Like literature, cinema or theater, the painting has its great storytellers. Daniel Arasse is one of those. "Knowledge transcended by emotional literacy is delegable," Roland Barthes wrote . Daniel Arasse describes painting as this fascinating art "which can not explain why key Or why the work you "calls" . Citing
Delacroix affected by the "silent power of the painting," says Arasse correctly that if you usually think in words, a painting, she thinks so "nonverbal" . Thus, questioning "The Lock" bright and libertine (1770/1778) Fragonard, the narrator shows that the left half of the table is occupied by ... nothing. And this nothing, only made of folds of linen, wrinkles, as is hinted after that tells the web. That the painter wants to master a project inspired shape puzzle and work makes sense.
Then, before the sketch for "The Dance" by Matisse is blue, the blue-there tone invented by Matisse, which affects Arasse. Upset, he says he left the museum in tears ... before discovering that this quality blue hides red, and that's what red, since blue apparent call. Surprise, shock visual colorist here.
layers of meaning, the accumulation of thoughts, meditations entrusted to the painter's canvas, are revealed to those who stop there. The painting, by raising successive segments of meaning, like the layers of material, raises gradually the intimacy that it was sealed. Emotion shock at the colors, to the density of thought given to the painting. Arasse entrusts his modesty face this "bottomless pit" through materials, shapes, there "something that thinks" and "I have only words to report" .
What upsets the amateur front "The Sistine Madonna" by Raphael is the presence of two little angels at the bottom of the table. Arasse sees them as the Christian figure of the cherubim guarding the temple veil in the Jewish religion. The god became visible before dying, and this tragedy is given to adult children's faces. "The Sistine Madonna " to "lift" the viewer into the extraordinary power of this symbol.
As ephemeral and enigmatic smile of "Mona Lisa" by Leonardo da Vinci , Arasse as it detects the transition from chaos to the timeless landscape of this fleeting time and grace. What fascinates him is what deeply connects the figure of the model landscape background. That smile symbolizes first to Leonardo's portrait recalls the fertile woman and the attraction and fear of the artist with respect to the body feminine. Eye, perpendicular to the plane of the stage, looking directly at us, wherever we found ourselves in relation to the portrait. From the bottom of the table until the next part of the silhouette twist that makes us fix it.
And what about this landscape that stands out in the background on each side of the face model? ... That's Tuscany appears to us in its topography timeless, timeless, after reflection mapping and geological scientist Leonard. A river connects Lake Trasimeno in Val d'Arno, as the smile of the Mona Lisa joins the two parts of this landscape backgrounds. The artist writes itself his canvas and the bridge over the Arno that is the symbol of passing time. Table dense, sober, Time ever returning the gaze ... the eye.
Web-mirror secret joy and timelessness congealing.
Delacroix affected by the "silent power of the painting," says Arasse correctly that if you usually think in words, a painting, she thinks so "nonverbal" . Thus, questioning "The Lock" bright and libertine (1770/1778) Fragonard, the narrator shows that the left half of the table is occupied by ... nothing. And this nothing, only made of folds of linen, wrinkles, as is hinted after that tells the web. That the painter wants to master a project inspired shape puzzle and work makes sense.
Then, before the sketch for "The Dance" by Matisse is blue, the blue-there tone invented by Matisse, which affects Arasse. Upset, he says he left the museum in tears ... before discovering that this quality blue hides red, and that's what red, since blue apparent call. Surprise, shock visual colorist here.
layers of meaning, the accumulation of thoughts, meditations entrusted to the painter's canvas, are revealed to those who stop there. The painting, by raising successive segments of meaning, like the layers of material, raises gradually the intimacy that it was sealed. Emotion shock at the colors, to the density of thought given to the painting. Arasse entrusts his modesty face this "bottomless pit" through materials, shapes, there "something that thinks" and "I have only words to report" .
What upsets the amateur front "The Sistine Madonna" by Raphael is the presence of two little angels at the bottom of the table. Arasse sees them as the Christian figure of the cherubim guarding the temple veil in the Jewish religion. The god became visible before dying, and this tragedy is given to adult children's faces. "The Sistine Madonna " to "lift" the viewer into the extraordinary power of this symbol.
As ephemeral and enigmatic smile of "Mona Lisa" by Leonardo da Vinci , Arasse as it detects the transition from chaos to the timeless landscape of this fleeting time and grace. What fascinates him is what deeply connects the figure of the model landscape background. That smile symbolizes first to Leonardo's portrait recalls the fertile woman and the attraction and fear of the artist with respect to the body feminine. Eye, perpendicular to the plane of the stage, looking directly at us, wherever we found ourselves in relation to the portrait. From the bottom of the table until the next part of the silhouette twist that makes us fix it.
And what about this landscape that stands out in the background on each side of the face model? ... That's Tuscany appears to us in its topography timeless, timeless, after reflection mapping and geological scientist Leonard. A river connects Lake Trasimeno in Val d'Arno, as the smile of the Mona Lisa joins the two parts of this landscape backgrounds. The artist writes itself his canvas and the bridge over the Arno that is the symbol of passing time. Table dense, sober, Time ever returning the gaze ... the eye.
Web-mirror secret joy and timelessness congealing.
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