Some of the finest portraits of the favorite pupil of Rubens. The opportunity to be reconciled with the master.
The Jacquemart-Andre Museum until January 25, 2009 dedicated a magnificent exhibition of portraits of Anthony Van Dyck (1599-1641), first be entirely devoted to the artist in France.
Visitors can admire the subtlety of his art in a very special year as the portrait. It's not every day that we offer the public a panorama of 40 paintings by such thematic coherence. Visitors can also see and especially the evolution of the artist over 20 years, there either is not common.
The Richard Avedon of the sixteenth century
child prodigy, brilliant painter, Van Dyck dynamite quickly Antwerp tradition of commonplaces of bourgeois portrait. Preferring to emphasize the emotional intimacy rather than the marital hierarchy ( Family Portrait - Hermitage Museum), emphasizing the greatness of the poses, the supéririoité a natural look or a gesture rather than the social status of a position (portrait of man, 1620-1621 - Museum Calouste Gulbenkian, Lisbon), Van Dyck turns its back on restraint and composure petty bourgeois comfort. By emphasizing the psychological intensity of his characters, a portrait of the soul before that of decorum, Antoon van Dyck realizes perhaps painting is an artist like Richard Avedon realized in fashion photography in the twentieth century . If
quickens the portrait of the powerful, Van Dyck as a pupil his fellow commoners symmetrical movement to the dignity of princes, showing that nobility is first case of heart, will, character, and not an accumulation of medals and wealth. At the heart of this conception of the nobility, the notion of sprezzatura , this casually, enemy of the assignment, defined by Castiglione in the book of courtier as aristocratic virtue par excellence, and where the supreme art is precisely to forget to seem natural.
"(...) for all human things that are done or that we said, we must flee as much as possible as a rock very sharp and dangerous, assignment, and, to use perhaps a new word in all things show a certain sprezzatura, which conceals art which shows that what was said and done came easily and almost without thinking. That's where I think especially with drift (...). "
So there is a real aristocracy, the heart and deserves, the gestures and glances. It is this that Van Dyck chose to highlight in the noble and portrait of the court in the richness of the costume. She chooses to reveal it yet among those of his friends commoners who can not fly in regalia, or rely on the social status of princes and the powerful.
The route of exposure can design a particularly significant shift in portraiture vandyckien. After installing his characters in fictional settings, sometimes heavily symbolic power or virtue (sheets, columns, stormy skies, etc.), Van Dyck, as and its work, and after his return from Italy, significantly tightens its palette of colors, clears setting and focuses on the central figure of the character on a neutral background, with a purity and intensity that clearly break the lessons of Titian (below the Portrait of Isabella d'Este ) . funds are limited to flat areas of dark colors, which release a face-to-face with the startling character. We have rarely seen eye most striking truth that the portrait of Maria de Tassis , or installing everything at once nonchalant and carried on brothers Wael . The tables in the end, for the activity as a portraitist at the court of England, reconnect with the pomposity firt of bourgeois paintings, in favor of political pageantry.
The corridor designs is another pleasant surprise and originality of the exhibition. Since the British Museum devoted to the drawings of Michelangelo, we had not seen any as beautiful. Many come from other British collections.
insensitive to the art of Rubens, his retinue of nymphets fat and pompous critics gloss enhancing his praise of the "flesh", I did not think Van Dyck find something for the eye . The dispersion of his paintings in the collections Museums - outside perhaps the portrait of Charles I to the chase - do in fact not really get an adequate view of the consistency and intensity of his remarks. So we should thank Jacquemart Andre to overcome this fragmentation. Those not lucky enough to encounter a real with the work will no doubt kick it, preferably at lunch time because they are not alone. Visit the mini-site exposure also very successful, to download the podcast guided tour. Van Dyck, Museum Jacquemart Andre, until January 25, 2009, Paris.
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