slips away. This feeling was very familiar to Bouguereau who had lost three of his children along with his beloved wife. In the painting, while Bouguereau expresses his complete sadness, Mary declares her defeat, or rather her defeat to the world. The prayers she makes to God and her doubts prompted by the awareness of her mission, break into a certainty. The dark eyes of her, the hollowed-out skin, stare the culprits 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 Academy
As I said the major mistake made by the modernists was to overlook the expressive capacity of the painting by Bouguereau. Certain all of his work is academic: from the perfect technicalities with which he draws the naked bodies, to the mythological and religious themes taken from neoclassicism, from the naturalistic backgrounds to the romantic and bucolic subjects. But Bouguereau is not only this, and it is enough to keep looking at the faces of certain characters in his paintings and the full human ferocity that he is in a position to perceive and convey on canvas is evident. His contemporaries understood this, and made him one of the most famous artists of the 1800s. But then, with the dawn of the new century his work was banned by the Damnatio Memoriae banned him. They accused him of not bold, but maybe they didn't realize that behind the technical order of his artworks, Bouguereau hid chaos, malice, pain and even seduction.
His artworks are the perfect model of the bourgeoisie. beautiful forms that hide disturbing hidden secrets, darkness and desires are no longer his desire to repress. The naked is among the methods he employs to return us to our primal instincts: the bodies want to lure us in, and their brightness makes us feel like we're in a dream however, they also create a setting of a film, in which actors are illuminated and entice us with their. Simple gestures are transformed into something extraordinary (like removing a sock for instance) and bodies pile up and stack together, and they play with one another, it's all a game of foreplay, and Bouguereau is a tightrope walker who is balancing bourgeois education that looks (and is looked) at as well as the need to speak to human desires in a physical way. Both exist but it's the person who is watching that decides to look at one over the other.
It was another artist, as beautiful, sensual, like Bouguereau who, during the 1950s and 1960s, saved him from the ashes and wrote his praises: Salvador Dali. Dali, like many artists who were adamantly attached to the bourgeois ideal was aware of the hidden secrets in the unconscious of humans and the fact that you don't have to make a choice between content and form but you can fool the audience with magical surrealist tricks.
Bouguereau The person who can determine the appropriate dosages
Bouguereau's secret is in the proper balance of the sacred and profane. pure and sensuality. He also demonstrates malice and innocence. Even if you think you are seeing the usual shepherds, Venus, and angels, Bouguereau surpasses all stereotypes or commonplace in art. A girl defends herself from Eros, that annoying putto is a symbol of the desire of her heart, desires aren't hers to be able to satisfy. A shepherdess is an old woman who is a symbol of the wisdom of the common and rural that has been cultivated by those who have lived the way of life through experience and suffering. The Nymph who doesn't hide her feelings, but instead makes evident, with a single intense gaze, the attraction she feels towards Satyr. Satyr. The homosexual passion carefully positioned in Dante's underworld. There are a lot of young mothers feeling overwhelmed with the responsibility of taking the care of their children within a world that does not recognize them, and in which they are just functional individuals. The power of the expressions that his characters give us back and those that they exchange with one another is awe-inspiring. They appear like photos films, or movie scenes and gracefully tell real-life tales. Realism is packed into dreamlike and mythical scenes, here can be the universe in all its complex simplicity.
Bouguereau, the one who paints using human archetypes
It seems to me that Bouguereau is very knowledgeable about archetypes of humans as well as social patterns and many identities of the person. 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 universe of Jodorosky where nakedness is an intrinsic characteristic of the human, where vices and virtues are declaimed loudly, in which the unconscious sprang forth and finds a representation.
These are the many things I see in Bouguereau's painting, and If you aren't convinced, look into the eyes of his characters, the reflection of the many souls of the world. Through my eyes in 2021 I can see in him a great awareness of the truths of life, a sense of intellectual responsibility as well as a desire to dispel social taboos. He does all this in the most basic and "formal" ways, with the language of his time and without pretense or snobbery, without judgment or presumption and most importantly, with no violence, so that, at this moment in the text as well as in human history, it is the modernists who appear outdated to me.
